Details

Design and Order


Design and Order

Perceptual Experience of Built Form - Principles in the Planning and Making of Place
1. Aufl.

von: Nigel C. Lewis

56,99 €

Verlag: Wiley-Blackwell
Format: PDF
Veröffentl.: 01.07.2020
ISBN/EAN: 9781119539537
Sprache: englisch
Anzahl Seiten: 656

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Beschreibungen

<p><b>Teaches the principles behind the successful planning and creation of inspired built forms and urban places</b></p> <p>This book offers an integrated understanding of both the principles and the perception of the design of built environments and public spaces. It outlines the fundamental characteristics that are evident in the creation of built form and illustrates how they determine the experience of resultant places. It also consolidates the key criteria that need to be taken into consideration in the development of these areas. All of the above-mentioned aims to provide designers with a solid understanding of the implications of their decisions on perception and behavior during the creation of new spaces.</p> <p><i>Design and Order: Perceptual experience of built form - Principles in the Planning and Making of Place </i>starts by examining the designing of natural environments and the affect that they have on humans. It teaches readers how people experience and are shaped by a space—via their eyes, brain, and overall perception. It then instructs on proper grammar of form and syntax so that designers can understand how to pursue design processes systematically. The book then takes readers through this process of designing, informing them on the principles of form, function, configuration, communication, organization, color and contrasts, building structures, good practice and more.</p> <ul> <li>Seeks to improve the methodological approach to the planning and design of buildings</li> <li>Broadly address all of the functions that impact the realization of new built and urban form</li> <li>Outlines the fundamental characteristics that are evident in the design of built forms and illustrates how these characteristics determine the experience of the resultant places</li> <li>Comprehensively covers the ideas, principles, and the perception of design</li> <li>Teaches designers to make informed decisions about applying or discarding principles when creating spaces.</li> </ul> <p><i>Design and Order</i> is a unique book that will appeal to students and professionals in architecture, urban design and planning, as well as designers and developers.</p>
<p>Outline xix</p> <p>Preface xxiii</p> <p><b>Section I The Environment </b><b>1</b></p> <p><b>Part I The Environment – Natural, Ecological and Historical (Topography) </b><b>3</b></p> <p><b>1 Natural Sites and Places </b><b>5</b></p> <p>1.1 Nature and Landscape 5</p> <p>1.2 Natural Places and Characteristics 5</p> <p>1.3 Creation of Man-Made Places 6</p> <p>1.4 Existential Space and Place 7</p> <p>1.5 Natural Landscape and Sensing 9</p> <p>Further Reading 10</p> <p><b>2 Ecological and Climatic Context and Basic Protection Needs </b><b>11</b></p> <p>2.1 Primitive Needs 11</p> <p>2.2 Climatic Zones and Natural Materials for Shelter 11</p> <p>2.3 Shelter Types, Uses and Purposes 13</p> <p>2.4 Socio-Cultural Factors and Human Needs 14</p> <p>2.5 Theory of Human Needs 15</p> <p>Exhibit 