UNIVERSITI TEKNOLOGI MALAYSIA
DECLARATION OF THESIS / UNDERGRADUATE PROJECT PAPER AND COPYRIGHT
Author’s full name: Zahra Neshatdoust
Date of birth : 5th Dec 1983
Title : The effect of physical elements on identity of square
Academic Session : 2011/201 2 (1)
I declare that this thesis is classified as:
CONFIDENTIAL (Contains confidential information under the Official Secret Act 1972)*
RESTRICTED (Contains restricted information as specified by the organization where research was done)*
⁄ OPEN ACCESS I agree that my thesis to be published as online open access (full text)
I acknowledged that University Technology Malaysia reserves the right as follows:
1. The thesis is the property of University Technology Malaysia. 2. The Library of University Technology Malaysia has the right to make copies for the purpose of research only. 3. The Library has the right to make copies of the thesis for academic exchange.
Certified by:
SIGNATURE SIGNATURE OF SUPERVISOR J11548710 ASSOC.PROF.Dr . Hasanuddin Bin Lamit
(NEW IC NO. /PASSPORT NO.) NAME OF SUPERVISOR
DATE: 20January 2012 DATE: 20January 2012
SUPERVISOR’S DECLARATION
“I hereby declare that I have read this thesis and in my opinion this thesis is sufficient in terms of scope and quality for the award of the degree of Master of Urban Design”
Signature : ......
Name of Supervisor : ASSOC. PROF. Dr. Hasanuddin Bin Lamit
Date : January 2012 ii
To my mom,
Whose sunshine of kindness still shines in my heart and will never set.
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THE EFFECT OF PHYSICAL ELEMENTS ON IDENTITY OF SQUARE
ZAHRA NESHATDOUST
A dissertation submitted in partial fulfillment of the requirements for the award of the degree of Master of Urban Design
Faculty of Built Environment Universiti Teknologi Malaysia
JANUARY 2012
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I declare that this thesis entitled “The effect of physical elements on identity of square” is the result of my own research except as cited in the references. The thesis has not been accepted for any degree and is not concurrently submitted in candidature of any other degree.
Signature :
Name : Zahra Neshatdoust
Date : January 2012
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ACKNOWLEDGEMENT
Firstly with the blessing of God, I have successfully completed this project in time. Many dedicated folks assisted me in preparing this dissertation .I would like to express my sincere appreciation to them, in particular to my supervisor, Associate Professor Dr. Hasanuddin Bin Lamit who was an amazing motivator and assist me with his encouragement and critics. I am also very thankful to my lecturer Associate Professor Dr. Syed Zainol Abidin Syed Idid and Mr Chau Loon Wai.
I would like to extend my sincere appreciation to my family whom my gratitude is boundless.
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ABSTRACT
In the last three decades, the concept of public space has been redefined within the context of urban space development. However, with the rapid pace of development, social shifting and subsequent commercialization, the image of these places is being lost. Considering the square as traffic intersection that only exists to separate the auto orientation which formed and decorated with vegetation and cascade or fountains is not following the main goal of the city and it is not moving through the right direction. Such designs only cause to lose the social and aesthetic function of city. The concept of identity is almost lost in recent squares. The awareness of the physical elements as an effective item to bring identity to the squares is significantly low. Urban public squares, within the context of public spaces, are essential components of cities because they provide spaces for social interaction, which thereby, support the civilization and humanization of people through hearing others and being heard by others, gathering, lingering and wandering through, and engaging into various activities. This study explored the physical element effectiveness on identity and character of the square. The main concern of this study is focusing on people‟s perception regarded to the sense of belonging and sense of place which resulted to a good public square. The urban square criteria and special quality of physical element have been studied in Melaka Dutch square. The study extracted the meaning of a good urban square respected to identity due to physical elements through visitor‟s eyes. My research gives a perspective of identifiable physical element in case of Melaka Dutch square and discusses about how to bring back life in square as a public space according to enhancing the quality of elements.
Key word: Public space, social interaction, identity of square, physical element,
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ABSTRAK
Pada tiga dekad yang lalu, konsep tempat umum telah diperkenalkan semula dengan konteks pembangunan ruang urban. Walaubagaimanapun, kadar pembangunan yang pesat, social yang berubah-ubah dan pengkormersilan yang berterusan, imej tempat-tempat ini semakin menghilang. Pertimbangkan lapangan sebagai persimpangan lalu lintas yang hanya wujud untuk memisahkan orentasi auto yang telah membentuk dan mendekorasi dengan tumbuh-tumbuhan dan lata atau air pancut-air pancut adalah tidak mengikut matlamat utama bandar itu dan ia tidak bergerak menerusi arahan yang sepatutnya.
Seperti rekabentuk-rekabentuk yang hanya menyebabkan fungsi sosial dan estetik bandar itu hilang. Konsep identity hampir hilang dalam lapangan kini. Kebimbangan terhadap elemen-elemen fizikal sebagai medium efektif yang membawa identity kepada lapangan adalah semakin menurun. Lapangan umum urban, dimana konteks tempat umum, adalah komponen-komponen penting sesuatu bandar kerana ia menyediakan tempat-tempat untuk interaksi sosial, yang mana dengan demikian, menyokong peradaban dan humanisasi manusia dengan menjadi pendengar kepada yang lain-lain dan orang lain menjadi pendengar kepada kita, berkumpul, berimpian bersama, dan terlibat dengan pelbagai aktiviti.
Kajian ini menjelejah keberkesanan elemen fizikal terhadapa identity dan sifat sesuatu lapangan. Keprihatinan utama kajian ini adalah focus kepada persepsi orang awam berhubung dengan naluri memiliki dan naluri setempat yang mana member kesan kepada lapangan yang baik. Kriteria lapangan urban dan kualiti istimewa elemen fizikal telah dikaji di lapangan Melaka Dutch. Kajian ini mengekstrak maksud lapangan urban yng baik berlandaskan identiti yang disebabkan oleh elemen fizikal menerusi mata-mata pelawat. Kajian saya memberi perspektif terhadap mengenalpasti lemen-elemen fizikal dalam hal lapangan Melaka Dutch ini dan membincangkan tentang bagaimana untuk membawa semula kehidupan dalam lapangan sebagai tempat umum dengan menigkatkan kualiti elemen-elemennya.
