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Re–thinking Dingli Street !
Chapter Six
6. 1
Re-thinking Dingli Street
Introduction
This chapter aims to understand the state of our local non-places and their interaction with the urban fabric and with its users. By studying a typical local scenario, first this chapter analyses the non-place and then, it proposes a set of interventions that could improve it. The knowledge acquired from the previous chapters is utilised to provide a framework that supports the proposed intervention. It could be argued that due to our limited size, the Maltese scenario lacks most of the nonplaces invading larger countries. Yet, it is also a reality that locally, transportation is heavily based on vehicular traffic since, as discussed in Chapter 3, vehicles invaded all our streets, ruining our historical fabric in the process. Therefore, to illustrate a possible intervention in line with the concepts expounded in this dissertation, it was pivotal to choose a street like Dingli Street in Sliema that represents the phenomenon that degenerated our local situation.
Fig. 55: Aerial View of Dingli Street, Sliema [Source: GoogleEarth]
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Fig. 56: Junction to DIngli Street [Source:author]
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6. 2
Site Analysis
Dingli Street, at the heart of Sliema, is one of Sliema’s eminent streets. This street, leads from what was once the core of Sliema (It-Tlett Sigriet, at the junction with Rudolph Street, Saint Mary Street and High Street) to the De Redin Tower in Tower Road along the coastal promenade (SRA, 2010).
The street is enclosed with multiple boundaries… the ones with the dwellings and buildings, and the ones with the adjoining streets. Thirteen roads stem from Dingli Street, and so it is regarded as a vital traffic route for Sliema. Apart from that, being straight and wide, the street is ideal as a shortcut for both pedestrian and vehicular traffic. Due to its significant length, the street makes part of three of the parishes in Sliema. ! Fig. 57: It-Tlett Sigriet, junction [Source:author]
The various architectural styles of the houses in Dingli Street confirm that the street was urbanized in the first half of the past century. In fact there are multiple examples of houses in the Art Nouveau
style, the majority found along the upper part of Dingli Street. Houses in the Baroque style also help to distinguish the street for its unique architectural fabric. Ionic columns and intricate decorations carved in stone contrast greatly with later modern development on buildings of the street (SRA, 2010). In fact, many houses have been replaced with multi-level flats, which look out of place and in turn ruin the skyline of the street.
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Fig. 58: Diagram A Houses in the Art _____....Nouveau style Diagram B House in the Baroque style _.......__[[Source: Author]
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! Fig. 59: Modern Development in Dingli Street![[Source: Author]
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Amongst the notable houses that are still
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intact, one can still appreciate two houses boasting the coat of arms of the Abela family and a splendid corner house with the Zammit coat of arms, which resembles an English Castle. Although the Zammit House is a unique example of its kind in Sliema, it is unfortunately showing signs of decay. Down Dingli Street, one encounters Dingli Circus: a circular open space surrounded with blocks of flats and houses. Due to the 6 roads cutting through the round square and due to the parking spaces lining it, there is no space left for the public. Some !
remarkable
buildings
at
Dingli
Circus
include the Nelson Flats and the Orient
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Fig. 60: Zammit Residence [[Source:Author]
Apartments, which are not as old as the other houses on the street. Yet their
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Fig. 62: Dingli Circus![[Source: Author]
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! decorative sculptures still contribute to the
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! overall feeling of the square. ! Various eminent people living in Dingli Street, ! contributed to elevate the status of the street. ! (!
The Shamrock House in Dingli Circus was the residence of John Mifsud, who was the first director of the Malta Lotto Department. Other leading Maltese figures include Lawyer Mario Felice shadow Minister of Finance in 1981, Professor Joseph Anthony Manche’ (18991980), a medical doctor by profession and a professor of Physics and Johnny Navarro
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(1912 -1997), a famous actor.
Fig. 61: Professor Manche’ Residence! [[Source: Author]!
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Although it is quite comfortable to drive along the street and there is ample space on the sidewalk for a pedestrian to walk at ease, it is impossible for the user to connect with the rich architectural fabric of the street. The boring concrete pavements and the asphalt road, all lined with parked and moving cars, alienates the user into a monotonous transitory state.
