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. According to Gordon Cullen, the layout of the city’s structures, including its streets, trees, and other natural elements, is known as Townscape. One approach to identifying a city’s physical shape using physical images is through the Townscape. The layout of the buildings and roads, which elicits a range of emotions in the viewer, may also be used to identify a townscape. The townscape idea is a foundation for architects, planners, and anyone concerned with the city’s appearance. The structure’s shape and mass impact and affect the physical form of urban space. The relationship between the physical condition of the urban environment and the body of the building mass is sensed by the spectator on a psychological and physical level. Additionally, the link between urban space’s size, form, and configuration and a city’s quality may be observed aesthetically. Propriety stems from the mutualrespect which a true society shouldmaintain amongst its members, whichis not quite the same thing asmanners. Our example is a somewhatastonishing shop fascia with letteringwhich might be thought out of placein a modest street, but since it is anexample of the metalworker's craft it There is a further observation to be made concerning Serial Vision.Although from a scientific or commercial point of view the town may bea unity, from our optical viewpoint we have split it into two elements:the existing view and the emerging view. In the normal way this is anaccidental chain of events and whatever significance may arise out of thelinking of views will be fortuitous. Suppose, however, that we take overthis linking as a branch of the art of relationship; then we are finding atool with which human imagination can begin to mould the city into acoherent drama. The process of manipulation has begun to turn theblind facts into a taut emotional situation. A view of Leicester Square in the eighte

Concerning OPTICS. Let us suppose that we are walking through atown: here is a straight road off which is a courtyard, at the far side ofwhich another street leads out and bends slightly before reaching amonument. Not very unusual. We take this path and our first view isthat of the street. Upon turning into the courtyard the new view isrevealed instantaneously at the point of turning, and this view remainswith us whilst we walk across the courtyard. Leaving the courtyard weenter the further street. Again a new view is suddenly revealed althoughwe are travelling at a uniform speed. Finally as the road bends themonument swings into view. The significance of all this is that althoughthe pedestrian walks through the town at a uniform speed, the scenery oftowns is often revealed in a series of jerks or revelations. This we callSERIAL VISION. Here is an example. Suppose you are visiting one of the hill towns inthe south of France. You climb laboriously up the winding road andeventually find yourself in a tiny village street at the summit. You feelthirsty and go to a nearby restaurant, your drink is served to you on averanda and as you go out to it you find to your exhilaration or horrorthat the veranda is cantilevered out over a thousand-foot drop. By thisdevice of the containment (street) and the revelation (cantilever) thefact of height is dramatized and made real. Naturally, a lot of this is a direct response to Le Corbusier , whose work I’m now reading and just became aware of because of how he declared war on all of these concepts. exist side by side: the busy shoppingand traffic route full of bustle, whichis carried by the bridge over thecanal, whose basin is silent anddeserted, a secret town.

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

the outdoor room and enclosureIn this section of the casebook weare concerned with the person's senseof position, his unspoken reaction tothe environment which might beexpressed as 'I am in IT or above ITor below IT, I am outside IT, I amenclosed or I am exposed'. These In this shortened version, the studies of specific towns have been left outand instead Cullen has contributed a new foreword and conclusion which symptoms of agoraphobia and claustrophobia). Place a man on the edgeof a 500-ft. cliff and he will have a very lively sense of position, put himat the end of a deep cave and he will react to the fact of enclosure. We have witnessed a superficial civic style of decoration using bollardsand cobbles, we have seen traffic-free pedestrian precincts and we havenoted the rise of conservation. Cullen’s skill as an architectural illustrator was greatly admired and he received many illustrative commissions such as the 1943 County of London Plan, Kynoch Press’s 1940 diary and the 1955 Cambridge Christmas Book, as well as some studies of the State Apartments at Windsor Castle.

Architectural Press is an imprint of ElsevierLinacre House, Jordan Hill, Oxford OX2 8DP, UK30 Corporate Drive, Suite 400, Burlington, MA 01803, USA In the context of the post-war era and the end of Empire, Townscape reinterpreted the picturesque as symbolising an English allegiance to freedom and liberty, an alternative to the monumentalism of the Beaux Arts tradition. However, as Williams notes, the AR’s egalitarianism existed simultaneously and in tension with a conservative ‘aristocratic world-view’, where the city as an aesthetic object acted as a source of spectacular pleasure for the privileged observer. In2015the University of Westminster acquired the archive of Gordon Cullen, an alumnus and renowned illustrator, draughtsman and urban theorist. The position may indeed have deteriorated over the last ten years forreasons which are set out below. Concerning PLACE. This second point is concerned with ourreactions to the position of our body in its environment. This is as simpleas it appears to be. It means, for instance, that when you go into a roomyou utter to yourself the unspoken words 'I am outside IT, I am enteringIT, I am in the middle of IT' . At this level of consciousness we are dealingwith a range of experience stemming from the major impacts of exposureand enclosure (which if taken to their morbid extremes result in theFirst among these cases is anticipa­tion. These two pictures clearly arouseone's curiosity as to what scene willmeet our eyes upon reaching the endof the street. personality and uniqueness. Accepting the fact that most towns are ofold foundation, their fabric will show evidence of differing periods in itsarchitectural styles and also in the various accidents of layout. Manytowns do so display this mixture of styles, materials and scales. The illumination halfway up thestructure draws our attention outwardand upward. What is this mystery ofthe commonplace? At least it takesour eyes off our toe-caps. Even themost ordinary means can be harnessedto the task of arousing in us the senseof otherness through the use of light,through pointing the finger. It is notthe thing pointed out but the evoca­tive act of pointing that arouses theemotions. The scene at Bremhill might be a hundred or a thousand years old. It is the archetype of meeting places, church, cross and tree. A common scene? Yet how many others can you recall and how many will there be in ten years’ time?