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Table of Contents
CHAPTER TITLE PAGE
Declaration ...... i Dedication ...... ii Thesis title ...... iii Acknowledgment ...... v Abstract ...... vi Abstrak ...... vii Table Of Contents ...... viii List Of tables ...... xii List Of figure ...... xiii
CHAPTER 1 : INTRODUCTION 1.1 Back ground ...... 1 1.2 Problem statement ...... 4 1.3 Aim and objectives ...... 5 1.4 Research questions ...... 5 1.5 Significant of study ...... 5 1.6 Scope of study ...... 6 1.7 Research methodology ...... 7
CHAPTER 2 : LITERATURE REVIEW 2.1 Defining urban square ...... 9 2.1.1 Urban square within the special context ...... 11 2.1.1.1 Urban space ...... 11 2.1.1.2 Public space ...... 13 2.1.1.2.1 The relationship between buildings, monuments and public square ...... 14 ix
2.2 Roles of Urban square ...... 15 2.2.1 Physical roles ...... 16 2.2.2 Social roles ...... 16 2.2.3 Symbolic roles ...... 17 2.2.4 Aesthetic roles ...... 18 2.3 Good urban square design criteria ...... 18 2.3.1 Geographical aspect ...... 25 2.3.1.1 Location ...... 25 2.3.1.2 Accessibility ...... 26 2.3.2 physical aspect ...... 26 2.3.2.1 Form of square ...... 27 2.3.2.2 Size of square ...... 29 2.3.2.3 Visual complexity of square: visual and aesthetic elements .. 29 2.3.2.3.1 Seating ...... 30 2.3.2.3.2 Landscaping ...... 32 2.3.2.3.3 Street furniture ...... 33
2.3.2.3.4 Shelter and protection: microclimate ...... 34
2.3.2.3.5 Lighting ...... 34
2.3.2.3.6 Human scale ...... 35
2.3.2.3.7 Public art ...... 36
2.3.3 Behavioral and psychological aspect ...... 38
2.3.3.1 Comfort ...... 38
2.3.3.2 Relaxation ...... 39
2.3.3.3 Passive engagement with the environment ...... 39
2.3.3.4 Active engagement with the environment ...... 39
2.3.3.5 Discovery ...... 40
2.3.3.6 Joy ...... 40
2.3.4 Managerial aspect ...... 41
2.3.4.1 Uses and activities ...... 41
2.3.4.2 Food; eating and drinking ...... 43 x
2.3.4.3 Vending ...... 44
2.3.4.4 Maintenance ...... 45
CHAPTER 3 : METHODOLOGY 3.1 Introduction ...... 46 3.2 Study area ...... 46 3.2.1 Introduction ...... 46 3.2.2 Back ground ...... 47 3.2.3 Development of Melaka city through history ...... 48 3.2.4 Location of study area ...... 50 3.2.5 Architecture feature and physical elements ...... 53 3.2.5.1 Significant buildings ...... 53 3.2.5.2 Tang Beng Swee Clock tower ...... 53
3.2.5.3 Christ church ...... 54
3.2.5.4 Museum and art ...... 54
3.2.5.5 Stadthuys building ...... 55
3.2.5.6 Public art ...... 56
3.2.5.7 Victoria Regina fountain ...... 56
3.3 Data collection ...... 57 3.3.1 Research instruments ...... 57 3.3.2 Respondents ...... 58 3.3.3 Procedure ...... 58 3.3.4 Questionnaire methods ...... 58
CHAPTER 4 : RESEARCH ANALYSIS AND DISCUSSION 4.1 Introduction ...... 60
4.2 Respondents residency ...... 60
4.3 Frequency of respondents visiting ...... 61
4.4 Reason of going to the square ...... 62
4.5 Square attraction ...... 63 xi
4.6 Physical elements contribution in identity ...... 70
4.7 Physical elements attribute ...... 72
4.7.1 Fountain ...... 72 4.7.2 Building ...... 73 4.7.3 Clock tower ...... 75 4.7.4 Stalls ...... 77 4.7.5 Pavement ...... 78 4.7.6 Furniture and seating ...... 79 4.7.7 Decorative trishaw ...... 81 4.7.8 Trees and flowers ...... 82 4.7.9 River ...... 84 4.7.10 Lighting ...... 85 4.7.11 Windmill ...... 86 4.8 Street based on observation ...... 88
CHAPTER 5 : CONCLUSION 5.1 Introduction ...... 89
5.2 Contribution and Limitation of the study ...... 89
5.3 Future study recommendation ...... 94
xii
LIST OF Table
Table NO TITLE PAGE
5.1 Recommendation for good character of urban square 95
xiii
LIST OF FIGURE
FIGURE NO TITLE PAGE
1.2 Flowchart of overall study method 8 2.1 Gradual spatial context of approaching urban square 11 2.2 Elements of the sense of place according to Punter 13 2.3 Elements of the sense of place according to Montgomery 13 2.4 A Popular Square in Copenhagen, Denmark 22 2.5 Ghirardelli Square, San Francisco. 22 2.6 Circular benches provide a comfortable place to sit in Rockefeller 23 Center, New York City 2.7 Tennis on the square, Copenhagen 23 2.8 Formation of enclosure, Source: Childs, 2004. 28 2.9 Corners impact on creating form, Source: Childs, 2004. 28 3.1 Development of Melaka city through history form 17th century from the 49 Dutch period the present. 3.2 Malacca City 1744(Dutch Era) 50 3.3 Arial vie w of the study area 52 3.4 Plan of area under study 52 3.5 Clock tower 53 3.6 Chris Church, east part of the Dutch Square 54 3.7 Museum and Gallery at the east part of the Dutch Square 55 3.8 stadthuys building located at the south part of the Dutch Square 55 3.9 Victoria Regina Fountain, located in the middle of Dutch Square 57 4.1 Respondents residency status 61 4.2 Frequencies of respondents visiting of the site 61 4.3 Reason of respondents of going to the square 62 4.4 Respondents point of view about square attraction 63 4.5 Percentage of agreement respected to Historical 64 4.6 Percentage of agreement respected to Landmark 65 xiv
4.7 Percentage of agreement respected to Visual and Aesthetic element 66 4.8 Percentage of agreement respected to being Dynamic 67 4.9 Percentage of agreement respected to being sociable 68 4.10 Percentage of agreement respected to various activity and entertainment 68 4.11 Activities in Dutch square 69 4.12 People social interaction in Dutch square 70 4.13 percentage of agreement about physical element contributions in identity 71 4.14 Respondents agreement about physical element contributions in identity 71 4.15 Fountain specification 72 4.16 Fountain in Melaka Dutch square 73 4.17 Building specification 74 4.18 Building in Melaka Dutch square 75 4.19 Clock tower specification 76 4.20 Clock tower in Melaka Dutch square 76 4.21 Stalls specification 77 4.22 Stalls in Melaka Dutch square 78 4.23 Pavement specification 78 4.24 Pavement in Melaka Dutch square 79 4.25 Furniture and Seating specification 80 4.26 Furniture and Seating in Melaka Dutch square 81 4.27 Decorative Trishaw specification 81 4.28 Decorative Trishaw in Melaka Dutch square 82 4.29 Trees and Flowers specification 83 4.30 Trees and Flowers in Melaka Dutch Square 83 4.31 River specification 84 4.32 River bank in Melaka Dutch square 85 4.33 Lighting specification 85 4.34 Lighting in Melaka Dutch square 86 4.35 Wind Mill specification 87 4.36 Wind Mill in Melaka Dutch square 87 4.37 Street in Melaka Dutch square 88 1
CHAPTER 1
INTRODUCTION
1.1 Back ground
This chapter discusses the physical elements as an effective item to bring identity and encourage people to congregate in the historic square. Statement of research gap is followed by highlighting of the purpose of the study, related objectives and questions, general approach, significance of the study and expected results are explained together with the organization of the study.
