Sensory Urbanism_01 by Paul Arthur Westwell

CONTENTS

INTRODUCTION

_02

OBSERVATION WITHIN THE DÉRIVE

_12

3600 SENSORY EXPERIENCE

_60

INTRODUCTION

As a result of the reader texts we gained an understanding of: radical design strategies, the structure of networks, cybernetics, game theory, utopian urbanism, and mapping the invisible. This allowed us to develop an individual sense of mapping, highlight the potential of the invisible, conduct research and enhance our design skills.

â&#x20AC;&#x2DC;Of all the affairs we participate in, with or without interest, the groping quest for a new way of life is the only thing that remains really exciting. Aesthetic and other disciplines have proved glaringly inadequate in this regard and merit the greatest indifference. We should therefore delineate some provisional terrains of observation, including the observation of certain processes of chance and predictability in the streets.â&#x20AC;&#x2122; (Guy Debord, Introduction to a Critique of Urban Geography)

CONTEXT

Huddersfield is a large market town within the Metropolitan Borough of Kirklees in West Yorkshire, England, situated halfway between Leeds and Manchester. In its position, at the southern part of the Pennine mountain range, Huddersfield is located in the Colne valley home to the convergence of the River Colne and the River Holme. Huddersfield grew considerably in population and wealth during the industrial revolution, with strong canal and rail links allowing for successful cotton mill presence. In the early 19th Century, this expansion brought with it unrest as The Luddites (local workers) began destroying mills and machinery in the introduction of machines to replace manual labour. With regard to architecture, Huddersfield has a strong historical presence and “has the third highest number of Listed Buildings in the country”. The railway station that has been described as ‘one of the best early railway stations in England’ by Sir Nikolaus Pevsner. In its current state a lot of the industrial buildings have been either destroyed or have been converted. The Queensgate University campus is an attractive blend of striking contemporary and historical buildings. Huddersfield has already established itself as a tourism destination with its annual festivals, historic architecture and scenic canal routes. There is policy in place to ensure these attributes are maximised and kept at a high quality. Extracts of Policy YH4: Regional cities and sub regional cities and towns, below highlight some of the elements that could improve Huddersfield. To assist with the development of structural projects within the town centre area, Huddersfield Council is in the unusual, yet fortunate, position of owning the rights to most of the land.

TO LEEDS

HUDDERSFIELD

TO MANCHESTER

Huddersfieldâ&#x20AC;&#x2122;s reputation and prosperity was built around the textile industry and its fine woollen worsted

â&#x20AC;&#x2DC;one of the best early railway stations in Englandâ&#x20AC;&#x2122; (Sir Nikolaus Pevsner)

The university is the largest employer in Huddersfield

Huddersfield Narrow Canal between Stalybridge and Milnsbridge passes through pleasant and sometimes dramatic scenery

CONTENTS

INTRODUCTION

_02

OBSERVATION WITHIN THE DÉRIVE

_12

3600 SENSORY EXPERIENCE

_60

DATA DEFINITION WITHIN THE DÉRIVE

BRIEF_ ‘You will investigate the architectural ramifications of ‘wondering’ in the city. Whereas Debord and the Situationist International were content to simply execute these experiments, we are interested in their conception, their record and most specifically, their translation into form that has geospatial context. The element of chance is important but not paramount as it was to the SI and the surrealists before them. We are interested in the convergence of mapping, GPS, data and sensation in three-dimensional and locational space’ (Richard Brook and Nick Dunn. 2010)

RESPONSE_ After receiving the brief, we formed ourselves into groups of YR5 and YR6 students and set about discussing and researching methods of psychogeography. These methods were then tested and adapted, identifying useful aspects that would be suitable for the type of investigation we carried out in Huddersfield. This methodology then resulted in a set of data that we translated into various datascapes. This allowed us to compare and contrast fluctuations that responded to locations with the context that we could assign certain values. This process of method, practice, record and translation ultimately led us to individual trajectories that allowed us to explore our own ideas further.

