Urban Design:Ornament and Decoration-THE CORNER.pdf
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1、 INTRODUCTION The design of the corner where two planes meet is a visual problem giving scope for expression in the design of almost any artefact, the design of the urban scene is no exception to this rule. Indeed, the handling of the corner is often an indication of the quality and mastery of the d
2、esigner. To recognize the importance of a corner site and give it signifi- cance is to enrich the visual environment and the urban townscape. The corner, because of its signifi- cance, has often been an important element on which to bestow formal ornament or more personal- ized decoration: this, how
3、ever, has not always been so. During the early period of modern architecture corner treatment was stark and unadorned. There have, however, been other times when the corner was not celebrated: many fine Georgian buildings in Britain, for example, presented the transition of planes at the corners of
4、buildings simply with quoin details in materials which differed from those of the general faade (Figure 3.1). While the question of embellishment of corner details is a matter of style, it is nevertheless possible to distinguish two generic types of corner: the internal corner where two planes meet
5、and tend to 3 THE CORNER 4 9 Figure 3.1 Quoined corner, Regent Street, Nottingham enclose space and the external corner where two planes meet and present a three dimensional view of the building. The first type is most commonly found in the public place or piazza and the second will mark the junctio
6、n of streets. The importance of the corner as a node of pedes- trian activity is often reflected in residential areas by the location there of corner shops and public houses. Until after the Second World War, the angled plot at street corners was considered choice terrain much sought after for priva
7、te mansions, large luxury stores, panoramic apartment blocks, and prestige banks. These corner activities and the build- ings which enclose them are often a counterpoint to less prestigious neighbouring buildings. This was frequently reflected in more elaborate ornamental work to mark the corner. Th
8、e art of turning the corner is an aspect of town design which frequently exercised the minds of builders in the generations prior to the so called Heroic Age of the Modernists. This problem of turning the corner, in its most fundamental form, is expressed in the method used to resolve the junctions
9、between gable and flanking walls of the megaron type structure common in countries with a northern European climate. The solution to many problems of building design often have their origin in the Hellenic period. The Greeks of classical times resolved this particular problem by taking the entablatu
10、re round all faades of the building and by returning, at an angle, part of the flanking cornice to enclose and edge the tympanum of the gable. The columns supporting the gable were returned round the flanking walls enclos- ing an external ambulatory or covered colonnaded walkway, the peristyle. All
11、four walls of the typical temple were unified by the repetition of the column theme supporting a common entablature and supported on three steps. The corner of the building U R B A N D E S I G N : O R N A M E N T A N D D E C O R A T I O N 5 0 Figure 3.2 Parthenon, Athens Figure 3.3 Internal corner o
12、f the Palazzo Medici Riccardi, Florence 3.3 3.2 is formed by a typical column with symmetrical base, shaft and capital (Figure 3.2). The early Renaissance architects also favoured a simple formula for turning the external corner relying upon a flat pilaster or rusti- cally expressed quoin stones. Mo
13、re exuberant expres- sions of the corner are exhibited in baroque buildings where transition from plane to plane is prefigured in a ripple of pilaster upon pilaster. In Victorian and Edwardian Britain those architects taking their cue from medieval form gave expression to the corner using the tower
14、or cluster of towers. The internal angle, while not possessing the same scope for expressive design, also presents design problems for the creative artist. The arcaded courtyard where arches meet at an internal corner can appear struc- turally or visually weak, or clumsy in the extreme (Figure 3.3).
15、 So far corner design has been discussed at the scale of the single building. While for those practising urban design architectural analogy is important, nev- ertheless, for the purposes of this discussion, the building in its townscape setting is of greater rele- vance. In addition the townscape se
16、tting gives the corner an added dimension and scope for imaginative treatment. The street corner when given emphasis with decorative treatment becomes memorable in the mind of the viewer. It thus takes on added signifi- cance, performing the role of landmark. As such it is significant in strengtheni
17、ng the imageability of the city. A further function of the corner is its role in uni- fying two adjacent faades often acting as a vertical foil or contrasting element to the horizontality of the street scene. THE CORNER TYPOLOGIES Post-modern theoretical developments in architecture and urban design
18、 have frequently sought inspiration from historical precedent. Often these lines of enquiry have led to the construction of typologies (Krier, 1979; Rossi, 1982). A type can be defined as a characteristic specimen or illustration of a class or group of objects. The following typology of urban corner
19、s is one of physical types, a classification based on physical form rather than usage or function. This interest in the identification of spatial types and the construction of typologies has stemmed from the study of traditional urban forms as a reaction to Modernist approaches to urban form and des
20、ign. The interest in typologies, however, is not a new con- cern. Zucker, for example, in his book Town and Square (1959) defines spatial archetypes for the analysis of urban squares. Zuckers typology is based on the subjective impression of spatial quality and is entirely independent of the specifi
21、c function of that space. The construction of a typology involves identifying common characteristics among the set of objects studied. In other words, for the purpose of this study, corners as they are used and appear in the townscape must be capable of arrangement in sub- groups. For the typology t
22、o be of use it should have the capacity both to analyse existing situations and to act as a design tool. The purpose of the present typology is to assist the urban designer with the task of decorating the city. For this purpose the individual categories identified are relatively distinctive and dis-
23、 crete while, it is hoped, they are not so general as to be meaningless. The aim of this typology is to be both comprehensive and complete without the use of a catch-all category into which all odd or maver- ick corners defying definition are neatly swept. As with any typology it is difficult, if no
24、t impossible, to draw precise boundaries between archetypes, and since this study is based largely upon historical prece- dent, new and evolving forms of corner may not fit within its parameters. There are two typologies of corners: one for street or external corners, the other for piazza or interna
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