Public open spaces are where people discover the value and benefits of public life. It is critical component of any community‟s quality of life. It is a defining element of the city itself. The city‟s open space system provides places for activity and engagement, for peace and enjoyment, and for freedom and relief from the built world. It serves the social and environmental health of the city, providing a sustainable environment. These actually confirm the city‟s image and identity. The squares and streets are the foremost in advocating this reality. These are actually the places for social activities and maturing of culture itself. As such, these are the evidence to the city‟s evolution, glory and also its decline. These are not only the breathing spaces of the city but are the places for interplay and interaction between people, activities, movement and urban forms. Moreover, these are the open air theatres for an array of displays: from the complex festivals, to the expertise of trade, to the frozen artistry of the astounding monuments that quietly shape these premier urban open spaces. 2
Historically, squares were the center of communities, and they traditionally helped shape the identity of entire cities. Sometimes a fountain was used to give the square a strong image. The image of many squares was closely tied to the great civic buildings located nearby, such as cathedrals. Today, creating a square that becomes the most significant place in a city that gives identity to whole communities is a huge challenge, but meeting this challenge is absolutely necessary if great civic squares are to return.
Scholars like Carr et al. (1992) and Lynch (1972) who have significantly contributed to the literature on squares see urban squares/plazas as common types of public spaces. Since the first urban formations, from Agora of the polis, and the open market places of Medieval towns, public spaces have always existed and been one of the fundamental components of cities. Public spaces are publicly accessible places where citizens can gather, linger or wander through and have positive social interactions with friends or strangers, facing differences and learning to understand and tolerate others. In other words it is where communities regenerate themselves through dialogue, action and reflection together with the variety and diversity of activities (Carr et al, 1992; Lynch, 1972; Francis, 2003; Madanipour, 1996; Ataöv, 2007; Akkar Ercan, 2007; Shaftoe, 2008).
More than being just arenas for good time, public spaces also represents a significant and indispensible part of the democratic community life, especially urban squares/plazas, a public property that serves as a site for free speech and free judgment of elected officials in full view of others (Worpole and Greenhalgh, 1996; Shaftoe 2008; Carr et al, 1992; Miller, 2007).
Along with the development of cities and societies, urban squares acquired more functions and, became one of the key elements of city design with their significant role of creating a gathering place for people, humanizing them by mutual contact and providing a shelter in the chaos of the city. The square, as a central formative element, makes the society “a community and not merely an aggregate of individuals” (Janicijevic, 2005; Zucker 1959).
Urban public squares, within the context of public spaces, are essential components of cities because they provide spaces for social interaction, which 3 thereby, support the civilization and humanization of people through hearing others and being heard by others, gathering, lingering and wandering through, and engaging into various activities. This, thus, can make significant contributions to the cultural development of communities.
In the last three decades, the concept of public space has been redefined within the context of urban space development. This is part of the process of structural change in political and economic terms. This, in turn, has led to social and spatial developments (as social polarization and spatial fragmentation) have occurred and new places as shopping malls, parking lots, fast traffic roads have begun to be produced and become as alternative public spaces to the traditional ones like squares, plazas and streets. These alternative public spaces, in many instances, are provided without taking into consideration the human aspects.
However, with the rapid pace of development, social shifting and subsequent commercialization, the image of these places is being lost into a characterless chaos. There seems a need of a vision for the whole city reinforced by comprehensive strategies and measures that can be dealt at local level which will help in bringing these places back to the people. Moreover, the remarkable design philosophies of these spaces confirming to the visual and functional principles could actually be the logical paradigm for future urban design of the city.
Everywhere in a city, there are many people enjoying places and a lot of temporary furniture such as wood benches, tea stalls and vendor‟s booths, which supported people‟s activity. But modern planning has been gradually eliminating them from public spaces.
In line with many scholars (e.g., Carr et al, 1992; Francis M., 2003; Shaftoe, 2008), this thesis argues that urban plazas are for people. For a square to be real, it has to be used by people (Shaftoe, 2008). How people see these spaces, their behaviors, needs and perceptions are the basic factors that designate the use of space‟. It is fair to state that the use of space should be a prerequisite for identifying the square a successful one. Successful urban plazas should be „responsive to the needs of their users; democratic in their accessibility; and 4 meaningful for the larger community and society” (Carr et al, 1992; Francis M., 2003).
Above all, motorization in the later 20th century took streets and other public spaces away from people. For the last few decades, some planners and designers have struggled to improve the quality of the city experience. It was one of their efforts to take public spaces back to people.
My research gives a perspective of identifiable physical element and discusses about how to bring back life in square as a public space according to enhancing the quality of elements. A square become vital when it is more identifiable for people; appropriate physical element would lead to better identity. So a better understanding and consideration of physical element has a contributory effect in improvement of a public square.
1.2 Problem statement:
A city is like a whole system that is formed by getting different pieces together. The cities and urban areas are designed to serve the people by providing facilities for people comfort and wellbeing. It is the main goal of the designer to provide appropriate answers for society‟s demands. In a well design city, psychological needs of the citizens are important as well as physical needs. A good city not only requires having street for auto transportation but also having to provide walk able public place for pedestrians. Squares as small part of the whole system are required to follow the main goal of the city. However, there are so many squares that are not covering different aspect of people life; considering the square as a traffic intersection that only exist to separate the auto orientation which formed and decorated with vegetation and cascade or fountains is not following the main goal of the city and it is not moving through the right direction. Such designs only cause to lose the social and aesthetic function of city. The concept of identity is almost lost in recent squares. The meaningful presence of people and their perception, action and movements which make the squares live and dynamic is not considered. The 5 awareness of the physical elements as an effective item to bring identity to the squares is significantly low.
1.3 Aim and Objective:
The aim of the study is to provide guideline for urban design project by putting forward the values, the structure and the identity of historical public square. Also to investigate the effect of physical elements on encouraging people to use square as a public place for improving livability with the following objectives:
1. To understand physical elements that creates identity 2. To find and recognize the effect of physical elements on identity of historic square.
3. To define a meaning of identity for historic square
1.4 Research questions
From the objectives the following research questions were developed.
1. What are the physical elements that create identity for the squares?
2. How the physical elements can effect on identity of historical squares?
3. What is the definition of identity for historical square?
1.5 Significant of the study
Well-designed spaces contribute to the quality of life in a city by offering an alternative to indoor environments, by creating places for encounters between various groups of citizens and, in the Dutch situation, by offering space for events and entertainment (Oosterman, 1992). 6
Identity theories are the main focus of the essay, but perspectives on place will shortly be described as an introduction. Urban squares are dynamic spaces in urban areas. Urban squares are becoming attractive and important nodes in the city as it present many functions ranging from traffic and commercial to a place that expresses social and cultural identity. As a showcase to the city, the square is an identity place through its image of the city (Lynch, 1960). Squares are microcosm of urban life, offering excitement and repose, public ceremonies, a place for people to meet friends and enjoy with surrounding context such as building and landscape. All this quality was there in Dutch square in Melaka. Moughtin (1992) and Krier (1979) defines urban square is both an area that framed by the buildings around an open space Concept Place and Identity:
Identity consists of the special place characteristics shared and loved by local users and foreign tourist in a place that makes them feel comfortable and at. Urban squares and plaza are the example which represents the urban fabric, culture context, and activity patterns of a city. Place is defined as a particular space which is overlaid with meaning by individuals or groups. This has been expressed succinctly as “place = space + meaning” (Harrison and Dourish, 1996). Relph (1976) defined place in the sense of significant of setting, landscape, ritual, routine, other people, personal experience, care and concern for home and the context of other place.