2.1 Basic Human Needs 18</p> <p>Further Reading 19</p> <p><b>3 Historical and Regional Development </b><b>21</b></p> <p>3.1 Historic Eras and Development 21</p> <p>3.2 Regional Variations, Early Cultures and Settlements 22</p> <p>3.3 Topography, Climate and Materials – Form Determinants 23</p> <p>Exhibit 3.1 Individual Dwelling Types 24</p> <p>Further Reading 27</p> <p><b>Section II Human Behaviour and Design </b><b>29</b></p> <p><b>Part II Human Behaviour (Neuro-Physiology) </b><b>31</b></p> <p><b>4 The Brain, the Mind and Sensing </b><b>33</b></p> <p>4.1 The Brain and Neurological Systems – Seeing, Touching and Hearing 33</p> <p>4.2 Seeing – Visual Processing and Memory 33</p> <p>4.3 Touching and Hearing 35</p> <p>4.4 The Mind – Mental Learning and Thinking – Cognition 36</p> <p>4.5 The Mind – Visceral Feelings – Emotion and Motivation 38</p> <p>4.6 Consciousness and Self 39</p> <p>4.7 Human Body and the Sensing of Form 40</p> <p>4.8 Meaning, Intentionality and Imagination 41</p> <p>4.9 Metaphor and Consciousness 42</p> <p>Exhibit 4.1 The Human Brain – Neurological Sensing 45</p> <p>Further Reading 52</p> <p><b>5 The Eyes and the Visual System </b><b>55</b></p> <p>5.1 Visual Perception 55</p> <p>5.2 Visual World and Visual Field 57</p> <p>5.3 Visual Perception and Affordances 61</p> <p>5.4 Perceptual Experience – Visual System 62</p> <p>5.5 Visual System and Optic Arrays 63</p> <p>5.6 Recognition, Eye Movements and Analogue Theory 65</p> <p>Exhibit 5.1 The Human Eye 66</p> <p>Exhibit 5.2 Affordances 72</p> <p>Exhibit 5.3 Perspective – Sensory Shifts 73</p> <p>Further Reading 74</p> <p><b>6 The Senses </b><b>75</b></p> <p>6.1 The System of Senses 75</p> <p>6.2 The Senses 76</p> <p>6.3 Further Senses 78</p> <p>6.4 The Senses and Multi-Sensory Experience 81</p> <p>6.5 Multi-Sensory Emotions, Feelings and Aspirations 83</p> <p>6.6 Pleasure 85</p> <p>Exhibit 6.1 The Human Ear 86</p> <p>Exhibit 6.2 The Human Senses 88</p> <p>Further Reading 89</p> <p><b>Part III Perceptual Experience of Form (Psychology and Phenomenology) </b><b>91</b></p> <p><b>7 Aesthetic Theories and Perception of Built Form </b><b>93</b></p> <p>7.1 Perception 93</p> <p>7.2 Theories of Perception 93</p> <p>7.3 Schematisation and Phenomena 94</p> <p>7.4 Equilibrium, Wholes and Re-centring 96</p> <p>7.5 Parts and the ‘Whole’ 96</p> <p>7.6 Perceptual Properties 98</p> <p>7.7 Perception of Form 98</p> <p>7.8 Psychology of Form 99</p> <p>7.9 Dynamics of Space 100</p> <p>7.10 Perception and Cognition 102</p> <p>7.11 Meaning and Symbols 104</p> <p>7.12 Synopsis – Perceptual Experience 106</p> <p>Exhibit 7.1 Principles of Configuration 108</p> <p>Exhibit 7.2 Perspective 111</p> <p>Further Reading 113</p> <p><b>Part IV Grammar and Syntax of Form, and Composition </b><b>115</b></p> <p><b>8 Architectural Ordering, Composition, Form and Beauty </b><b>117</b></p> <p>8.1 Order 117</p> <p>8.2 Grammar of Design and Syntax 118</p> <p>8.3 Composition and Characteristics 122</p> <p>8.4 Rhythm and Harmony 124</p> <p>8.5 Purposiveness 125</p> <p>8.6 Objects and Arrangements 125</p> <p>8.7 Composition and Type 126</p> <p>8.8 Ways of Ordering 127</p> <p>8.9 Objective Properties 129</p> <p>Exhibit 8.1 Principles of Composition 130</p> <p>Exhibit 8.2 Basic Rules of Composition for Order and Unity 132</p> <p>Further Reading 140</p> <p><b>Part