6.2.1 The Sidewalk
The sidewalk, which separates the parked and fast moving cars from the pedestrians in their houses, is the only available area for this transition to take place. Furthermore, the sidewalk protects the pedestrian on foot from traffic dangers, creating a semi-public social space that allows contact between people. The pedestrians’ space was taken over by cars and the only pavement remaining for pedestrians is suffocated with parked cars lining the road.
! ! Fig. 63: Aerial View of Dingli Street and the sidewalk![[Source: Author]!
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6.2.2 Boundaries and Edges
Due to the lack of a front porch acting as a buffer zone between private and public, all the houses open up to the street and therefore lack privacy. Nonetheless, this desired privacy is restored by the ‘antiporta’ or by the front steps in front of the main door, which help to create the necessary detachment from the street. This minimal detachment is valuable since there is still permeability for public life in
the
streets.
The
flats
and
apartments are more disconnected ! !
with the urban realm because singular units open on to the common areas.
Fig. 64: Houses open up to Dingli Street! [[Source:Author]!
Cars essentially took over the street, as all the edges of the street, starting from It-Tlett Sigriet junction down to the junction with Tower Road cater exclusively for vehicle access. To go down or up the street pedestrians must continuously cross the side streets along it. More than a direct link to the old town centre, it is more of a barrier between locals and their town centre. Inversely, locals at the town centre feel that Dingli Street is not a safe connection to the promenade.
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When vehicles used to continue down the full length of Dingli Street and join Tower Road, drivers had to dangerously face cars shooting out of the blind corner in Tower Road. To solve the problem, Authorities forced traffic to exit Dingli Street 45 meters away from the hazard, by turning at the corner with Windsor Terrace, out to join Tower Road. Unfortunately, this is also dangerous because a distracted driver would never expect a road to suddenly become one-way at its very end.
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Fig. 65: Flow of Cars in and out of Dingli Street![[Source: Author]
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a
pedestrian
walking
along
the
promenade will never notice Dingli Street. There is nothing to attract the attention of passers-by and direct their flow up the street. Apart from that, Tower Road breaks the direct connection from the promenade to Dingli Street, making it difficult for a pedestrian to cross the dangerous road. Fig. 66: Junction of Dingli Street to Tower Road [Source: Author]
On the other hand, the two large, red, no entry signs are the only stimuli that seem to grab the attention of an estranged driver or pedestrian walking down the road.
! Fig. 67: The two red No Entry [[Source:Author]!
6.2.3 Objectives Since most of the houses open directly on Dingli street and there is not enough space for gathering, the street, will always retain the character of a ‘passage’, a transition place both for pedestrians and for the flow of cars. Therefore the scope is not to try and transform the street into a place where people stop and gather. Rather, the objective is to strengthen the link connecting the town centre to the promenade. Apart from that, while still retaining its vehicular function, the street should be re-designed in a way as to improve a pedestrian’s transitory experience.
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6. 3
Re–thinking Dingli Street !
Shared Space Schemas
In the course of history, streets have always been organized in a negotiation between vehicular traffic and pedestrian activities. The late 1960’s pioneers in the Netherlands challenged this principle of segregation by exploring the potential of merging traffic with social activities. The Woonerf, which consisted of residential streets that created low-speed environments, was one of the earliest examples. This highly popular model influenced other European cities, helping streets to re-establish their double function of corridors for movement and urban spaces (Hamilton-Baillie, 2010). This flourishing understanding of factors that influence a driver’s awareness and behavior and traffic speed has developed the concept of Shared Space. This concept is a shift away from conventional state controls towards the strengthening of
negotiation
and
social
amenities
(Hamilton-Baillie, 2010).