DATA DEFINITION WITHIN THE DÉRIVE

BACKGROUND_THE SITUATIONISTS

The Situationist International (SI) was a restricted group of international revolutionaries founded in 1957. They developed a series of experimental fields of study, one of which was Psychogeography. Psychogeography is the exploration of the urban landscape led by curiosity, a paused sense of time and a heightened sense of place. While it is important to let your senses absorb the spaces around you, it is equally, if not more important to find yourself in new spaces, spaces stumbled upon by chance. Paying attention to the details, the lost objects, the signage, the fragments, makes walking itself a reward – with a slower pace and an opportunity to revel in the simplicity of chance encounters and discoveries. A sense of wander/wonder is essential. It is the study of specific effects of the geographical environment, consciously organized or not, on the emotions and behaviour of individuals (Debord 1955). It involves the use of playful and inventive strategies that take pedestrians off of their predictable paths; forcing them into a new awareness of the urban landscape.

(Image_Guy Debord, 1955, ‘GUIDE PSYCHOGEOGRAPHIQUE DE PARIS’)

DATA DEFINITION WITHIN THE DÉRIVE

PRECEDENT_STANZA

After an initial investigation into the laissez faire approach to psychogeography by the Situationists, a more data driven approach to quantifying an experience was explored that would allow for more comparable research. The internationally recognised artist Stanza carried out a series of works called ‘Sensity’, in which sensors were situated around various cities measuring the movement of people, pollution in the air, the vibrations and sounds of buildings. The output from the sensors displays the ‘emotional state of the city ’online and the information will be used to create installations and sculptural artefacts. Although this is continually analysing and displaying ‘live’ data, applying this concept to ‘frozen data’ (data captured at a specific time) still presents an opportunity to compare and investigate sound. With current technology, it is very easy to acquire the necessary equipment and programs to portray these or similar types of visuals. It was evident, that as a group, there was much more scope for us to layer numerous datasets upon one another, apply this to some sort of map, and create a datascape than the pen and paper approach of the SI.

(Images_www.stanza.co.uk/sensity, 2010)

DATA DEFINITION WITHIN THE DÉRIVE

TESTING_FALLOWFIELD

Following group discussion of Stanza’s Sensity project it was proposed that our vehicle for exploring the city could involve the analysis and representation of sound. A test of a potential sound data collection method was performed in Fallowfield, Manchester (03/10/2010) using digital recording equipment, accompanied by photographs at each sample point. The 30-second sound samples collected were analysed sonically and visually (through the waveforms) and tagged to identify the noisescape of the urban environment captured within each point. The sample points are shown on the traditional aerial photograph opposite graphically plotted to represent the maximum sound level at each point in proportion to the others. The data gathered was then compiled into an interactive ‘soundboard’ which allows users to click on the button located at each point and hear the sound sample data, as well as view the image of the sample area and its location, similar to that of Stanza’s. This representation was compiled in Adobe Flash and can therefore be shared on the web, allowing colleagues and other users to access our data and findings. This is similar to the Sensity project, which allows web users to view visualisations of real-time data collected by a series of sensors in London. It is projected that although our data is currently static (due to technical and logistical limitations), a recording of a period of time passed, that a dynamic snapshot (through multiple data samples) of the city can be created and presented, acting as a generator for urban design ideas.

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

PRACTICE_OXFORD ROAD

After the testing exercise in Fallowfield, we applied similar data collection means to an area in close proximity to MMU along Oxford Road. This allowed for further refinement of the methodology before attempting data recording in Huddersfield. We applied an arbitrary grid to a map of the selected area, utilising the perpendicular road layout as a guide. The grid was labelled to ensure a standard was kept, and three of our group took a line each to measure. We collected a 30 second sound clip from each location and took a photo of the surrounding area. In analysing this practice, the 15 point grid was deemed a success, represented behind this text, as it allowed for an even spread of results. We deduced that a 30 second sound clip may not be enough time to give an accurate representation a given point, so a 1 minute sound clip would be used in the future (this later returned to a 30 second sound clip, due to time restrictions). The photos taken were useful to a point, in visually identifying one or two objects making noise, but we decided a 360 degree panoramic photo would allow for deeper analysis when comparing all data at a later stage. With the 30 second clips displayed visually, and by simultaneously viewing the photos, we were able to identify and locate sound level fluctuations.

