Coursehero >> Washington >> Washington >> SPAN 322

Course Hero has millions of student submitted documents similar to the one below including study guides, homework solutions, papers, exam answer keys and textbook solutions.

322 LARC INTR OD UCTI O N TO PLA NTI NG D ESI GN Iain M Rober tson These notes describe some spatial/perceptual cues that the park's designers have used to influence our decisions about where to go, how fast to move, and what to look at. Underlying these cues is a fundamental design principle: "the foot follows the eye, the eye follows the mind", in other words, how we move through space results from complex interactions among our physical bodies, our senses and our cognitive responses. These cues do not tell us how or what to experience but using them should enrich and deepen our appreciation of OSP. Hurr y u p & slow down Most recreation paths are designed to calm users' frantic pace, for only then can they fully engage with their surrounds. Where, and how, does OSP slow or stop us --a widening of a path? a vista? a sculpture framed? Com pr eh ension & ambigui ty : ex plica tion vs. i mpl ication Successful designs offer legible cues for orientation. Good designs don't stop there, they employ intrigue and ambiguity to "draw users in". Where might intrigue draw us off OSP's main path? and how is our attention sidetracked? Ori en tation and reo rien ta tion: No w you see it n ow you don' t OSP's main zig-zag paths integrate on and off site features and span road and railroad obstructions. How does the experience of "now this", "now that", "now this again", contribute to rich, layered movement patterns? Axes & A c cen ts : S traight vs curvilin ear routes Straight routes follow lines of sight and are unambiguous. Curvilinear routes reveal destinations-gradually or suddenly depending on the curve and solids they traverse. How do OSP's axes relate to accents? How do we turn around its acute angular bends? Enti c em en t & D ecision poin ts : Hey, ov er h er e! "Carrots" entice "sticks" command--good designs favor the former. How are we enticed through the park? Where must we make decisions? How do we chose? Op enn ess & enclosu r e: Ex pansi ven ess v s. inti ma cy OSP and its context exude open expansiveness. We tend to be attracted toward light spaciousness than rather dark enclosure. How has the design capitalized on this and how does it affect movement patterns? Des c ent & as cen t: U ps an d downs Going downhill we tend to look outward, going uphill we focus on the ground. How do OSP's sloping planes accentuate the experience of movement up or down, along or across, the land's surface? Spac e: Clu tter vs . clari ty Objects, such as sculpture, may be arranged to define spatial boundaries, or to occupy, fill or articulate space. They may clutter or clarify, confuse or contribute to the sequential experience. How do the locations and arrangement of sculptures choreograph the experience? Constrain t an d f r eedom : Straight-and -nar row vs . wid e and fr ee Paths may imply confinement or encourage engagement. Their routes may be prescriptive or suggestive. How do the delineations of OSP's path boundaries affect our decisions to stay on or step off them? Round tri ps : what go es down mus t com e u p Even round trips need destinations along the way and at their "end" to turn us back. How does the return journey compare with the outward one? Finally, as with all things outdoors in Seattle, we must consider how weather conditions alter our experience of OSP. As you explore the park, using these cues to help you appreciate both sculpture and setting, I wish you blustery winds with heavy clouds; rain showers with sunny breaks; morning frosts with light breezes; long shadows or high noon; for in any conditions OSP provides delights to those who are observant. The name "Olympic Sculpture Park" artfully places SAM's sculpture collection within its incomparable mountain and water setting and its exciting urban open space and suggests that, to fully appreciate the OSP, we must pay attention to all three: setting, site, and sculpture. Next time you visit the park observe how its pieces, "Olympic", "Sculpture" and "Park", combine in unfolding experiences to create journeys that, like virtue, are their own reward. How do we choreograph movement patterns to achieve such effects? 322 sp08 sequence OSP.doc

Find millions of documents here - Study Guides, Homework Solutions, Papers, Exam Answer Keys and more. Course Hero has millions of course related materials that will enable you to learn better, faster and get an A in all your courses.
Below is a small sample set of documents: