Sylvia Lavin, Professor, Department of Architecture and Urban Design, University of California, Los Angeles, USA.

This is the watetshed. Up to thispoint we have presented the environ­ment as occupied territory serving thelegitimate social and business needsof people and irrigated by trafficroutes. Now arises the natural corol­lary that if the outdoors is colonizedthen the people who do this willattempt to humanize the landscape injust the same way they already do forthe interiors. At this point we canfind little difference between the two,and the terms Indoor Landscape andOutdoor Room make sense. In thetop picture can be seen the patternedpavement (tloorscape) and arcade.Over this is a building in which aman lives whilst the vault of the skyspans over. To the right an avenueof trees leads out to the hills. Herein this picture of an interior is all thespatial quality of a landscape. Below,the diners are gathered togetherunder the ceiling lights and theHouses of Parliament sit on theperimeter like a model on the mantel­piece.

Took a call during a shift at Boots to hear that they had been successful

Shortly afterwards Cullen was commissioned to paint a mural in the reception area of Westville (now Greenside) Primary School in Shepherd’s Bush.

suffice to demonstrate the charms ofthis immediacy. A somewhat similareffect is produced in those caseswhere a structure is separated fromthe viewer by a featureless plane,a great empty stretch which has nogrip on the eye, such as the view ofthe Horse Guards from St James'sPark or the view of the SupremeCourt in Chandigarh across thewide lake.Examine what this means. Our original aim is to manipulate theelements of the town so that an impact on the emotions is achieved.A long straight road has little impact because the initial view is soondigested and becomes monotonous. The human mind reacts to a con­trast, to the difference between things, ann when two pictures (the streetand the courtyard) are in the mind at the same time, a vivid contrast isfelt and the town becomes visible in a deeper sense. It comes alivethrough the drama of juxtaposition. Unless this happens the town willslip past us featureless and inert. Until such happy day arrives when people in the street throw theircaps in the air at the sight of a planner (the volume of sardonic laughteris the measure of your deprivation) as they now do for footballers andpop singers, a holding operation in two parts will be necessary. Additionally, the link between urban space’s size, form, and configuration and a city’s quality may be observed aesthetically. In Townscape, the environment is apprehended ‘almost entirely through vision’ and not only acts as a means of navigation but also evokes our ‘memories and experiences and emotions.’ The key components are Serial Vision - the experience of the city as an uninterrupted sequence of views that unfold like stills from a movie, Place - designing for experience according to the position of the body within the environment, and Content - the colour, texture, scale, style and character. Collectively they add up to the fabric of a place, with Cullen presenting a methodology for urban visual analysis and design based on the psychology of perception, the human need for visual stimulation, and notions of time and space.

the average: of averages of human behaviour, averages of weather,factors of safety an": so on. And these averages do not give an inevitableresult for any particular problem. They are, so to speak, wandering factswhich may synchronize or, just as likely, may conflict with each other.The upshot is that a town could take one of several patterns and stilloperate with success, equal success. Here then we discover a pliabilityin the scientific solution and it is precisely in the manipulation of thispliability that the art of relationship is made possible. As will be seen, theaim is not to dictate the shape of the town or environment, but is amodest one: simply to manipulate within the tolerances. Architectural Press is an imprint of ElsevierLinacre House, Jordan Hill, Oxford OX2 8DP, UK30 Corporate Drive, Suite 400, Burlington, MA 01803, USA He saw that places of great beauty and of strong and picturesque character had been created over the centuries by builders and architects working in unselfconscious harmony with the landscape and he set about identifying and analysing these qualities. The aim was to get to the essence of the British town and to teach lessons that could be learnt and applied by contemporary architects and planners. I the bank reaches outwards and is a barner which consists of heavy stone1 minimum structure. The metal rails. bollards, enough to serve as a warn-Thomas Gordon Cullen was born in Otley, Yorkshire on the 9th August 1914, the son of a Methodist minister. He studied architecture and draughtsmanship at the Regent Street Polytechnic in London and subsequently worked as a draughtsman in various architects’ offices including that of Berthold Lubetkin and Tecton, but he never qualified or practised as an architect. Firstly we have to rid ourselves of the thought that the excitementand drama that we seek can be born automatically out of the scientificresearch and solutions arrived at by the technical man (or the technicalhalf of the brain). We naturally accept these solutions, but are notentirely bound by them. In fact we cannot be entirely bound by thembecause the scientific solution is based on the best that can be made of The last section of this part of thecasebook is concerned with linkingand joining, which have already beentouched on in Netting. Today theenvironment is fragmented intoseparate pieces: separate houses,separate trees, separate zones like aseries of totally unrelated notes playedwith one finger on a piano. Thepurpose of this book is to try to bringall the parts of the environmenttogether into dramatic relationship sothat the same notes are used but arearranged to form coherent chords andsequences. And whereas the whole ofthis book is in effect a series ofexamples of linking and joining, justhere we are only considering thesimplest forms, the floor, pedestrianways and hazards.