A_01

A_02

A_03

A_04

A_05

B_01

B_02

B_03

B_04

B_05

C_01

C_02

C_03

C_04

C_05

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

METHODOLOGY_HUDDERSFIELD

Following the experiences of the method testing and practice run in Manchester, a grid based on subdivision (250m x 250m) of the Ordnance Survey was overlaid upon Huddersfield, with each intersect forming one Data collected at each point:

MAP_The route between sample points - the dĂŠrive AUDIO_30 seconds of digital audio recording AUDIO_Maximum and minimum sound levels in decibels (dB) VISUAL_A panoramic photograph of the locale

To accurately illustrate a specific period of time, all the data was collected between 11am and 3pm on Tuesday 12th and Wednesday 13th of October 2010. Files were named to correspond with their coordinates, and shared between the research group using a shared digital drive.

DATA DEFINITION WITHIN THE DÉRIVE

RECORD_MAP

‘GUIDE PSYCHOGEOGRAPHIQUE DE HUDDERSFIELD’ The image opposite illustrates the route driven to visit ever point. It is a modern day interpretation of Guy Debord’s 1955 ‘Psychogeographic guide of Paris’. An interesting contrast would be a caparison between this dérive, executed by car, and a dérive where all the points were visited, but on foot.

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

RECORD_AUDIO Samples of some of the 49 sound clips captured and entered into a spreadsheet along with the dB readings.

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

RECORD_VISUAL

The panoramic photos were produced by utilising a tripod to ensure they were captured about a single point and at a constant height of around 1200mm throughout the dĂŠrive. The six photos taken at each point were combined using Photoshop. Having collected all the data we now set about translating it into comparable forms.

A1_A7

B1_B7

D1_D7

C1_C7

F1_F7

E1_E7

G1_G7

DATA DEFINITION WITHIN THE DÉRIVE

TRANSLATION_AUDIO _01

The process of identifying fluctuations in the sound clips as orchestrated in the test and practice experiments had appeared useful to a point, but there was no real way of extracting comparable information other than saying ‘this one is louder at this point then that one at 15.5 seconds’. One approach to quantifying sound is outlined in Julian Treasure’s TED contribution, ‘The 4 Ways Sound Affects us’, Treasure breaks down a sound into four areas: Psychological, Behavioural, Cognitive, and Physiological. These categories allow sound samples to be analysed, leading to a valuing system, from which conclusions can be made. The analysis of the properties of the sound clips was carried out via a subjective quantitative process. Each member of our group was assigned sound area. We then listened to all 49 sound clips whilst viewing the panoramic photos to value each point between 1 and 10. The definition and scaling of each area are described in the following pages. Having applied Treasure’s method to our data, the following pages show how this led to a variety of different data visualisations.

(Image_www.ted.com/talks/lang/eng/julian_treasure_the_4_ways_sound_affects_us, 2010)

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

TRANSLATION_ADUIO_02

PHYCHOLOGICAL_ The Psychological element of sound affects our emotional state. We are comforted by familiar qualities that reflect our stereotypical perception of an area such as: bird song in a wood, traffic by a road and talking in shopping districts. Our emotional state is heightened when we cannot identify familiar sounds, such as during silence. The more silence experienced, the increase in the level of emotion felt (one feels sadder). The value system highlights the amount of silence experienced in specific points. 1_less silence_more familiar sounds_relaxed 10_more silence_no sounds_anxious

BEHAVIOURAL_ In this context, behavioural qualities of sound are the drivers of influenced occupant mobility and individual comfortability within the urban realm.

1_calm and pleasant_stay 10_noisy and uncomfortable_move on

PHYSIOLOGICAL_ Physiological sound was defined as sounds that affect your hormone secretion, your breathing rate, brain waves, blood pressure etc. The findings highlighted a relationship between louder sounds of high decibels causing the most discomfort. Sounds that cause you discomfort, even of low levels can be a stressor, which elevates psychophysiological factors and triggers symptoms of anxiety and nervousness, affecting hormone secretion. 1_no personal discomfort 10_hightened level of discomfort

COGNITIVE_ Cognitive scoring is based on how conducive each soundscape would be to concentrating on a productive task. The volume of noise, consistency of noise, repetition and unexpected natures of sounds were taken into consideration. This scoring highlights areas of the town that may be more suited to cognitive activity, or those that may be better suited to more mechanical processes. 1_full concentration 10_imposible to concentrate

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

TRANSLATION_ADUIO_03 Having identified four areas to compare, we built a model. It was designed uses 3D software before construction. The aim was to use drilled Perspex sheets and fibre optic wire to thread and interweave the four datascapes between the etched dB values, and to finally support it above a light box that contained the gridded map. However, when it came to construction the threading process became to fiddly and the Perspex began to warp and bend with the tension of the fibre optics. In the end we only threaded one soundscape. The model, although incomplete, enabled us to see a 3D blanket of one of the soundscapes in great detail.