The findings of this study can provide useful design principles by which the urban squares can be revised to become more responsive to users preferences. Moreover, the findings can also be applied, in general, to the design of successful urban squares.
1.6 Scope of study
The context of the study will be focusing on the historical square in Melaka heritage zone .In order to generate understanding on physical aspect of urban square, observations on this aspect give visual values and character to the historical square should be conducted. The study will focus mainly on the physical elements in the 7 historic square of the historic living city setting as the main factor that portray the communal sprit and enhance the identity of the square. Therefore the existence of community activities and its relationship with surrounding built environment and physical elements will be analyzed.
1.7 Research methodology
Later in the thesis I will discuss in greater detail the research design and methodologies adopted for the study. A combination of both quantitative and qualitative methods of collecting data has been used. The quantitative methods consisted of questionnaires. Users will be given a questionnaire and invited to fill it in during their stay at the area, so that the answers would reflect their immediate experiences and ask about their reasons for using the square as an open space. They will also be asked to evaluate the quality and identity of the square through the effect of physical element and its components. The qualitative methods consisted of a field observation and content analysis. The secondary data will be collected from other documentations, pictures, websites and books. Many of the underlying ideas that form the basis of this thesis have been drawn from the current literature in the fields of public open space, physical elements in urban square and identity of place physical elements , from reliable internet websites and local and regional media. This multi-methodological approach to collecting data has enabled an understanding of not only how public spaces are shaped by the planners, designers and public authorities, but also how certain issues impact on, and influence the users of public spaces.
The observation was carried out to support the collected data. In sum the analysis of the study will be limited to the following issues:
- Identity of space: Which elements are more identifiable for people? - Motives for use: Why do people visit the area? Why don‟t residents use the area? For what purpose is the public using these urban open spaces today? - Emotional dimension and perceived benefits: Which feelings do people experience in the square? What are the benefits of square to the public? 8
Figure 1.1 Flowchart of overall study method
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CHAPTER 2
LITERATURE REVIEW
This chapter presents the theoretical framework of the study related to the definition of the square concept within the context of urban space. This section makes a definition of urban square with a gradual approach in reference to the urban space and public space discussions. The section also introduces the roles of the square, recent increasing interest on it and the design criteria and then I will look into how physical design factors affect the people in the square and how they can optimize the quality of the squares and thereby increase the activities and life in the square which effect on identity and character of square.
2.1 DEFINING URBAN SQUARE
This section of the chapter introduces the definition of urban square within various frameworks. In the first part, it focuses on the meaning of square within the spatial context. In the second part it presents the roles and functions of the square. Then in the third part, it puts forward the discussions on recent increasing concerns about the square. Finally it concentrates on the design principles of a good urban square.
The open space uses for public concept of urban plaza, piazza and square. In this respect urban squares have a social aspect regarding its public dimension and a spatial aspect due to its physical organization. In all probability, the public square was the first way that humans used urban open space. It is produced by the grouping of houses around an open space. This kind of courtyard frequently came to bear a 10 symbolic value and was therefore chosen as the model for the construction of numerous holy places (Krier, 1979). The square has been widely accepted as being a distinct and unforgettable place (Lynch, 1961) and a psychological parking place within the civic landscape (Zucker, 1959).
Scholars further detailed the definition of urban square. Jackson (1985) defines urban square as the “urban form that draws people together for passive enjoyment” (cited in Marcuse & Francis, 1998). According to Lynch (1981) urban square is the activity focus in the center of dense urban areas. He states that “it will be paved, enclosed by high density structures, and surrounded by streets, or in contact with them. It contains features meant to attract groups of people and to facilitate meetings”.
Krier (1979) who deals with urban space with a physical perspective, on the other hand, puts square to the center of city design together with streets. He emphasizes the importance of the location of and functions engaged to the square in order to generate activity twenty-four hours a day. Moughtin (2003) who similarly sees urban plaza as the fundamental component of the city design, defines urban plaza as an area framed by buildings and an area designed to exhibit its buildings to the greatest advantage.
Marcus and Francis (1998) defined the square with its spatial, physical dimensions as follows; plaza is a mostly hard surfaced, outdoor public space from which cars are excluded. Its main function is as a place for strolling, sitting, eating, and watching the world go by. Unlike a sidewalk, it is a place in its own right rather than a space to pass through. The great cities of the world are renowned for their grand urban squares which are tourist attractions in their own right. For example Trafalgar Square in London and Piazza San Marco in Venice. However, it is the smaller vibrant urban squares that complement these and are a focus for the local community that are the foundation for the life of the central city and activity centers. Consequently, squares are publicly accessible, open spaces which covers variety of functions in various spatial organizations. The next section will identify the roles and functions of squares.
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2.1.1 URBAN SQUARE WITIHIN THE SPATIAL CONTEXT
This part concentrates on the meaning of urban square within the spatial context. To do that, this section of the study gradually focuses on the urban space, public space and finally urban square (Figure 2.1).
Figure 2.1: Gradual spatial context of approaching urban square
2.1.1.1 URBAN SPACE
Norberg-Schulz (1979) defines space as the three dimensional organization of the elements, a three dimensional geometry. Urban space, on the other hand, is directly related with people, objects and events (Madanipour, 1996), where streets, squares, parks, playgrounds and gardens are all voids that have been limited or defined to create an enclosed space by the surrounding structures (buildings etc.) (Zevi, 1957, cited in Madanipour, 1996). Similarly Trancik (1986) and Norberg- Schulz (1979) pointed out the creation of enclosure as a significant factor for the perception of space.
Colquhoun (1989) defined urban space as social space and built space. While built space concentrates on the physical space and its morphology, the way it affects our perceptions, the way it is used and the meanings it can elicit. Social space deals with the spatial implications of social institutions. Colquhoun(1989) claims that the traditional differentiation of social and physical space depends on the role of social functions, similar to the modernist approach: form follows function.
Some other scholars deal with space through a different conception. They define urban space as it is perceived by senses and intellectual interpretations (Madanipour, 1986). This approach further detailed by the studies on real space and mental space. Lefebvre is one of the leading scholars who offer a way to fill the gap 12 between mental and real space (Madanipour, 1996). In order to fill this gap, he introduces the concept of social space, the space of social life, of social and spatial practice (Madanipour, 1996). He asserts that the mental, physical, and social dimensions of space should not be kept separate.