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Fig. 68: Woonerf in Residential Areas [Source:www.greencascades.com]
The concept of shared space is based on the fact that the public realm (the pavement and http://www.greencascades.com/images/ the roads) has the potential to be shared by pedestrians and drivers. This can work on woonerf-a.jpg the basis that the ‘mental maps’ of drivers could be changed. For the Shared Space to ! function, measures like speed reduction by design, removing signs and lines and an apparent narrowing of the road driving space, are to be implemented. This makes sure that drivers’ attention is completely focused on their surroundings. Driver’s mental maps would
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automatically be modified, when removing the drivers’ familiar visual clues (signs, barriers and lines) (Gaffikin et al, 2008) Since the Shared Space offers safety on the street, it drives people out of their private environments and makes them interact. This philosophy succeeded in extending the house to the actual street space; the street becoming a public space. Since the drivers are some of the actual citizens living in the street, implementing this scheme is a safe alternative because it reduces the number of accidents (Gehl, 2010). When redesigning with the shared space concept in mind, it is very important not to merge it with the traditional street layout. A compromise solution can ruin the safety of the scheme. Clearly, it takes time to readjust to a new Shared Space Scheme, particularly because it is not dependent on visual indications. In spite of this, pedestrians and drivers will slowly get used to it and reductions in traffic speed and changes in drivers’ behaviour will start to be noticed. Gradually drivers start to observe, anticipate and appreciate the specific needs of every pedestrian (Gaffikin et al, 2008). Although normally the implementation of Shared Space Schemes needs the urban fabric to be changed, there are cases in which minimal interventions do the trick. In Kensington High Street in London, the removal of the guardrails resulted in a drastic increase in pedestrian safety. Although the road accommodates 40,000 cars per day, the pedestrians are still encouraged to cross the very active road (Hamilton-Baillie, 2010). !
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Fig. 69: Kensington High Street [source http://ldfconsult.rbkc.gov.uk]
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Fig. 70: New Road Intervention in Brighton [Source:http://gehlarchitects.f iles.wordpress.com]
! New Road in Brighton has been re-designed into an outstanding economic and social environment by constructing a speed-controlled street for vehicles.
6. 4
Ashford Shared Space Scheme
In the vicinity of the town of Ashford in Kent, a former car-dominated three-lane ring road was renovated into a shared space domain where pedestrians are in contact with thousands of vehicles each day (Stubbings et al, 2009). The brief aimed to develop a distinctive public realm, which promotes a healthy and walkable town. The team transformed it into a series of linked and homogenous town centre streets and places. By following the innovative Shared Space philosophy, useless street furniture, railings, traffic signals and road markings were removed and replaced by a series of distinctive visual clues. Because the road feels different, a driver will pay extra attention and inevitably focus on his immediate environment, decreasing his speed limit to about 20 mph. The lighting, low curbs, lighting, distinct paving and pavement treatments also invigorate a natural low-speed and free-flow. Instead of marking where one cannot park, the Innovative “Restricted Parking Zone” determines where one can (Stubbings et al, 2009).
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6.4.1 Marrying art, environment and engineering To merge engineering and art and create a successful public realm, Artists were involved from the very beginning. Artist Simeon Nelson designed ‘Flume’; a floorscape sculpted in the paving, commemorating properties.
local
Kulkarni
hydrological designed
the
curved lighting columns, which create a rhythm that compliments the flow while !!!!
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acting as visual clues to direct traffic in the Shared Spaces.
Fig. 71: Ashford Shared Space [Source:www.fbe.unsw.edu.au]
6.4.2 Engagement and re-education When the ring road was being converted, the Artists created the ‘Lost O’ (temporary art installations), which transformed the turmoil of construction into a celebration, attracting the attention of large audiences. Public and disability groups were also consulted at every stage of the project, by conducting events and presentations, while a marketing group was set to propagate the scheme and re!
educate the people -./011234(!5/!678!#++*9: Fig. 72: ‘Flume’ sculpture [Source:www.fbe.unsw.edu.au]!
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6.4.3 Materials and technical --------
-------------------specification The transition point is very important because it is critical to alert drivers entering a shared space zone. Instead of using signage, it was decided to send psychological indications to drivers. This was achieved by installing 50mm curbs at !!!!!!!!!!
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Fig. 73: Propagation of the Scheme! [Source:www.fbe.unsw.edu.au]!
every entry point. In the carriageways, slight rises indicated a shared space junction. The spaces had to feel linearly unified and so a singular material was used in the pavement
and carriageway. The road was also narrowed, and made to appear even narrower due to an edge strip along the road. The installation of special lighting, tree planting, seating and cycle stands also provided guidance for vehicles (Stubbings et al, 2009)
! Fig. 74: Lighting columns as visual clues [Source:www.fbe.unsw.edu.au]!
