Kujutlus linnast 1. peatükk (0)

Kujutlus linnast
Kevin Lynch
Peatükk 1: Kujutlus keskkonnast
Esimene peatükk selgitab linna mõistet ja tutvustab linnakeskkonna kogemisega seotud mõisteid nagu loetavus , struktuur ja identiteet , kujuteldavus ning kujutluse loomist, samuti tutvustab ülejäänud raamatut.
Linn on suuremõõtmeline konstruktsioon ruumis, mida on võimalik vaadelda vaid aja möödudes. Ehkki see on ajas võrdlemisi stabiilne, on see samal ajal igavesti muutuv detailides. Linna muutumise üle on võimalik omada vaid osalist kontrolli ja on oluline arvestada, et sel ei ole konkreetset lõpptulemust. Samuti on oluline mõista et linnapildis on liikuvatel objektidel, nagu inimesed ning nende tegevus, sama oluline tähtsus kui liikumatutel.
Keeruline on linnakeskkonna puhul saavutada ühtselt head kvaliteeti ning ehkki enamusele linna elanikest on selge, millises inetus , räpases, kaootilises ja samas monotoonses maailmas nad elada võivad, omavad vaid vähesed selget kujutlust harmoonilise ümbruse võimalikest hüvedest.
„Loetavus“ tähendab linna puhul selle näivat selgust. Esimene peatükk selgitab põhilisi ideid hästi loetavast keskkonnast, loetavuse puudumise negatiivsetest külgedest ning toob välja kuidas linnakeskkonda tajutakse.
Struktuur ja identiteet on järgmine punkt, millele peatükk põgusalt ning raamat edaspidi rohkem keskendub. Esimeses peatükis tuuakse välja 3 tõhusa keskkonnakujutluse koostisosa : identiteet, struktuur ja tähendus.
Kujuteldavus on füüsilise objekti see omadus, mis annab sellele võime tekitada vaatlejale selge ettekujutus objektist. Kujuteldavuselt kõrge linn tunduks hästi moodustatud, eraldiseisev, eriline; see kutsuks vaatlejat suuremale osavõtule, kõrgendatud tähelepanule.
Kujutluse loomise puhul on oluline mõista et kujutlus keskkonnast on vaatleja ja keskkonna kahepoolse protsessi tulemus, ning et kujutlus võib oluliselt varieeruda sõltuvalt vaatlejast. Tõenäosus sarnase kujutluse tekkimisest on suurem sarnaste omadustega ( näiteks sugu, vanus, kultuuriline taust) gruppides.
Esimese peatüki lõpus selgitatakse muutust ajaloos keskkonna tajumises ja tuuakse välja tänapäeva maastikukujundajate eesmärk.
THE IMAGE OF THE ENVIRONMENT
The city is a construction in space , but one of vast scale, a thing perceived only in the course of long spans of time. Nothing is experienced by itself, but always in relation to its surroundings, the sequences of events leading up to it, the memory of past experiences . Moving elements in a city, and in particular the people and their activities, are as important as the stationary physical parts. We are not simply observers of this spectacle, but are ourselves a part of it, on the stage with the other participants. Most often, our perception of the city is not sustained, but rather partial, fragmentary, mixed with other concerns . Nearly every sense is in operation , and the image is the composite of them all. Not only is the city an object which is perceived (and perhaps enjoyed) by millions of people of widely diverse class and character , but it is the product of many builders who are constantly modifying the structure for reasons of their own. While it may be stable in general outlines for some time, it is ever changing in detail. Only partial control can be exercised over its growth and form. There is no final result, only a continuous succession of phases
Not one American city larger than a village is of consistently fine quality , although a few towns have some pleasant fragments. It is hardly surprising, then, that most Americans have little idea of what it can mean to live in such an environment. They are clear enough about the ugliness of the world they live in, and they are quite vocal about the dirt, the smoke , the heat , and the congestion, the chaos and yet the monotony of it. But they are hardly aware of the potential value of harmonious surroundings. They can have little sense of what a setting can mean in terms of daily delight, or as a continuous anchor for their lives, or as an extension of the meaningfulness and richness of the world.