Lefebvre (1991) puts forward the three moments of social space as: perceived, conceived and lived spaces which he thinks to be interconnected. He introduces the representational space in the moment of lived spaces. This is the “space as directly lived through its associated images and symbols, and hence the space of inhabitants and users. Representational space is the overlapping physical space and making symbolic use of its objects (Madanipour, 1996).
Besides these space discussions, place is also a significant notion that is to be considered within this context; since it is a part of space that is occupied by a person or a thing, and is endowed with meaning and value (Madanipour, 1996). In other words, place is the sensual experience of space. Madanipour (1996) states that “if space is allowing movement to occur, place provides a pause”. Norberg-Schulz (1979) defines the concept of place as “something more than abstract location a totality made up of concrete things having material substance, shape, texture and color”. Moreover, apart from these physical properties, Trancik (1986) associates the concept of place with the cultural and human characteristics, stressing the contextual meaning based on the cultural or regional scope of the space, as what makes a space a place with a unique character. These intangible cultural aspects of place are fundamental for people to develop themselves, their social lives and their culture (Trancik, 1986). The Latin concept for sense of place is genius loci, which suggests that people experience something beyond the physical or sensory properties of places, and can feel an attachment to a spirit of place (Jackson, 1994).
Building on the ideas of some scholars such as Relph (1976) and Canter (1977), Punter (1991) and Montgomery (1998) identified the elements of sense of place. Following figures show the components of sense of place. 13
Figure2.2: Elements of the sense of Figure 2.3 : Elements of the sense place according to Punter (1991), of place according to Montgomery Source: Carmona et.al.2003. (1998), Source: Carmona et al., 2003
Both Punter and Montgomery set out the elements of place as activity and physical form; in addition to these, the image and meaning, mainly putting emphasis on people, their perceptions, values and meanings (Carmona et.al. 2003). Place making is significant for the creation of successful public spaces, which constitutes a particular setting in which the social life takes place.
2.1.1.2 PUBLIC SPACE
In John Gehl (1987) famous terms, public space is “the life between buildings together with such basic qualities as presence of other people, activities, events, inspiration, and stimulation”.
Carr et.al. (1992) defines public space as the common ground where people carry out the functional and ritual activities that bind a community, whether in the normal routines of daily life or in periodic festivities. Tibbalds (2001) sees public realm as the most significant element of cities and towns where public have physical and visual access and most importantly human contact and interaction is realized.
Besides the concerns on public accessibility, public spaces deal mainly with bringing people together (Trancik, 1986). Public spaces are spaces where citizens can gather, linger or wander through and have positive social interactions with friends or strangers, facing differences and learning to understand and 14 tolerate others. In other words it is where communities regenerate themselves through dialogue, action and reflection together with the variety and diversity of activities. (Shaftoe, 2008; Worpole & Greenhalgh, 1996; Francis, 20034; Ataöv, 2007; Akkar Ercan, 2007).
Public space concept covers a wide range of roles and functions in a variety of physical setting such as streets, squares, plazas, market places and parks. As also Lynch (1960) emphasizes, public spaces are the significant nodes and landmarks in the cities; and in this respect, this study aims to focus on the public urban spaces such as squares and plazas which are the fundamental types of public spaces contributing to the city designs as the key elements (Krier, 1979; Moughtin, 2003).
2.1.1.2.1 The relationship between building, monuments and public
squares
In ancient city where have been remained alive for ages, especially in Italy, public square still follow the type of ancient forum(Sitte 1889).their natural relationships with the building enclose them may still be perceived. There was the tendency to concentrate outstanding buildings at the single place and to ornament this center of community life with fountains, monuments and statues. These ornaments can bring back historical memories which during the Middle Ages and the renaissance were the pride of each city .Traffic was most intense at these places and public festivals were held there. During the Middle Age and Renaissance public square where formal with the building enclose them where often use for practical purposes. But nowadays local characteristic are gradually disappearing from modern city. Cities are lacking of distinct character .Today they serve as the best places for stationing vehicles and they have no relation which dominates them. The fundamental difference between the procedures of former time and those of today rest in the fact that we seek the largest space for each little statue (Sitte,1889). Ancient erected their monuments by the sides of public square. Contrary to this today the middle part of the public place is held for monument. 15
The historical development of the public square varies according to the locality. Modern architect usually proffered choosing the center of the public place for the placement of the statue. The location of the monument on the axes of monumental buildings should be avoided. It might conceal the worthwhile architecture from the eyes (Sitte,1889).This principal was understood by ancient Egyptian. Public Square owns its name to uniformly enclose expanse at the center of the city. Now this term is use to indicate any parcel of land bounded by four street.
2.2 ROLES OF URBAN SQUARE
This part of the study focuses on the roles and functions of contemporary urban squares. It gives brief information about reasons of using a square and identifies the utilities that squares provide. Urban squares have a variety of roles and functions since they are the essential forms of public spaces that attract large number of people with a wide range of activities. Looking at the agora of Ancient Greece, sets out the basic roles and functions of a plaza. William Whyte (2009) quotes from R. E. Wycherley‟s (1969) study of the agora, in order to highlight the “parallel” roles that are still considerable today. Wycherley (1969) writes as follows:
“A fairly open space was all that was needed. A roughly central site was adopted, since the agora had to provide a convenient focus for the city life in general and for the main streets. The same free space sufficed for all kinds of purposes. Here people could assemble to be harangued; the only equipment needed was some sort of tribune for the speakers, and possibly seats for men of dignity.”
Whyte (2009) states that the agora was a sociable space since it allowed one to amble through and pause to chat with a friend under the shading trees and it provides a number of convivial places at which to stop. Whyte puts out such major roles of agora as political, economic and social roles, pointing that they are valid even today. With the idea of agora in mind, the contemporary roles of squares will subsequently be identified.
Urban Square is a place where people gather and fulfill their variety of social, cultural, political and economic needs. It is a place where people have positive social 16 interactions, meet each other, have lunch, hold a friendly chat, watch the world go by, read something, rest for a while or shop around. Besides, urban plazas are the stages of political debates yet today this is not the main function as it used to be (Tavakolian, 1990; Whyte, 2009).
In general, similar to the overall public spaces, an urban square has physical, ecological, psychological (including mental health and wellbeing), social (including learning experiences and human communication), political, economic, symbolic and aesthetic roles (Akkar Ercan, 2007; Shaftoe, 2008; Tavakolian, 1990).
2.2.1 PHYSICAL ROLES
The physical conditions of urban squares have consequences as to how easy and physically comfortable it is to use these spaces. It is presence of people in the space and in the buildings surrounding them that then makes for a safe welcoming environment. Physical roles of squares include tools and facilities in order to serve for the daily needs of people. Squares provide a pausing space to rest, furniture to sit, a place for convenience facilities and various economic (places for commercial activities such as shops etc. and service sector facilities such as banks, post offices etc.), social (places for health, education, administration etc. and cultural facilities) and political activities. Furthermore they create diversity within the public spaces provided throughout the city (Akkar Ercan, 2007; Gül, 1993).