V Planning and Design Process, and Programme Requirements (Methodology) </b><b>141</b></p> <p><b>9 Design Framework, Methods and Approaches </b><b>143</b></p> <p>9.1 Problem Formulation 143</p> <p>9.2 Setting 143</p> <p>9.3 Fitness and Fit 144</p> <p>9.4 Self-Conscious Design Approach 145</p> <p>9.5 Affordances and Behaviour Settings 146</p> <p>9.6 Programme Requirements 146</p> <p>9.7 Designing and Design Approaches 147</p> <p>9.8 Design Process, Reflection and Appraisal 149</p> <p>9.9 Intended Results and Evaluation 155</p> <p>9.10 Design of ‘Good’ Form 157</p> <p>Exhibit 9.1 Nature of Design Requirements, Invention and Making 158</p> <p>Exhibit 9.2 Modern Design Approach – Programme, Brief and Process 161</p> <p>Further Reading 164</p> <p><b>10 ‘Pattern Language’ Approach </b><b>167</b></p> <p>10.1 Form Language 167</p> <p>10.2 Order and Life – ‘Wholeness’ 169</p> <p>10.3 Life-Creating Transformations of Centres 171</p> <p>10.4 Language of Form 173</p> <p>10.5 Fundamental Maxim – ‘Unity’ of the ‘Whole’ 175</p> <p>Exhibit 10.1 Pattern Language – Properties 176</p> <p>Exhibit 10.2 Rules of Scale in Order 180</p> <p>Exhibit 10.3 Ambience 184</p> <p>Exhibit 10.4 ‘Well’ Building 186</p> <p>Further Reading 188</p> <p><b>Section III Form, Function and Fit </b><b>189</b></p> <p><b>Part VI Form and Fit </b><b>191</b></p> <p><b>11 Physical Built Form in Space </b><b>193</b></p> <p>11.1 Form – Mass and Spatial Volume 193</p> <p>11.2 Transformation of Form 193</p> <p>11.3 Additive Form 194</p> <p>11.4 Integration of Forms 196</p> <p>11.5 Form and Space 196</p> <p>11.6 Horizontal Planes 197</p> <p>11.7 Vertical Planes 197</p> <p>11.8 Architectural Space, Enclosures and Vistas 200</p> <p>11.9 Spatial Qualities and Layout 201</p> <p>11.10 Light, Sound and Atmospheric Qualities in Built Form 202</p> <p>Exhibit 11.1 Principles of Articulation and Conjugation 204</p> <p>Further Reading 205</p> <p><b>12 Geometrical Layout and Organisation – Axes, Shapes and Repeating Patterns </b><b>207</b></p> <p>12.1 Datum and Axes 207</p> <p>12.2 Ordering Principles 207</p> <p>12.3 Hierarchy and Scale 208</p> <p>12.4 Rhythm and Repetition 208</p> <p>12.5 Symmetry 208</p> <p>12.6 Transformations 209</p> <p>12.7 Generative Design Processes 211</p> <p>12.8 Fractals 212</p> <p>12.9 Other Forms of Geometry – Non-Euclidean 212</p> <p>12.10 Patterns of Repeating Elements for Decoration 213</p> <p>Exhibit 12.1 Principles in the Design of Decorative, Geometric and Motif Patterns 214</p> <p>Further Reading 216</p> <p><b>13 Proportion, Symmetry and Harmony </b><b>217</b></p> <p>13.1 Proportion – History 217</p> <p>13.2 Proportion and Physical Relationships 220</p> <p>13.3 Symmetry 220</p> <p>13.4 Human Proportions 222</p> <p>13.5 Room Proportions 222</p> <p>13.6 Regulating Lines 224</p> <p>13.7 Latent Geometric Relationships 226</p> <p>13.8 Good Proportioning 226</p> <p>13.9 Anthropometrics and Human Factors 227</p> <p>13.10 Scale 227</p> <p>13.11 Harmony 228</p> <p>13.12 Expressions of Form 229</p> <p>Exhibit 13.1 Principles of Proportion and Symmetry 230</p> <p>Exhibit 13.2 Types of Series, Proportion, Symmetry and Natural Growth 233</p> <p>Exhibit 13.3 Principles of Rhythm and Harmony 249</p> <p>Exhibit 13.4 Essay on Harmony as It Relates to Building – Robert Morris 251</p> <p>Exhibit 13.5 Musical Harmony 252</p> <p>Exhibit 13.6 Rhythm and Syncopation in Built Form by Era 257</p> <p>Further Reading 258</p> <p>Photos 259</p> <p><b>14 Organisational Forms and Layout </b><b>261</b></p> <p>14.1 Linear Organisation 261</p> <p>14.2 Centralised Organisation 261</p> <p>14.3 Radial Organisation 261</p> <p>14.4 Grid 262</p> <p>14.5 Clustered Organisation 263</p> <p>14.6 Interior Enclosed Space 264</p> <p>Exhibit 14.1 Principles of Organisation and Arrangement 265</p> <p>Exhibit 14.2 The Modulor 267</p> <p>Exhibit 14.3 Japanese Design Arrangements for Dwelling 271</p> <p>Further Reading 272</p> <p><b>15 Functional Purpose and Use of Space </b><b>275</b></p> <p>15.1 Function 275</p> <p>15.2 Utility, Significance and Purposefulness 275</p> <p>15.3 Use, Activities and Spatial Requirements 275</p> <p>15.4 Structural System and Components 276</p> <p>15.5 Materials 277</p> <p>15.6 Personal Space 278</p> <p>15.7 Territoriality 279</p> <p>15.8 Defensible Space 280</p> <p>Exhibit 15.1 Principles of Function and Purpose 283</p> <p>Exhibit 15.2 Purposiveness 285</p> <p>Exhibit 15.3 Principles of Universal Design 286</p> <p>Further Reading 286</p> <p><b>16 Circulation, Plan and Elevation </b><b>287</b></p> <p>16.1 Approach 287</p> <p>16.2 Entrance 287</p> <p>16.3 Dynamic Spatial Experience 288</p> <p>16.4 Configuration for Communication 289</p> <p>16.5 Access Paths 289</p> <p>16.6 Internal Circulation 289</p> <p>16.7 Stairs and Staircases 290</p> <p>16.8 Built Section 290</p> <p>Exhibit 16.1 Principles of Communication and Circulation 292</p> <p>Further Reading 293</p> <p><b>17 Colour and Contrast </b><b>295</b></p> <p>17.1 Light and Spectrum 295</p> <p>17.2 Colour Pigments 295</p> <p>17.3 Pigments for Printing 297</p> <p>17.4 Complementary Colours 299</p> <p>17.5 Features of Colour 300</p> <p>17.6 Colour Circle, Sphere and Star 303</p> <p>17.7 Perceptual Basis of Colour 304</p> <p>17.8 Colour Interaction 307</p> <p>17.9 Colour Serialisation 308</p> <p>Exhibit 17.1 Principles of Colour and Contrast 309</p> <p>Exhibit 17.2 Colour Parameters and Principles 311</p> <p>Exhibit 17.3 Contrast in Colour 317</p> <p>Further Reading 319</p> <p><b>Part VII Building Structure and Types </b><b>321</b></p> <p><b>18 Structure </b><b>323</b></p> <p>18.1 Beginnings 323</p> <p>18.2 Laws of Nature 323</p> <p>18.3 Lateral Stability 324</p> <p>18.4 Materials 324</p> <p>18.5 Design Methods 325</p> <p>18.6 Connections and Jointing 325</p> <p>18.7 Structural Types 326</p> <p>18.8 Maintainability and Sustainability 328</p> <p>18.9 Generative Parametrics 328</p> <p>18.10 Resiliency 328</p> <p>Exhibit 18.1 Principles of Structure 329</p> <p>Further Reading 331</p> <p>Photos 331</p> <p><b>Section IV Built and Urban Form </b><b>335</b></p> <p><b>Part VIII ‘Good’ Practice – Built Form </b><b>337</b></p> <p><b>19 Buildings and Dwellings </b><b>339</b></p> <p>19.1 Space and Human Interaction 339</p> <p>19.2 Creation of ‘Place’ 340</p> <p>19.3 ‘Good’ Building 341</p> <p>19.4 Built Form Determinants 342</p> <p>19.5 Re-Use 345</p> <p>19.6 Use Types of Buildings 346</p> <p>19.7 Goals of ‘Good’ Built Form 347</p> <p>Exhibit 19.1 Principles of Assembly – Built Form 349</p> <p>Exhibit 19.2 Selective Modern ‘Good’ Building Practice by Use Type 352</p> <p>Exhibit 19.3 Examples of Built Type Forms 354</p> <p>Exhibit 19.4 Modern Movements and Practitioners 