Legibility
This book will consider the visual quality of the American city by studying the mental image of that city which is held by its citizens. It will concentrate especially on one particular visual quality: the apparent clarity or "legibility" of the cityscape. By this we mean the ease with which its parts can be recognized and can be organized into a coherent pattern. a legible city would be one whose districts or landmarks or pathways are easily identifiable and are easily grouped into an over-all pattern. This book will assert that legibility is crucial in the city setting,
Although clarity or legibility is by no means the only important property of a beautiful city, it is of special importance when considering environments at the urban scale of size , time, and complexity . To understand this, we must consider not just the city as a thing in itself, but the city being perceived by its inhabitants. Structuring and identifying the environment is a vital ability among all mobile animals. Many kinds of cues are used: the visual sensations of color , shape, motion , or polarization of light , as well as other senses such as smell, sound , touch, kinesthesia, sense of gravity, and perhaps of electric or magnetic fields
.To become completely lost is perhaps a rather rare experience for most people in the modern city. We are supported by the presence of others and by special way- finding devices: maps, street numbers , route signs, bus placards. But let the mishap of disorientation once occur , and the sense of anxiety and even terror that accompanies it reveals to us how closely it is linked to our sense of balance and well-being. The very word "lost" in our language means much more than simple geographical uncertainty; it carries overtones of utter disaster.
A good environmental image gives its possessor an important sense of emotional security . He can establish an harmonious relationship between himself and the outside world. This is the obverse of the fear that comes with disorientation. Indeed, a distinctive and legible environment not only offers security but also heightens the potential depth and intensity of human experience. Although life is far from impossible in the visual chaos of the modern city, the same daily action could take on new meaning if carried out in a more vivid setting. Strain and anxiety accompanied even the best -prepared expeditions.
It must be granted that there is some value in mystification, labyrinth,or surprise in the environment. This is so, however , only under two conditions . First , there must be no danger of losing basic form or orientation, of never coming out. The surprise must occur in an overall framework ; the confusions must be small regions in a visible whole. Furthermore , the labyrinth or mystery must in itself have some form that can be explored and in time be apprehended. Complete chaos without hint of connection is never pleasurable. But these second thoughts point to an important qualification. The observer himself should play an active role in perceiving the world and have a creative part in developing his image. He should have the power to change that image to fit changing needs. An environment which is ordered in precise and final detail may inhibit new patterns of activity.
Although this may not seem to be a critical issue in our present urban chaos, yet it indicates that what we seek is not a final but an open -ended order , capable of continuous further development .
Legibility (loetavus)
Consider visual quality of the American city by studying the mental image of that city held by its citizens.
Concentrate on “legibility” – the apparent clarity of the cityscape.
Legibility is crucial in the city setting, will analyze in some detail, will try to show how the concept could be used today in rebuilding our cities. It is of special importance when considering urban environments scale of size, time, complexity.
The first chapter will develop basic ideas, later chapters will apply them to several American cities.
Cues used in structuring and identifying environment: visual sensations of color, shape, motion, polarization of light, smell, sound, touch, kinesthesia, sense of gravity, perhaps even electric and magnetic fields. There is consistent use of and organization of definite sensory cues from the external environment. This organization is fundamental to the efficiency and to the survival of free-moving life.
Getting lost
in the process of way-finding, the strategic link is the environmental image. Clear image enables one to move about easily and quickly. An ordered environment can do more than this; it may serve as a broad frame of reference , an organizer of activity or belief of knowledge.
A vivid and integrated physical setting, capable of producing a sharp image, plays a social role as well. Can- furnish the raw material for symbols and collective memories of group communication . A striking landscape is the skeleton upon which many primitive races erect their socially important myths .
A good environmental image gives its possessor an important sense of emotional security. Harmonious relationship between himself and the outside world. – Obverse of the fear that comes with disorientation; sweet sense of home is the strongest when home is familiar and distinctive.
Distinctive and legible environment: offers security, heightens the potential depth and intensity of human experience.
Unaided navigation- needs experience, effort, accompanied by strain, anxiety, uncertainty.
Positive values of legible surroundings: emotional satisfaction, the framework for communication or conceptual organization new depths it may bring to everyday experience.