DATA DEFINITION WITHIN THE DÉRIVE

TRANSLATION_AUDIO_04

As with the Fallowfield test, we created an interactive ‘soundboard’ containing the data collected from the dérive. The ‘soundboard’, shown opposite, allows the user to experience the environment of a specific point visually and audioably. Hovering over one of the pixelated images provides all the data for that point along with the complete panoramic photo, whilst clicking on the image activates the 30sec sound clip. This is again utilizing the technology that Stanza incorporates in their ‘Sensity’ project online.

(Link_http://jamesthorp.com/huddersfield/huddersfieldsoundtown.html)

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

TRANSLATION_ADUIO_05

In addition to the 3D graphs, bar charts and model, we devised this data visualisation. As the values were quite similar between the Behavioural properties and Physiological properties of sound, we found the used the average for this visual.

In conjunction with translating and CONCLUDING the AUDIO_ data, we also applied various data visualisation methods to the panoramic photos taken at the 49 points. The results are displayed over the following pages.

PHYCHOLOGICAL_

BEHAVIOURAL_ & PHYSIOLOGICAL_

COGNITIVE_

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

CONCLUSION_AUDIO Having translated and analysed all 49 point in relation to the four factors of sound and the decibel values, we were able to highlight certain characteristics of the following locations.

A6_most psychologically affected_best cognition

G1_most psychologically affective_best cognition_least physiologically uncomfortable

C7_worst cognition

D3_lowest psychologically affective

D6_lowest psychologically affective

G4_lowest psychologically affective

A2_most physiologically uncomfortable_most behaviourally repellent

A4_least behaviourally repellent

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

B2_least physiologically uncomfortable_lowest dB reading

C4_highest dB reading

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

TRANSLATION_VISUAL_01 Here we have reduced the panoramic photos down to simple pixilations. PANORAMIC_ to the bottom left shows the seven strips of photos, from each grid line, on top of each other. These were reduced down to 6 PIXEL x 1 PIXEL_, bottom right, then finally 9 PIXEL x 9 PIXEL opposite. The 9x9 was necessary as the 6x1 didnâ&#x20AC;&#x2122;t really show much definition. The idea of these visuals was to investigate the material composition of Huddersfield. What is evident is that: the area recorded is comprised of a mixture of urban and green spaces, there is sky in nearly all the images, highlighting a low lying town with the tallest structures located in the centre, and a predominant grey ground surface, plainly the road. All of this is obviously from the photos, but when shown like this the fundamental typologies of an area become apparent.

PANORAMIC_

6 PIXEL x 1 PIXEL_

9 PIXEL x 9 PIXEL_

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

TRANSLATION_VISUAL_02

Following the distortion of the panoramic photos into pixelations, we wanted to identify the characteristics of the immediate surrounds of each point in more detail. We sphericised the photo round itself to create the visuals opposite. Not only were the colours more vivid and distinguished, allowing an insight into the detailed materiality, this allowed us to observe the distances to the nearest objects at each point, allowing points to be deemed: enclosed, open, cornered, caged, secluded, etc. What was also evident was a varied level of permeability. There are certain objects in the photos, such as trees and railings, which offer an immediate boundary but are also transparent to a certain extent. This observation prompted the next data visualisation.