358</p> <p>Exhibit 19.5 Iconic Modern Buildings 360</p> <p>Exhibit 19.6 Modern Iconic US Buildings 365</p> <p>Further Reading 368</p> <p>Photos 368</p> <p><b>Part IX ‘Good’ Practice – Urban Form </b><b>375</b></p> <p><b>20 Urban Form </b><b>377</b></p> <p>20.1 Form Determinants in Urban Settlements – Natural and Man-Made Features 377</p> <p>20.2 Historical Developments 379</p> <p>20.3 Different Regional and Cultural Typologies 381</p> <p>20.4 Multi-Nucleus and Mixed Development 383</p> <p>20.5 Modern Developments 385</p> <p>20.6 Elements of Urban Form 386</p> <p>20.7 Legibility 388</p> <p>20.8 Organisation 389</p> <p>20.9 Life Space and Topology 391</p> <p>20.10 Urban Form and Life 391</p> <p>20.11 Layout of Urban Neighbourhoods 393</p> <p>20.12 Development 395</p> <p>20.13 ‘Good’ City Form 396</p> <p>20.14 Urban ‘Open’ Forms 398</p> <p>20.15 Goals of ‘Good’ Urban Form 398</p> <p>Exhibit 20.1 Principles of Emplacement – Urban Form 400</p> <p>Exhibit 20.2 Urban Space Requirements 403</p> <p>Exhibit 20.3 Selective Modern ‘Good’ Urbanistic Practice 406</p> <p>Exhibit 20.4 Urban Type Forms by Use Purpose 410</p> <p>Further Reading 411</p> <p>Photos 412</p> <p>Summary 419</p> <p>Bibliography 423</p> <p><b>Appendices – Part I </b><b>433</b></p> <p><b>Appendix I.3.1 Ancient Settings – Europe, Near East, Asia and Americas </b><b>435</b></p> <p>I.3.1.1 Neolithic Age 10 000–3000 BC – Mid East and Europe 435</p> <p>I.3.1.2 Bronze Age 3000–1000 BC – Europe and Mid East 436</p> <p>I.3.1.3 Ancient Iron Age 1000 BC to 0 AD – Mid East 437</p> <p>I.3.1.4 Early Age 0–1000 AD – Europe and Mid East 439</p> <p>I.3.1.5 Mesoamerica to 1500 AD 440</p> <p>I.3.1.6 North America to 1500 AD 440</p> <p>I.3.1.7 Asia and the Orient to 1500 AD 441</p> <p>I.3.1.8 Africa to 1500 AD 443</p> <p>I.3.1.9 Europe – Mediaeval Cities After 1000 AD 443</p> <p>Further Reading 444</p> <p>Photos 444</p> <p><b>Appendix I.3.2 Ancient City Places </b><b>449</b></p> <p>Further Reading 451</p> <p><b>Appendices – Part II </b><b>453</b></p> <p><b>Appendix II.6.1 Feelings of Space and Form in the Environment </b><b>455</b></p> <p>II.6.1.1 Natural Light 455</p> <p>II.6.1.2 Movement 455</p> <p>II.6.1.3 Complementarity of Form 456</p> <p>II.6.1.4 Balance 457</p> <p>II.6.1.5 Individuality 457</p> <p>II.6.1.6 Opaque Geometry and Occlusion 457</p> <p>II.6.1.7 Sense of Spatial Perception 458</p> <p>II.6.1.8 Form Sensing 459</p> <p>Further Reading 459</p> <p><b>Appendix II.6.2 Artificial Perception </b><b>461</b></p> <p>Further Reading 462</p> <p><b>Appendices – Part IV </b><b>463</b></p> <p><b>Appendix IV.8.1 ‘The Classical Orders’ </b><b>465</b></p> <p>IV.8.1.1 The Orders 465</p> <p>IV.8.1.2 Tuscan 467</p> <p>IV.8.1.3 Doric 467</p> <p>IV.8.1.4 Ionic 467</p> <p>IV.8.1.5 Corinthian 467</p> <p>IV.8.1.6 Composite 468</p> <p>IV.8.1.7 Entasis 469</p> <p>IV.8.1.8 Composition 469</p> <p>IV.8.1.9 Language – Elements of Architecture 470</p> <p>Further Reading 471</p> <p>Photos 471</p> <p><b>Appendix IV.8.2 Aesthetic Judgement and Beauty </b><b>473</b></p> <p>IV.8.2.1 Utility and Delight 473</p> <p>IV.8.2.2 Qualities 473</p> <p>IV.8.2.3 Beauty 474</p> <p>IV.8.2.4 Assessment of Beauty 475</p> <p>IV.8.2.5 Interest and State of ‘Disinterestedness’ 476</p> <p>IV.8.2.6 Form and Elegance 476</p> <p>IV.8.2.7 Aesthetic Theories and Self-Conscious Design 