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Designing of path
- 1. DESIGNING THE PATH Nitin bopanna tr TOSA VII
- 2. THE PATHS; ARE LINES OF MOVEMENT THROUGH THE URBAN COMPLEX. PATH SHOULD HAVE SOME SINGULAR QUALITY WHICH MARKS THEM OFF FROM THE SURROUNDING CHANNELS : • A CONCENTRATION OF SOME SPECIAL USE OR ACTIVITY ALONG THEIR MARGINS. • A CHARACTERISTIC SPATIAL QUALITY. • A SPECIAL TEXTORE OF HOUR OR FAÇADE. • A PARTICULAR LIGHTING PATTERN. • A UNIQUE SET OF SMELLS OR SOUNDS. • A TYPICAL DETAIL OR MODE OF PLANTING. IF ONE OF THESE CHARACTERS ARE EMPLOYED THEN THE PATH CAN BE IMAGED AS AN CONTINOUS UNIFIED ELEMENT. IT MAY BE A BOULEVARD PLANTING OF TREES. A SINGULAR COLOR OR TEXTURE OF PAVEMENT. THE CLASSICAL CONTINUITY OF BORDERING FACADES.
- 3. PATHS ARE LINE OF MOTION; THEY SHOULD HAVE CLARITY OF DIRECTION. A LINEAR PATH /A STRAIGHT PATH HAS CLEAR DIRECTION IT GIVES THE OBSERVER A SENSE OF FOCI AT THE HORIZON A HUMAN IS DISTURBED BY LONG SUCCESSIONS OF TURNINGS OR AMBIGUOUS CURVES, PRODUCES A DIRECTIONAL SHIFTS AND THE FOCUS IS LOST. THE OBSERVERS CONSIDERS A PATH WITH A SENSE OF POINTING TOWARDS SOMETHING OR THAT LEADS TO SOMETHING; AND TO IDENTIFY STREET WITH THE DESTINATION WHICH IT GOES TO.(STREET) •THERE SHOULD BE A SENSE OF DIRECTIONAL DIFFERENTIATION SO THAT IT GIVES A SENSE OF PROGRESSION. •A PATH SHOULD BE DEFINED BY A GRADIENT (GROUND SLOPE). •A PROGRESSIVE THICKENING OF THE SIGNS, STORES . •THERE CAN BE A GRADIENT OF COLOUR OR TEXTURE OF PLANTING AS WELL. •ALL PROJECTING SURFACE FACING ONE DIRECTION MIGHT HAVE A CODED COLOUR. THESE THINGS MAKE A PATH AN ORIENTED ELEMENT TO WHICH OTHER THINGS CAN BE REFERRED. GL
- 4. IF POSITIONS ALONG THE LINE/PATH CAN BE DIFFERENTIATED IN SOME MEASURABLE WAY , THEN THE LINE IS NOT ONLY ORIENTED BUT SCALED AS WELL EX; THE HOUSE NUMBERING IS SUCH A TECHNIQUE. • AN ABSTRACT TECHNIQUE IS MARKING AN IDENTIFIABLE POINT ON THE LINE SO THAT PLACE MAY BE THOUGHT AS BEFORE OR AFTER OR MAY HAVE A MODULAR GRADIENT AT A CHANGING RATE , SO THAT CHANGE ITSELF CREATES A RECOGNIZABLE FORM. (CORRIDOR SPACE ) SO THAT ONE COULD SAY A CERTAIN PLACE IS “JUST BEFORE THE STREET NARROWS DOWN VERY RAPIDLY” • AN OBSERVER IS IMPRESSED BY THE APPARENT KINESTHETICS QUALITY OF PATH: THE SENSE OF MOTION ALONG IT, THE TURNING , RISING AND FALLING. • A GREAT DESCENDING CURVE WHICH APPROACHES A CITY CENTER CAN PRODUCE AN UNFORGETTABLE IMAGE.(TRAVERSED IN HIGH SPEED). • OBJECTS ALONG THE PATH CAN BE ARRANGED TO SHARPEN THE EFFECT OF MOTION PERSPECTIVE. CITY CENTER
- 5. VISUAL EXPOSURE OF THE PATH HEIGHTENS THE IMAGE THIS COULD BE ACHIEVED BY A GREAT BRIDGE, AN AXIAL AVENUE, A CONCAVE PROFILE, OR THE DISTANT SILHOUETTE OF THE FINAL DESTINATION OR MADE EVIDENT BY HIGH LANDMARKS ALONG IT. THE EXPERIENCE IS HEIGHTENED IF THE PATH REVEALS THE PRESENCE OF OTHER ELEMENTS TO THE TRAVELER: IF IT PENETRATES OR STRIKES THEM TANGENTIALLY, IF IT OFFERS HINTS AND SYMBOLS OF WHAT IS PASSED BY. EX A SUBWAY, FOR EXAMPLE, INSTEAD OF BEING BURIED ALIVE, MIGHT SUDDENLY PASS THROUGH THE SHOPPING ZONE ITSELF, OR ITS THE PATH MIGHT BE SO SHAPED THAT THE FLOW ITSELF BECOMES SENSUOUSLY EVIDENT: SPLIT LANES, RAMPS, AND SPIRALS WOULD ALLOW THE TRAFFIC TO INDULGE IN SELF-CONTEMPLATION. ALL THESE AXE TECHNIQUES OF INCREASING THE VISUAL SCOPE OF THE TRAVELER.
- 6. • A STRUCTURE OF PATHS MUST HAVE A CERTAIN SIMPLICITY OF FORM. • SIMPLICITY IN A TOPOLOGICAL RATHER THAN A GEOMETRICAL SENSE IS REQUIRED, SO THAT AN IRREGULAR BUT APPROXIMATELY RIGHT-ANGLED CROSSING IS PREFERABLE TO A PRECISE TRISECTION. EXAMPLES OF SUCH SIMPLE STRUCTURES ARE PARALLEL SETS OR SPINDLE FORMS; ONE-, TWO-, OR THREE-BARRED CROSSES; RECTANGLES. • PATHS MAY ALSO BE IMAGED, NOT AS A SPECIFIC PATTERN OF CERTAIN INDIVIDUAL ELEMENTS, BUT RATHER AS A NETWORK . • THIS CONDITION IMPLIES A GRID WHICH HAS SOME CONSISTENCY, WHETHER OF DIRECTION, TOPOLOGICAL INTERRELATION, OR INTERSPACING. • A PURE GRIDIRON COMBINES ALL THREE, BUT DIRECTIONAL OR TOPOLOGICAL REMAINS THE SAME REGARDLESS OF THE CONDITION AND MEASUREMENT. • THE IMAGE SHARPENS IF ALL PATHS RUNNING IN ONE TOPOLOGICAL SENSE, OR COMPASS DIRECTION, ARE VISUALLY DIFFERENTIATED FROM THE OTHER PATHS. THUS THE SPATIAL DISTINCTION BETWEEN MANHATTAN'S STREETS AND AVENUES IS EFFECTIVE. THE EVENTS AND CHARACTERISTICS ALONG THE PATH—LANDMARKS, SPACE CHANGES, DYNAMIC SENSATIONS—MIGHT BE ORGANIZED AS A MELODIC LINE, PERCEIVED AND IMAGED AS A FORM WHICH IS EXPERIENCED OVER A SUBSTANTIAL TIME INTERVAL. SINCE THE IMAGE WOULD BE OF A TOTAL MELODY RATHER THAN A SERIES OF SEPARATE POINTS, THAT IMAGE COULD PRESUMABLY BE MORE INCLUSIVE, AND YET LESS DEMANDING.