DATA DEFINITION WITHIN THE DĂ&#x2030;RIVE

TRANSLATION_VISUAL_03 The visual opposite, is an exploration of the subjects; permeability and boundary, prompted by the previous visualisations of the wrapped photos. Still investigating the aspect of the immediate surrounds, we each took a number of the points and produced these visuals. Utilising layers in Abode Illustrator allowed us to use the wrapped photos as stencils and then construct these barrier_permeability_circular_scapes on top. Using the original photos to gauge depth, we devised a set of criteria that would ensure a comparable set of data. There are only a certain number of shades used, to avoid sizeable difference in texture. Each circle is in plan view, and relates to the organisation of the original grid. The cross in the middle of each circle represents the point at which the data was experienced and recorded. The rings around the centre represent distance. In essence this is a 3600 plan of the point and its immediate surroundings. If there is nothing next to the observer for 20 metres, for example, the distance to the first dark shade in that direction would be further from the centre, then if the observer were stood right next to a wall. The darkest shade represents a visible solid object such as a building or a wall. The shade becomes lighter beyond this boundary if the observer is unsure of what is behind or if that object stops. If there are a series of permeable objects enclosing a space, such as grave stones, trees, cars, or metal railings, then these are represented by intermittent solid shades that fade away as you can see through, over or behind these objects. This method allows each space to be categorised into physically solid or permeable boundaries. Also, as the audio data varies throughout time, in many cases this experience would be the same anytime you experienced it, as most its content relates to structures and fixed objects.

CONTENTS

INTRODUCTION

_02

OBSERVATION WITHIN THE DÉRIVE

_12

3600 SENSORY EXPERIENCE

_60

3600 SENSORY EXPERIENCE

RE_CAP

Following on from the group work we’d produced, I set about identifying areas in which I felt there was scope for development. TRANSLATION_VISUAL_03, shows the circular shaded boundaries that symbolise the 49 points of Huddersfield. I decided to take this theme forward and develop my own way of representing the visual data collected in our dérive.

3600 SENSORY EXPERIENCE

DEVELOPMENT_01

In producing the various data visualisations used to portray the visual aspect of Huddersfield, we continually developed and changed the original panoramic photo, drawing different conclusions at each stage. The process opposite shows the types of visuals created, in order of development, and how they are all representation of the same image, in this case the visual data collected at point A1. The finial visual, IDEOGRAM_, is what I have produced in my own interpretation of the visual data.

A1= PANORAMIC PHOTO_

= 9 PIXEL x 9 PIXEL_

SPHERICISED WRAPPED_

= 3600 BOUNDARY PERMEABILITY_

IDEOGRAM_

3600 SENSORY EXPERIENCE

DEVELOPMENT_02

In comparison to the previous alteration of the original image, 3600 BOUNDARY PERMEABILITY_, the ideogram reduces the boundary concept even further, by defining each point as having a four barrier characteristic. Each ideogram is orientated north and holds true to initial 250m x 250m OS grid we applied to Huddersfield. The legend below shows each point is constructed of by a small number of boundaries or barriers. Having transposed all the points into the opposite visual, I looked for ways to compare.

3600 SENSORY EXPERIENCE

DEVELOPMENT_03

In conclusion of the ideograms on the previous page, I identified that there were 6 typologies that all of the points could be grouped under. The typologies are explained below.

ENCLOSED_blocked on all sides by non-permeable barriers OPEN_blocked on three sides by non-permeable barriers, open on the other THROUGH_located in between two non-permeable barriers, open in between CORNERED_blocked by two non-permeable barriers on two sides located next to one another, open on the other sides TIED_space defined by one non-permeable barrier, the rest are open FREE_ space not defined by any barriers, open on all sides

3600 SENSORY EXPERIENCE

DEVELOPMENT_04

Applying these 6 typologies back to the map of Huddersfield, you get a sense for how they are defined throughout the town. At this point, and with the task of the 5th years being to evolve urban/ landscape masterplanning strategies, I applied the concept of Utopia to Huddersfield

3600 SENSORY EXPERIENCE

HUDDERSFIELD_UTOPIA?

As defined in my essay ‘Theoretical Alignment’, what is important to realise is that there is more than one type of Utopia and that Utopia can happen at different stages in time, based on different criteria and people’s different aspirations. Utopia is both dynamic and evolving. The history of Huddersfield already suggests that Utopia, from the perspective of a textile industrialist, may already have been achieved in past years. However, with the industrial decline of the 20th century that followed, Utopia can be considered dystopia. This emphasises the time frame that Utopia can possess. So Utopia is achievable, just under different themes and at different times. The theme I felt was located within the work I had produced individually, and as a group, and stemming right from the context of the SI and the Stanza project, was the notion of SENSORY EXPERIENCE. With the development of the data visualisations, it was becoming obvious that the VISUAL and AUDIO data could highlight a 3600 SENSORY EXPERIENCE. My utopian Huddersfield would one of a perfect 3600 SENSORY EXPERIENCE.