478</p> <p>IV.8.2.8 Sense of Beauty as Described in Different Eras 478</p> <p>Further Reading 481</p> <p><b>Appendices – Part V </b><b>483</b></p> <p><b>Appendix V.9.1 Design Methods – Comparative Historical Design Approaches and Pedagogy </b><b>485</b></p> <p>V.9.1.1 Classical Design 486</p> <p>V.9.1.2 Renaissance Design 486</p> <p>V.9.1.3 European Design Methods 487</p> <p>V.9.1.4 Modern International Design Methods 491</p> <p>V.9.1.5 Purist Design 493</p> <p>V.9.1.6 Rational Geometric Design 496</p> <p>V.9.1.7 Organicist Design 497</p> <p>V.9.1.8 Modern Design Methods and Systems Approach 500</p> <p>V.9.1.9 Generative Computerised Design 502</p> <p>Further Reading 504</p> <p><b>Appendix V.10.1 Pattern Language – Design and Human Needs (Illustration) </b><b>505</b></p> <p>Further Reading 508</p> <p><b>Appendices – Part VI </b><b>509</b></p> <p><b>Appendix VI.13.1 Decoration – Patterns, Features, Motifs and Geometrics of Repeating Elements </b><b>511</b></p> <p>VI.13.1.1 Decoration – Materials, Methods and Techniques 511</p> <p>VI.13.1.2 Features 512</p> <p>VI.13.1.3 Pattern Groups – Floral, Figurative, Geometric and Representational 512</p> <p>VI.13.1.4 Pattern Arrangements – Lattices, Powdering, Borders and Features 514</p> <p>VI.13.1.5 Emergent Forms 517</p> <p>VI.13.1.6 Special Motifs and Symbols 521</p> <p>Further Reading 524</p> <p><b>Appendix VI.13.2 Ornament in Earlier Times and Historic Era </b><b>525</b></p> <p>VI.13.2.1 Antiquity 525</p> <p>VI.13.2.2 Mediaeval 526</p> <p>VI.13.2.3 The Renaissance 527</p> <p>VI.13.2.4 Recent 527</p> <p>VI.13.2.5 ‘General principles in the arrangement of form and colour in architecture and the decorative arts’, – The Grammar of Ornament – Owen Jones 529</p> <p>VI.13.2.6 Moresque Principles of Ornament – Owen Jones 531</p> <p>Further Reading 534</p> <p><b>Appendices – Part VIII </b><b>535</b></p> <p><b>Appendix VIII.19.1 Building Materials and House Types in Vernacular Britain </b><b>537</b></p> <p>VIII.19.1.1 Walling 537</p> <p>VIII.19.1.2 Roofing 540</p> <p>VIII.19.1.3 Types – Plan and Section 542</p> <p>Further Reading 546</p> <p>Photos 547</p> <p><b>Appendix VIII.19.2 Building Elements and Features </b><b>553</b></p> <p>VIII.19.2.1 Floors, Walls and Ceilings 553</p> <p>VIII.19.2.2 Windows and Doors 554</p> <p>VIII.19.2.3 Mouldings 554</p> <p>VIII.19.2.4 Assembly 555</p> <p>Further Reading 555</p> <p>Photos 556</p> <p><b>Appendix VIII.19.3 Architectural Styles, Periods and Practitioners </b><b>565</b></p> <p>VIII.19.3.1 Western Architecture 565</p> <p>VIII.19.3.2 Religious Periods 566</p> <p>VIII.19.3.3 Composition Methods – Theorists and Key Practitioners by Era 567</p> <p><b>Appendix VIII.19.4 Historic Ecclesiastic and Civic Buildings; Geometric Modern and Iconic Modern US Buildings </b><b>569</b></p> <p>VIII.19.4.1 Historic Ecclesiastical Buildings 569</p> <p>VIII.19.4.2 Historic Civic Buildings 571</p> <p>Photos 574</p> <p>VIII.19.4.3 Modern Geometric Buildings 581</p> <p>VIII.19.4.4 Modern Iconic Tower Buildings 588</p> <p><b>Appendices – Part IX </b><b>593</b></p> <p><b>Appendix IX.20.1 Urban Places </b><b>595</b></p> <p>IX.20.1.1 Urban City Form – Historic Places 595</p> <p>IX.20.1.2 Modern 20th Century Places 598</p> <p><b>Appendix IX.20.2 Sustaining Principles </b><b>601</b></p> <p>IX.20.2.1 ‘Ten Theses on Architecture’ – Rob