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6. 5
Re–thinking Dingli Street !
Proposed Intervention
6.5.1 The Junction with Tower Road
For Dingli Street to become a stronger pedestrian link from the town centre to the promenade, its poor link with the promenade needs to be addressed. For one to design a pedestrian connection at that dangerous junction, it is essential to tackle the problem from its roots i.e. the speed at which cars shoot out of the blind corner. This issue was discussed with Mr.Stafrace at Transport Malta, who suggested that to solve this problem it is necessary to address the dangerous bend itself. Due to the straight road prior the bend, a driver will approach and traverse the 90-degree curvature at a relatively high speed. This is both dangerous for the driver in question and especially for a pedestrian trying to cross the road at the junction. Therefore, by gradually reducing the speeds of the vehicles prior the bend, any vehicle will turn the dangerous curvature at controlled speeds. The installation of rumble strips is ideal since they act as an alert to drivers, forcing them to reduce their speeds. This makes the road safer for both drivers and pedestrians. Hence a zebra crossing or Pelican lights at the junction could then be safely installed, offering a connection between Dingli Street to the Promenade.
! Fig. 75: Rumble strips before a bend [Source:http://ops.fhwa.dot.gov/]!
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6.5.2 Rethinking the Vehicular Circulation When discussing the vehicular circulation issue with Mr.Stafrace, we concluded that there is no need for vehicles to enter Dingli Street at its very interface with Tower Road. Instead drivers could take side streets immediately before or immediately after this interface to go up the street. Fully Pedestrianising Dingli Street is not a viable solution because the street is one of Sliema’s major interconnecting roads. Yet, since vehicles are proposed to enter DIngli Street as formerly described, the area between the first side street and the junction with Tower
Road
has
the
potential
to
be
fully
Pedestrianised. Pedestrianisation will definitely create a
robust
link
between
the
street
and
the
to
the
promenade, Mr.Stafrace
also
suggested
that
due
geographical layout of the area and due to the fact that many vehicles use the street exclusively as a short cut, there is no need for them to continue down the street. !
Instead, drivers could make their way shorter down a side-street connecting Dingli Circus to Tower Road. This enables a part of Dingli Street (between Dingli
Fig. 76: Proposed Layout of Street [Source:Author]
Circus and the proposed Pedestrianised Area) to become one-way for cars going down the road. The remaining parts of the street are to remain 2-way traffic.
Hence this proposed vehicular circulation system, which is further explained in the diagrams, aims to drastically lower the number of cars in the most sensitive part of the street (from Dingli Circus, to the junction with Tower Road).
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6.5.3 Implementing a Shared Space Scheme
The transition point is very critical for a Shared Space Scheme to function correctly because its design is to immediately instigate the senses of a driver. Similarly to the Ashford Scheme, psychological indications are proposed to replace signage in Dingli Street. Curbs are also to be used to alert drivers at every entry point of Dingli Street. By removing all sidewalks, a driver advances in the street more cautiously and at lower speeds. To create the desired distinction between the carriageway and the pedestrian way different materials were used. The introduction of tree plantings, seating and LED lighting poles aid in this safe separation and act as a guide for vehicles through the street. To further enforce the cautiousness of drivers in the carriageway, a palette of textured materials that cross each other at angles, was used. The materials include paving, concrete, asphalt and grass. The use of a singular material is not ideal because it would give the impression that the specific material is exclusively for vehicles, hence drivers would still speed up.
6.5.4 The Carriageway and the Pedestrian way
In order to propose a successful intervention in a historical space like Dingli Street, it is essential to let its strong and identifiable architectural character predominate in the design. Therefore the agenda was to showcase the remaining historical houses, many of which are hidden between recent multiple storey blocks.