What is a perfect 3600 sensory experience? As previously mentioned, utopia is achieved under different themes and at different times. The theme is a 3600 SENSORY EXPERIENCE and the time is the present! Linking this back to the AUDIO data collected, Utopia can be represented by the ‘perfect’ outcomes of all results. This would mean Utopia would be: Psychologically _familiar sounds that relax Behavioural _calm and pleasant environment Physiological _no personal discomfort Cognitive_have full concentration In some peoples opinion this is what Utopia is. This will therefore be the theme of the Huddersfield’s SENSORY Utopia.

3600 SENSORY EXPERIENCE

AUDIO_VISUAL To create this SENSORY Utopia I needed to link the AUDIO and VISUAL data in some way. Placing the ideogram typologies into the spreadsheet that contained the AUDIO data collected in Huddersfield, I noticed I could reorder the data to show which typologies related to which sound definition. All the sound data was organised so that zero would equal the perfect Utopian experience and ten would be dystopia. This was in line with the previous pages conclusion that Utopia represented the ‘perfect’ outcomes of the AUDIO data. In labelling the points using the below titles for each of the four sounds, I produced the tables opposite.

1– 2.5 5– 7.5

2.4 – 4.9 7.4 – 10

_perfect_utopia _good _bad _worst_distopyia

This allowed me to identify the ‘good’ and ‘perfect’ outcomes of the data, highlighting the most prevalent typology in relation to each sound type. The results for the ‘good’ scenario show all THROUGH typologies. The results for the ‘perfect’ scenario show a varied outcome in typologies, but THROUGH was still prevalent. As the THROUGH was the predominant one and it represents a positive environment, it was decided that this would be the VISUAL theme for the 3600 SENSORY EXPERIENCE Utopia.

3600 SENSORY EXPERIENCE

MASTERPLAN

Now that it had been defined that the 3600 SENSORY EXPERIENCE Utopia in Huddersfield would be of the THROUGH variety, intervention needed to occur to change the relevant points. Due to time constrictions my urban/landscape masterplanning strategy required scale restrictions. The restriction this was the boundary of the ring road, shown on the imagery opposite by the red outline. DEVELOPMENT_04 identified the composition of the ideogram typologies throughout the town. Within the ring road currently 50% through types and 50% other types. PROCESS_ shows the rows that currently contain the most THROUGH types. The blank spaces are the ones that needed to change. The following page shows the steps taken to transform A5-G5 into a complete THROUGH typology. Once carried out the results will be MASTERPLAN_.

CURRENT_

PROCESS_

MASTERPLAN_

3600 SENSORY EXPERIENCE

PROCESS The steps taken to change A5 â&#x20AC;&#x201C; G5 into a complete THROUGH typology. Step_01_this is the row as it is currently. Step_02_this are the current structures of the typologies. Currently C5, D5 and F5 are to be changed. Step_03_1_C5_the panoramic picture shows the context, and the necessary additions or removals of the point. In this case the trees to the north and south are removed and two non-permeable barriers are added. Step_03_2_ the panoramic picture shows the context, and the necessary additions or removals of the point. In this case the distant and immediate boundaries to the west and east are removed. Step_03_2_ the panoramic picture shows the context, and the necessary additions or removals of the point. In this case there is no boundary to the south, so one is added. Step_04_shows the complete THROUGH route. This process would be repeated along ever row to ensure all ideograms were THOUGH as shown by the MASTERPLAN image.

Step_01

Step_02 A5

Step_03_1 C5

D5 B5

D5 D5

E5 E5

F5 F5

G5 G5

D5 D5

D5 E5 E5

F5 F5

D5 A5

F5 D5

Step_03_3

G5 G5

Step_04

F5 D5

G5 D5 D5

Step_03_2

C5 C5

C5 A5

E5 E5

B5 B5

A5 A5

3600 SENSORY EXPERIENCE

INTERVENTION

Having changed the typologies of A5-AG, an intervention was proposed. This intervention would link the points inside the ring road and simulate the THROUGH 3600 SENSORY EXPERIENCE. On the following pages are 3D visualisations of the intervention.