2.2.2 SOCIAL ROLES
Squares, as places serving mainly for the social interaction of people, have vital social roles. Being open to everyone, squares play a significant role to learn coexistence and encounter with a number of people of different age groups, gender, origins and social status (Tavakolian, 1990; Akkar Ercan, 2007). This is the process of social learning provided by plazas. They are the places where people with different norms, behaviors and cultures come together and learn about their community (Shaftoe, 2008). In this respect, the interaction and communication 17 between distinct groups of a society contribute to the development of social coherence, community life and thus a sense of community (Akkar Ercan, 2007, p.117; Trancik, 1986).
Additionally, a square can maintain individual‟s identity, regarding the sense of belonging to the place (Tavakolian, 1990). By providing such a connection between the place and the self in relation to others can create a sense of identification as emphasized by Lynch (1960) with perceptual identity.
2.2.3 SYMBOLIC ROLES
Symbolic roles associated with squares are common throughout the history. The symbolic meaning dedicated to a place is the most significant element for its perception (Moughtin, 2003). The concept of identity in this respect is directly related with symbolic roles of a plaza.
According to Lynch (1960) identity represents a particularity of an object in the whole context, with the meaning of individuality or oneness. The awareness of people about their surrounding environments are strongly related with the architectural and urban forms and the meanings they attribute to them. Therefore squares can give identity to the places, with their particularity as a form of urban public space, where they are located (Akkar Ercan, 2007; Moughtin, 2003). For instance, Piazza San Marco in Venice, the Spanish Steps in Rome or the Trafalgar Square in London are regarded as the public images of their cities (Akkar Ercan, 2007).
Squares furthermore can become distinct places for a group of people or a society within which, there exists such a collective cultural, historical, religious or other social and political values for them (Akkar Ercan, 2007). Symbolic roles of a square in this context contribute to the continuity of a group or society and enhance the ties between the members (Akkar Ercan, 2007).
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2.2.4 AESTHETIC ROLES
As primarily emphasized by Camillo Sitte (1965) in his seminal book, City Planning According to Artistic Principles, aesthetic concerns are crucial for a beautiful plaza and town. Therefore, aesthetic roles of squares are significant for beautifying towns and cities.
Aesthetic roles of squares, together with symbolic roles, address to the people‟s senses and feelings. They affect minds and senses of people, and lead to a positive or negative influence on them (Shaftoe, 2008). Thomsen (1998) points out that, Architecture without sense appeal makes people, moody, grumpy, at first emotionally unsatisfied and then physically ill. Kaplan and Kaplan (1989,) also emphasize the significance of aesthetic roles by seeing them as a guide to human behavior that is both ancient and far reaching.
Aesthetic elements are mainly visual ones. Visual impression of such a space is the most effective sensory experience of individuals (Shaftoe, 2008; Landry, 2006). Yet, on the other hand, squares also address to the senses other than seeing, namely hearing (covering traffic noise), feeling of warm and cold (shade and sun), smelling (urban pollutants) and touching (textural qualities, surfacing types and built features) (Shaftoe, 2008). In other words, aesthetic experience of a place is a combination of several senses (Shaftoe, 2008).
2.3 GOOD URBAN SQUARE DESIGN CRITERIA
This section of the study focuses on the design criteria for the production of successful urban squares, considering both its design aspects and user‟s aspects.
There has been a recent interest on public spaces and especially, on creating better ones. The question of what constitutes such a better space? has various answers, however it is quite difficult to know and organize the right conditions for the creation of a successful place.
There a number of studies dealing with the success of urban places, some have a physical approach (Cullen, 1961), and some others have a 19 psychological approach (Alexander, 1979; Lynch, 1960). And on the other hand, there are studies that provides an approach which is a combination of both physical and psychological approaches (Jacobs, 1960; Whyte ,1980; Gehl, 1989).
Within an approach that covers both physical and psychological aspects, Punter (1991) and Montgomery (1998) emphasize form and activity, besides image and meaning (those mainly dealing with people, their perceptions, values and meanings) in terms of place making.
Montgomery (1998) introduces the concept of form that should fit to activity and create a positive image for a strong sense of place. Activity is related to the concepts of vitality and diversity, where vitally signifies a major role for the success of a place by referring to the number of people in and around the place during different time periods engaged into various facilities or cultural events etc; and diversity acts as a generator of vitally through management of providing diversity of primary land uses and activities (Montgomery, 1998). In this regard, for more vital and lively places, the golden rule is to mix the activities (economic, social and cultural) within adequate population densities. Image is a combination of what a place is actually like (signifying the identity of a place: its physical form and setting) and how a place is perceived (Montgomery, 1998). Apart from these, image is directly related with the activity provided in the place and its built form as well.
On the other hand, Carmona et al. (2003) see urban space design as a multi- dimensional concept and introduce such following dimensions: morphological, perceptual, social, visual, functional and temporal, which could be implemented for the creation of successful public spaces including urban squares as well.
Morphological dimension deals with the shape and form of the environment and identifies the major patterns in terms of blocks, streets, squares and buildings (which physically and socially defines the forms of these spaces). Perceptual dimension deals with the meanings attributed to the built environment by people and introduces the concept of sense of place. In terms of social dimension, relationship between society and space is considered (how people use the public space). Visual dimension is about the aesthetic concerns and technical information. Functional dimension covers the functions provided for the user‟s needs. Temporal dimension deals with the time concept of the spaces (such as 20 different activities taking place at a space, in different times; different policies, projects implemented within various time cycles etc.).
Success of the public spaces are in a direct relation with the existence of public (people); and thus, in order to sustain the success, public space should provide what people want in an attractive and safe environment (Carmona et al, 2003). The Project for Public Space (1999, cited in Carmona et al, 2003) defines successful places according to comfort and image, access and linkage, uses and activity and sociability of the places. So to really succeed, a square must take into account a host of factors that extend beyond its physical dimensions.
1. Image and Identity
Every place has an identity. Image, on the other hand, is a combination of this identity and the perceptions of those who use it or pass through it (Montgomery, 1998). To individuals, the image of a place represents their feelings and impressions, based in part on their values, beliefs, and ideas (Montgomery, 1998); it also represents a wider set of group or cultural values, beliefs, and ideas or meanings associated with the place. Rapoport (1977 cited in Nasar, 1998) mentions about this identity as:
“Cities and parts of the cities have a sensory quality or character that we can easily notice.” Image and meaning derive from the activities one finds in a place and perceptions of the built form its aesthetics, functionality, and public space-all of which create a sense of place (Montgomery, 1998). Many writers define this quality as the character or atmosphere of urban places (Jiven et al., 2003; as cited in Cullen, 1961; Conzen, 1969; cited in Montgomery, 1998).