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! Fig. 77: Analyses of Historica Houses in Dingli Street [Source:Author]
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After investigating the specific location of these historical houses along the street (see Fig. 77), it was noted that the majority are located along the East side of the street (except for Dingli Circus and the central part of the street, where historical houses are located on both sides). To appreciate the houses unobstructedly, it was essential to remove the parking spaces that are directly in front of these houses. In cases where there was no architectural relevance on the other side of the Street, parking spaces were shifted to West side of the Street. In Dingli Circus and the central part of the Street, where historical houses happened to be on both sides, the parking was removed completely. To restore the number of lost parking spaces and maximise their number, 45-degree parking spaces were proposed to replace the parallel parking. The removal of the parking spaces and the narrowing
of
the
carriageways,
made
it
possible to increase the pedestrian space on the East side of the Street. This spacious WEST
EAST
footway gives space to passers-by to stop and appreciate the historic buildings from a better viewpoint. The Pedestrian way on the left hand side (separating the parking from recent blocks of flats) was reduced to 1m to encourage people to cross the road and use the wider Pedestrian way. Where historical houses happened to be on both sides, the Pedestrian way was widened on both sides.
Fig. 78: Proposed layout of Dingli Street [Source:Author]!
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! Fig. 79: Sections of Dingli Street![Source:Author]!
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6.5.5 A Stimulative Environment As explained in Chapter 2, although surrounded by other people, individuals in a non-place will still feel isolated from one another. Therefore it is not enough to change the layout of the street to a Shared Space Scheme and remain insensible to the end-user. In fact, in Chapter 5 describes how users in a stimulative environment are more prone to create a connection with each other and with the fabric of the space. This can only be achieved by an unpredictable setting that offers sensory variety to the user. Hence, for users to bond once again with the fabric of Dingli Street, the proposed design must include elements that offer a sensory variety. How can Dingli Street’s architectural fabric be adapted to ameliorate a user’s experience and trigger a connection between its transients? To create a sensorial environment, a set of interventions was proposed for both the Shared Space and Pedestrianised area of the Street. Since from the beginning, the agenda was to accentuate the street’s architectural character as much as possible. In the first intervention the facades of these historic buildings are proposed to be illuminated in a colourful way. By utilising an imaginative mix of subtle colours, an intelligent lighting system is to smoothly change the emitted coloured light on each façade. This will change the streetscape into an ever-changing kaleidoscope of colours, creating a nocturnal breath-taking experience. The second intervention concentrates on the Pedestrian Way of the Street. The transitory nature of Dingli Street, which historically used to be a strong pedestrian connection between the City Centre and the promenade, is compared to a wire that connects the mains to a light bulb. If the circuit is not connected properly, current will never pass through to light the bulb. Similarly, individuals will never take Dingli Street if the Street is a faulty connection between Sliema’s Centre and the Promenade. To create an experiential design, the concept of the circuit was used to develop the street aesthetically. The pedestrian walkway was designed in a way as to give the impression that wires are connecting both ends of the road. To create the desired feeling of flow and homogeneous design, these ‘wires’ bulge out of the pavement to form minimal street furniture and bus-stops, which are deisgned in a way as to induce a haptic interaction.
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To illuminate the pedestrian way, lighting elements are integrated in the ‘wires’, giving the impression that current is actually passing through the wires. This will further make individuals aware of their path of travel. !
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! Fig. 81: The pedestrian walkway inspired from a circuit! [Source:Author]!
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Fig. 80: Minimal Benches and Bustops [Source:Author]
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! Fig. 83: ‘wires’ bulging out of the pavement forming seating and bus-stops! [Source:Author]!
! Fig. 83: seating creating haptic interaction with the fabric of the Street [Source:Author]
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Fig. 84: Proposed Daytime View of Dingli Circus [Source: Author]
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Fig. 85: Proposed Nocturnal View of Dingli Circus [Source: Author]
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! Fig. 86: Present Aerial Perspective of Dingli Street [Source:Author]
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! Fig. 87:!Proposed Aerial Perspective of Dingli Street [Source:Author] ! !
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! Fig. 88:!Proposed Nocturnal Aerial Perspective of Dingli Street [Source:Author]
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6.5.6 The Pedestrianised Area This Pedestrianised Area, which is directly at the junction with Tower Road, has to fulfil two main functions. First it has to function as an urban space, to cater for the lack of open spaces in Sliema. Secondly it has to entice the pedestrians walking along the promenade to cross the road and direct their flow up Dingli Street.