Krier 601</p> <p>IX.20.2.2 ‘Ten Principles on Which We Can Build’ – HRH The Prince of Wales 602</p> <p>IX.20.2.3 ‘The Hannover Principles’ – Expo 2000World Fair, William McDonough 603</p> <p>IX.20.2.4 ‘One Planet – Living Communities Programme’ 604</p> <p>IX.20.2.5 Biophilic Design Principles 605</p> <p>Further Reading 610</p> <p><b>Appendix IX.20.3 Urban Settlement Models and Patterns </b><b>611</b></p> <p>IX.20.3.1 Urban Form and Use Types 611</p> <p>IX.20.3.2 Urban Layout Principles 613</p> <p>IX.20.3.3 Organising Features 614</p> <p>IX.20.3.4 Building Form Types 616</p> <p>Index 617</p>
<p><b>NIGEL C. LEWIS</b> is a designer initially trained at Arup, and he has been responsible for and involved in the planning, design, development and project management of major buildings and infrastructure projects worldwide. He holds a Master of City Planning (MCP) from the University of Pennsylvania, Master of Arts (MA Oxon) in Engineering Science & Economics and is a Chartered Engineer and Member of the Institution of Civil Engineers, Member of the Royal Town Planning Institute, and Member of the American Institute of Certified Planners.
<p><b>COVERS THE PRINCIPLES BEHIND THE SUCCESSFUL PLANNING AND CREATION OF INSPIRED BUILT FORMS AND URBAN PLACES</b> <p><i>Design and Order: Perceptual experience of built form - Principles in the planning and making of place</i> offers an integrated understanding of both the principles and the perception of the design of built environments and public spaces. It outlines the fundamental characteristics that are evident in the creation of built form and illustrates how they determine the experience of resultant places. It also consolidates the key criteria that need to be taken into consideration in the development of these areas. All of the above-mentioned aims to provide designers with a solid understanding of the implications of their decisions on perception and behavior during the creation of new spaces. <p>The book<i></i> starts by examining natural environments and the affect that they have on humans. It shows how people experience and are shaped by a space—via their eyes, brain, and overall perception. It then illustrates the grammar of form and syntax so that designers can understand how to pursue design processes systematically. The book then takes readers through this process of designing, informing them on the principles of form, function, configuration, communication, organization, color and contrasts, building structures, good practice and more. <ul> <li>Seeks to improve the methodological approach to the planning and design of buildings</li> <li>Broadly addresses the functions that impact the realization of new built and urban form</li> <li>Outlines the fundamental characteristics that are evident in the design of built forms and illustrates how these characteristics determine the experience of the resultant places</li> <li>Comprehensively covers the ideas, principles, and the perception of design</li> <li>Helps designers to make informed decisions about applying or discarding principles when creating spaces.</li> </ul> <p><i>Design and Order</i> is a unique book that will appeal to students and professionals in architecture, urban design and planning, as well as designers and developers.

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