The term urban image is interpreted as one of the important components of sense of place in urban space. The notion of identity is a fundamental one in everyday life.Heidegger(1969) has written: Everywhere, wherever and however we are related to beings of every kind, identity makes its claim upon us. The identity of something refers to a persistent sameness and unity which allows that thing to be differentiated from others. 21
Such inherent identity is inseparable from identity with other things; Erik Erikson (1959), in a discussion of ego identity, writes: The term identity connotes both a persistent sameness within oneself and a persistent sharing of some kind of characteristic with others Thus identity is founded both in the individual person or object and in the culture to which they belong. Kevin Lynch (1960) defines the identity of a place simply as that which provides its individuality or distinction from other places and serves as the basis for its recognition as a separable entity. This tells us only that each place has a unique address, that it is identifiable Ian Nairn (1965) offers some expansion of this: he recognizes that there are as many identities of place as there are people, for identity is in the experience, eye, mind, and intention of the beholder as much as in the physical appearance of the city or landscape. We experience more or less the same objects and activities and because we have been taught to look for certain qualities of place emphasized by our cultural groups. Certainly it is the manner in which these qualities and objects are manifesting in our experience of places that governs our impressions of the uniqueness, strength, and genuineness of the identity of those places. The identity of a place is comprised of three interrelated components, each irreducible to the other physical features or appearance, observable activities and functions, and meanings or symbols. There is an infinite range of content within each of these ant numberless ways in which they can combine. Hence there is no discernible limit to the diversity of identities of places, and every identifiable place has unique con tent and patterns of relationship that are expresser and endure in the spirit of that place. But it is not feasible to argue that uniqueness and the individuality of identity are the only important facts in our experiences of places.
Historically, squares were the center of communities, and they traditionally helped shape the identity of entire cities. Sometimes a fountain was used to give the square a strong image. Think of the majestic Trevi Fountain in Rome or the Swann Fountain in Philadelphia‟s Logan Circle. The image of many squares was closely tied to the great civic buildings located nearby, such as cathedrals, city halls, or libraries. Today, creating a square that becomes the most significant place in a city that gives identity to whole communities is a huge challenge, but meeting this challenge is absolutely necessary if great civic squares are to return. 22
Figure 2.4: A Popular Square in Copenhagen, Denmark.
2. Attractions and Destinations
Any great square has a variety of smaller places within it to appeal to various people. These can include outdoor cafés, fountains, sculpture, or a band shell for performances. These attractions do not need to be big to make the square a success. In fact, some of the best civic squares have numerous small attractions such as a vendor cart or playground that, when put together, draw people throughout the day.
Figure 2.5: Ghirardelli Square, San Francisco.
3. Amenities
A square should feature amenities that make it comfortable for people to use. A bench or waste receptacle in just the right location can make a big difference in how people choose to use a place. Lighting can strengthen a square‟s identity while 23 highlighting specific activities, entrances, or pathways. Public art can be a great magnet for children of all ages to come together. Whether temporary or permanent, a good amenity will help establish a convivial setting for social interaction.
Figure 2.6: Circular benches provide a comfortable place to sit in Rockefeller Center, New York City.
4. Flexible Design
The use of a square is changed during the day, week, and year. To respond to these natural fluctuations, flexibility needs to be built in. Instead of a permanent stage, for example, a retractable or temporary stage could be used. Likewise, it is important to have on-site storage for movable chairs, tables, umbrellas, and games so they can be used at a moment‟s notice.
Figure 2.7: Tennis on the square, Copenhagen
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5. Access
To be successful, a square needs to be easy to get to. The best squares are always easily accessible by foot: Surrounding streets are narrow; crosswalks are well marked; lights are timed for pedestrians, not vehicles; traffic moves slowly; and transit stops are located nearby. A square surrounded by lanes of fast moving traffic will be cut off from pedestrians and deprived of its most essential element people.
The attributes of „the most sociable spaces‟ (which are more physical ones) introduced by Whyte (1988, cited in Carmona et al, 2003) are as follows:
- “A good location, preferably on a busy route and both physically and visually accessible. - Streets being part of the social space fencing off a space from the street isolated it and reduced its use. - Being level or almost level with the pavement (spaces significantly above or below this were less used). - Places to sit both integral (e.g. steps, low walls); and explicit (e.g. benches, seats etc.). - Moveable seats, enabling choice, and the communication of character and Personality.
Another important factors included sun penetration, the aesthetics of space (what mattered was how people used it), and the shape and size of spaces.”
In this respect, considering the concepts and attributes introduced in literature within the context of various studies on successful places; such elements, making a better space and in the end a successful urban square, as activity, diversity, image, form, enclosure, density, vitality, safety, comfort etc. can be categorized due to the geographical, physical, behavioral, psychological and managerial aspects regarding also the classification made by Shaftoe (2008).
Geographical aspect responding the question of where deals with the location of the square, its accessibility and the catchment area.
Physical aspect covers first of all, the form of the square, then its size, and visual complexity (visual and aesthetic elements, from seating, 25 landscaping to subspaces, shelter and protection from sun and cold , lighting, human scale etc.).
Elements such as quality formal (benches) and informal seating (steps) and lighting incorporated into the design can contribute to the squares identity and character.
Behavioral and psychological aspects deal with the user‟s needs that are to be satisfied in a public space, as in case of this study: the square. It includes, comfort, safety and security, relaxation, passive and active engagement, discovery and joy.
Managerial aspects include strategies and programs in order to provide and sustain the success of the square focusing mainly on diversification of uses and activities embedded within the square for every segment of the community, with respect to the diversity of users from different cultures, different genders and age groups; and deals with eating and drinking opportunities, vending, and maintenance issues.
2.3.1 GEOGRAPHICAL ASPECTS
This part introduces the attributes as location, accessibility and catchment area constituting the geographical aspect of a good urban square.
2.3.1.1 Location
Location is one of the major factors that direct people to use such a specific public place. Whyte (2009) about public spaces stated that the space should be in the heart of the downtown. Public spaces are functioning at the optimum level in central locations (Shaftoe, 2008). Mixed-use urban environments provide various uses and facilities (such as offices, shops, residential areas, hotels, retail stores, cafes, restaurants etc.) for a variety of people (different genders, different age groups etc.) Within a close distance to or on a busy route are most convenient places for public 26 spaces to locate and stay lively during day and night and at weekends (Shaftoe, 2008; Tibbalds, 2001; Marcus & Francis, 1998).
2.3.1.2 Accessibility
Accessibility is the another major point contributing to the success of a public space. Location of a square directly influences the accessibility regarding whether it is located within a close distance to main pedestrian and vehicular traffic routes and transportation nodes (referring to the accessibility of the square by all means of transport (vehicular), but not being dominated by them) (Shaftoe, 2008). Whyte (2009) introduces a visual accessibility concept apart from physical accessibility for the catchment of people. In other words, the visual access (visibility) of an urban square is important for the society‟s utilization from the square (Marcus & Francis, 1998).
2.3.2 PHYSICAL ASPECTS
The physical environment refers to the endless visible and tangible features that are largely controlled planners, designers and built environment professionals. Not unlike buildings, outdoor public spaces can be enclosed by three representational planes: floor, wall and possibly ceiling (Lewis 1996; Beattie and Lehmann 1994; French1978).