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! Fig. 89: Proposed connection of Dingli Street with Tower Road and ! Promenade![Source:Author]
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As explored in Chapter 4, the design of the threshold is very critical because it determines the success of the proposed link with the promenade and therefore the success of the street itself. To strengthen the visual identity of Dingli Street, it was necessary to include a monument in the pedestrianised area so as to act as a landmark. To integrate the monument into the fabric of the street, landscaping composed of a series of platforms that were designed in a way as to direct the flow of people deeper in the street, was used. These platforms, have multiple functions and create a haptic environment for its users. To intensify this haptic experience, the deeper part of the pedestrianised area was dedicated to a Light Garden. This installation, named The Pond of Light is made up of a series of sensitive LED flexible sticks. Since the sticks are sensitive to movements at a 2-metre distance, any pedestrian walking nearby will stimulate the sticks to light up in white.
An
increase in the number of people or an increase in movement will excite the sticks to change the emitted white light into a psychedelic wave of colour. To further appreciate the polychromatic effect, a multi-leveled podium round the installation enables individuals to view and haptically interact with the installation from a higher point, as if they are looking down on a pond of water. To intrigue pedestrians on the promenade to cross the road, The Pond of Light continues down till the very end of Dingli Street, making people follow the path of light.
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Fig. 90: The overall layout of the Pedestrianised Area [Source: Author]!!
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Fig. 91: Proposed Aerial View of the Pedestrianised Area [Source: Author]
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Fig. 92: Proposed Aerial Nocturnal View of Pedestrianised Area [Source: Author] !
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! Fig. 93: The Pond of! Light![Source: Author]!
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Chapter Seven
Conclusion !
CONCLUSION
Previous discussion attempts to expose all the elements that render life within the non-place impossible to experience in the same way that places are experienced. However, in all their repercussions, we recognize the possibility for non-places to reverse the process and positively affect the personal and social levels through its very architecture. The places we experience out of transitory necessity do not need to be something that is ignored, despised or overlooked. Therefore the transitory condition must not remain a byproduct of displacement but it must offer an experience in itself. Hence, it is important for individuals to consciously experience these spaces, discovering new elements and spatial conditions each time they access them. By acknowledging architecture as a communicative tool that could affect the userâ&#x20AC;&#x2122;s cognitive state, we appreciate the potential for the non-place to be promoted to place. Yet, due to their very nature, in reality many non-places must retain many of their characteristics to function efficiently and to satisfy the requisites of our supermodern world. This is demonstrated in the proposed intervention on Dingli Street, which gives a clear picture of the situation of our local scenario. As suggested in Chapter 5, without doing a replica of the past, the intervention also respected the architectural fabric of the Street and a balance between the original historic fabric and our modern requisites was reached. Moreover, while not directly intended to jolt an individual from his repetitive and unfocused path, the integration of a Shared Space Scheme and a Pedestrianised Area in the street sets up a relationship of connectivity with the fabric of the Street. Additionally by the use of form, materiality, and light, this thesis proposes not only a visually pleasing and stimulative environment in Dingli Street, but also an environment that engages the individuals with details that change throughout the day, altering an individuals experience. One of the areas of this exploration into the transitory condition of a street that was understood yet not significantly developed was the relationship of the street with adjoining streets. Hence, on a wider perspective, the next step would be to intervene on similar streets
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Conclusion !
and adjoining non-places in Sliema and the rest of Malta, establishing a new type of street and urban condition on the Islands. Since it is important to preserve the remaining urban realm and inspire for its expansion, As discussed in Chapter 3, we need to reinstate the sense of belongingness back in our citizens. Hence, it is essential and fully beneficial to integrate the user in the management and design process. Additionally, designers can come up with solutions that induce and increase the end-user’s control and personalization.
7. 1
Designing for a better future.
Whether designing a street, an underpass or a supermarket, one must go beyond the pull of the non-place as ‘architecture as machine’ that processes people. The possibility for the architect to contribute to the promotion of human interaction, which provides meaning to the space, does exist, yet it truly implies a consequential effort. The architect should be in a position to reflect experiences, thoughts and feelings over his designs. This architecture’s qualities of expression could promote the setting’s ability to arrive at a personal discussion with the user, who can now attribute meaning to the setting. It is the architect’s obligation to reinstate the non-place’s validity, justifying its presence to society.
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Chapter Eight
Bibliography !
Bibliography
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Conclusion !
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