Representation of Places: Reality and Realism in City DesignUniversity of California Press, 21.03.1998 - 232 Seiten People live in cities and experience them firsthand, while urban designers explain cities conceptually. In Representation of Places Peter Bosselmann takes on the challenging question of how designers can communicate the changes they envision in order that "the rest of us" adequately understand how those changes will affect our lives. New modes of imaging technology—from two-dimensional maps, charts, and diagrams to computer models—allow professionals to explain their designs more clearly than ever before. Although architects and planners know how to read these representations, few outside the profession can interpret them, let alone understand what it would be like to walk along the streets such representations describe. Yet decisions on what gets built are significantly influenced by these very representations. A portion of Bosselmann's book is based on innovative experiments conducted at the University of California, Berkeley's Visual Simulation Laboratory. In a section titled "The City in the Laboratory," he discusses how visual simulation was applied to projects in New York City, San Francisco, and Toronto. The concerns that Bosselmann addresses have an impact on large segments of society, and lay readers as well as professionals will find much that is useful in his timely, accessibly written book. |
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... distances in Chap- ter 7. I am very grateful to him and learned to de- pend on his insights . William Kanemoto , who took over from Kevin in 1994 , contributed a sequence of images from one of the current lab projects . Tony Hiss , who ...
... distances in Chap- ter 7. I am very grateful to him and learned to de- pend on his insights . William Kanemoto , who took over from Kevin in 1994 , contributed a sequence of images from one of the current lab projects . Tony Hiss , who ...
Seite 4
... distance be- tween the doorway and the exact place where the picture was painted was approximately 1.75 meters . The two - to - one ratio of door width to distance means that a person standing where Brunelleschi stood to paint and ...
... distance be- tween the doorway and the exact place where the picture was painted was approximately 1.75 meters . The two - to - one ratio of door width to distance means that a person standing where Brunelleschi stood to paint and ...
Seite 7
... distance could there have been such a match . That distance would have depended on the size of the painting and the angle of the view . The view through the hole to the mir- ror image of the painting showed no more than what can be seen ...
... distance could there have been such a match . That distance would have depended on the size of the painting and the angle of the view . The view through the hole to the mir- ror image of the painting showed no more than what can be seen ...
Seite 8
... distance relationship the eye sees in the scene . The scene on the board can then be scanned more naturally with both eyes , which would not be limited to the narrow predetermined field of view seen in the viewfinder but could wan- der ...
... distance relationship the eye sees in the scene . The scene on the board can then be scanned more naturally with both eyes , which would not be limited to the narrow predetermined field of view seen in the viewfinder but could wan- der ...
Seite 9
... distance to the Baptistery and the dimensions of the structure more easily . The eye perceives a multi- tude of reference points , and therefore the viewer of the scene . appears to be part Anyone interested in the dimensions of the ...
... distance to the Baptistery and the dimensions of the structure more easily . The eye perceives a multi- tude of reference points , and therefore the viewer of the scene . appears to be part Anyone interested in the dimensions of the ...
Inhalt
3 | |
The Search for a Visual Language in Design | 21 |
Images in Motion | 41 |
The City in the Laboratory | 93 |
Times Square New York | 97 |
Downtown San Francisco | 113 |
Downtown Toronto Urban Form and Climate | 131 |
Reality and Realism | 151 |
Representing the Experience of Places | 159 |
Representation and Design | 179 |
Who Watches the Watchers? | 191 |
NOTES | 199 |
SELECTED BIBLIOGRAPHY | 209 |
Index | 216 |
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Representation of Places: Reality and Realism in City Design Peter Bosselmann Keine Leseprobe verfügbar - 1998 |
Häufige Begriffe und Wortgruppen
Allan Jacobs Andrea Palladio architects Architecture Baptistery Barcelona Berkeley bridge Broadway Brunelleschi building heights camera Camillo Sitte Carrer Cerda's CHAPTER city design City Planning city's color comfort commission computer model Daniel Stokols density detailed dimensions distance Donald Appleyard drawings dwelling units Environment Environmental Simulation Laboratory existing experience facade Feet 400 Meters film financial district floor area ratio focal length Giambattista Nolli Goethe graphic high-rise Ibid ichnographic images Imola Kevin Lynch landscape Le Corbusier Leonardo London look Market Street ment neighborhood Nolli open space painting Palladio Paris park pedestrian perception Peter Bosselmann photographs places planners Press professional proposed Ramblas reality representation San Francisco scale scene sidewalks Sitte Sitte's Square streetwall structure studies sunlight survey technique temple theater tion Toronto towers town Transbay Terminal trees units per acre urban design urban form Venice viewers visual walk in Venice yard York