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Who is Kevin Lynch?
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Carr, Lynch Associates
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-Imaging the city
M.I.T.
(1918-1984)
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1935-1937
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1939-1940
1947
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1960
1963
MIT.
1971
Site planning.
1972
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(1918-1984)
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Growing Up in Cities (,
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1981
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,
( .. Boston's Government Center
and Waterfront Park, Detroit's Riverfront, major art institutions in Dallas,
urban design plans Minneapolis, Los Angeles, San Francisco, San
Diego).
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, Carr, Lynch Associates
, .
:
Banerjee Tridib Michael Southworth City Sense and City
Design: Writings and Projects of Kevin Lynch (MIT Press, 1990).
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image, mental maps)
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(legibility)
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This book is about the look of cities, and whether this look
is of any importance, and whether it can be changed. The
urban landscape, among its many roles, is also something
to be seen, to be remembered, and to delight in. Giving
visual form to the city is a special kind of design problem,
and a rather new one at that.
In the course of examining this new problem, the book
looks at three American cities: Boston, Jersey City and Los
Angeles. It suggests a method whereby we might begin to
deal with visual form at the urban scale, and offers some
first principles of city design.
A beautiful and delightful city environment is an oddity,
some would say an impossibility. 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, a world which they may have
briefly glimpsed only as tourists or an escaped vacationers.
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.
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It is clear that the form of a city or of a metropolis will not exhibit some
gigantic, stratified order. It will be a complicated pattern, continuous and
whole, yet intricate and mobile. It must be plastic to the perceptual
habits of thousands of citizens, open-ended to change of function and
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Lynch's findings have been implemented globally in city planning operations in recent years. Whether a new city
is formed, or existing ones are further developed, residents have benefited from the use of more imageable city
elements and clearer form. However, more research is currently being pursued in the related field of spatial
cognition. Present research methods include using virtual environment technologies to investigate many
unexplored areas. By using virtual environment technology, the experimenter can manipulate the geometry of the
elements in the environment as well as their location in the virtual world (in a real world environment these
alterations would be next to impossible). Specific research includes: finding specific angles of elements in a city
that allow for easier wayfinding, and also determining how people position their head and body in relation to their
environment in navigation. Recent results from this research suggest that people visualize their source location
best when both head rotations and body translations are in sync with their visual cues. The previous spatial
cognition research is a good addition to Lynch's research, as it aids in helping to determine precisely what about a
city allows for easier perception and more accurate mental maps for the city dweller.
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The charge to planning professionals has always been to represent the public interest in the affairs of real estate and habitation. Before
Kevin Lynch's Image of the City (1960) the public interest was to be found within the canons of art -- make it beautiful -- and the canons
of efficiency -- use resources parsimoniously. Professional planners found their roles in maneuvering between these two injunctions.
Kevin broke open these boundaries. His very first research asked the public what they saw and what they knew. By such indirection he
revealed what they valued. In his last major book, Good City Form (1981) he tried to advance an urban design theory by adding
performance-based criteria to his assessment of any proposal. I, and many others, found this book an enormously impressive
achievement that suggested pathways for the American city. But, the underpinnings for a successful individual planner's statement of
how a city might be, or ought to be, had washed away.
In such circumstances we launched our faculty-student seminar. Our conviction was that contemporary image-making in film, video,
computers, and print formed a climate that all planners must reckon with, but we lacked any sense of how planners might best proceed in
such an atmosphere.
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As the seminar went forward speaker after speaker directed our attention to old and new sources of image making -- television, aerial
photography, sociological indices, municipal advertising. Our conviction grew that wherever the public interest may reside, the image
climate surrounding the planner could affect decision making. As speakers proffered plans -- suburban developments, downtown
renewal, alternatives for the South Bronx -- the multiplicity of urban imagery became apparent. What must be confronted was not the
stylized renderings of peopled sidewalks that have been the stock in trade of planning department renderings [Friedman], but amalgams
of images drawn from many sources of contemporary fashion. So, the typical promotion for a city was shown to have merged the icons
of a specific place, like a river view, an old block, or a shiny new piece of architecture, with stock references to happy family life, sports
and high culture entertainment, and the felicity of both residential and work settings.
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Several presenters challenged the importance of urban visual imagery. Profs. Martin and myself in our review of three different areas
within the Twin Cities of Minnesota demonstrated the visual continuity and similarity of an inner neighborhood, a post-World- War-II
suburb, and a contemporary outer suburb. Here what residents and visitors see each day is not very different across the entire
metropolitan region. Yet, each area carries a very different reputation. The assignment of social value, thus, is not primarily visually
driven.
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Richard Sennett argued that contemporary imagery was not based on what is seen or experienced, but was a construct of a people living
in an unpredictable, fast-changing world. The images of the contemporary residential areas were, for him, "images of restitution," dietary
supplements for the depravations of the work place.
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. Lynch, K. 2000 (1960). The Image of the City. Cambridge, MA: MIT Press,
. . III (p. 46-90), Appendice A (p. 123-139).
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Carr, Lynch and Sandell , ,
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Prudential Center Redevelopment Plan and Streetscape, Boston, MA
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Church Street Marketplace, Burlington, Vermont
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Mauro Cherubini (http://www.i-cherubini.it/mauro/blog/2003/11/04/lynchs-legibility/)