Ground surfaces such as grass, dirt, concrete or paving. The walls can be represented by the buildings that adjoin the space or the existence of any vegetation, significant land form or topography. The ceilings of a public space can be represented by the sky, a canopy of vegetation or natural phenomena such as a persistent fog or shadow (Lewis 1996; Mitchell et al. 2004).
Accordingly, the relationship between people and the physical environment is linked not only to vision, but to all the human senses including smell, sound and touch (Gifford 2002; Lewis 1996; Veitch and Arkkelin 1995; 27
McAndrew 1993; Mehrabian and Russel 1974). Although the enclosure of space is perceived three dimensionally through vision, perception is not independent of other spaces and can be modified when other senses respond to the physical surroundings.
This part introduces the attributes related to physical aspects of an urban square as form, size and visual complexity.
2.3.2.1 Form of a Square
The very first issue about the physical existence of a particular space is its shape, morphology or form. Visual and kinesthetic (involving awareness of movement of all parts of the body) experiences generates the individual‟s perception of the form of the built environment (Carmona et al., 2003).
Built environment is experienced and perceived as a whole rather than with its singular parts, yet however it is the singular attributes that constitute the whole structure; in this respect, Gestalt psychologists states that order and coherence comes from the grouping and recognition of patterns, and to make environments more coherent visually we use principles of organization or grouping to create good form from the parts (Carmona et al., 2003).
Another significant point about the form of a plaza made by Camillo Sitte (1965) in his seminal work, City Planning According to Artistic Principles, is the sense of enclosure; where Sitte states that ,the main requirement for a plaza, as for a room, is the enclosed character of its space (Sitte, 1965). The Figure 2.8 illustrates the formation of enclosure. The surrounding forms define the central form. Although there are differences between a two dimensional perception (from above) and a three dimensional perception (through walking in) of a plaza, if the enclosing forms are shaped in the mutual agreement that a volume exists, then we sense the shape of the volume (Childs, 2004). 28
Figure 2.8: Formation of enclosure, Source: Childs, 2004.
For the perception of an implied figure, corners of the surrounding elements, buildings are critical as illustrated in Figure 2.9 (Childs, 2004). Second group with elements having sharp corners creates an image of a larger circle and square, however the first group fails to create such an image.
Figure 2.9: Corners impact on creating form, Source: Childs, 2004.
Hillier (1996 cited in Carmona et al, 2003) with a distinct perspective argues that, sense of enclosure should not necessarily be the primary concern of the contemporary public spaces; according to him, the major point of users is integration (connectedness as Hillier calls), in this respect, designers should focus on their movement patterns and create connected systems.
However, a degree of enclosure is needed regarding the form of a square since it creates a feeling of security (Carmona et al., 2003) and according to some scholars people prefer a defined openness (open but bounded spaces) (Nasar, 1998, cited in Carmona et al., 2003) 29
According to Krier study there are three major shapes (squares, circles or triangles) that are to be modified through angling, segmentation, addition, merging, overlapping and distortion; resulting with regular or irregular forms which might be open (to the environment) or closed (by walls, arcades, colonnades from the streets around). The number of intersecting streets and position of the entry points as well designates the closed or open character of the square. The shapes can also be modulated by a variety of sections and in various elevations which in turn influences the quality of the space.
Public spaces are mainly called as squares regarding their shapes; however, there are many spaces within various shapes. As Shaftoe (2008) argues, curves and bends in public spaces offer intrigue and prospect of something interesting round the corner. Similarly a number of scholars see straight lines and rectangular forms as unnatural and alien to human beings (Christopher Alexander; Hundertwasser cited in Shaftoe, 2008). Although there are a great variety of shapes, form is a significant element for the physical perception of a square/plaza.
2.3.2.2 Size of a Square
Size of a plaza depends on the context and the location that the square takes place. The dimensions of plazas represent the character of the space whether it is friendly, cozy, intimate, political, unfriendly etc. (Shaftoe, 2008). Shaftoe (2008) argues that very large spaces may feel unfriendly, and too small spaces on the other side may feel claustrophobic. In this respect, there should be an optimum dimension for a successful urban square.
2.3.2.3 Visual Complexity of a Square: Visual and Aesthetic Elements
According to many studies on visual complexity, visual and aesthetic elements (such as seating and landscape elements) are significant components of a successful plaza in physical terms (Marcus & Francis, 1998). Alexander et al. (1977) point out center and edge as the major design factor in a public space 30 noting that without a middle a public space „is quite likely to stay empty (1977) and the life of a public square forms naturally around its edge. If the edge fails, then the space never becomes lively (1977). Visual and aesthetic elements taking place in centre and edge of a square are as follows, seating; hard and soft landscaping such as paving, planting (natural elements); street furniture; shelter and protection (microclimate); subspaces; lighting, human scale and public art.
2.3.2.3.1 SEATING
The most significant visual element that is to be provided in an urban square is the sitting places. William Whyte‟s (2009) pioneer study points out that the major factor designating the success of a square is not the location or size but the amount of suitable space. According to Whyte (2009) sitting space is most certainly prerequisite. Whatever the attractions of a space, it cannot induce people to come and sit if there is no place to sit.
As far as squares, plazas are gathering, pausing and resting places (apart from serving for the activities such as walking through), a variety of sitting, leaning and resting opportunities should be provided (Marcus & Francis, 1998). Whyte (2009) states that people tend to sit most where there are places to sit, however there is a diversity between users of a square in terms of where they would like to sit (such as on the edge looking out, on the edge looking in, around square edges, on islands, or in secluded alcoves) (Marcus & Francis, 1998). The right type of seating should be placed in the right place according to those varying demands (in terms of both location and form of seating).
People generally prefer to sit not too close to traffic and sidewalks and not too close to building entries and mainly select the edge of the squares at first (Marcus & Francis, 1998). Pointing out the feeling of security that enclosure provides, Alexander et al (1987) similarly state that when a person looks for a place to sit down outdoors, he rarely chooses to sit exposed in the middle of an open space he usually looks for a tree to put his back against; a hallow in the ground, a natural cleft which will partly enclose and shelter him. 31
Places to sit: Primary and secondary sitting places
Primary sitting places are provided formally in the squares like benches and chairs. Secondary sitting places on the other hand, are provided informally in term of steps, ledges, building walls, planter bed edges, mounds of grass etc. Such secondary sitting places contribute to the presentation of a square by providing a balance in its empty look when there are a few people in the place; instead of the look which is intimidating and unwelcoming when the plaza is only composed of a row of benches (Marcus & Francis, 1998).
Steps and ledges are the simplest places to sit but the best places that can offer many sitting options (Shaftoe, 2008; Marcus & Francis, 1998). As Childs (2004) argues these places suggest a different set of social possibilities than do chairs and tables. Other than steps, the corners of pools and planter-bed edges are used for sitting as well. Consequently, the more articulated the edges and ledges are, the more they will probably be used (Marcus & Francis, 1998).
Shaftoe (2008) also points out the notion of observation as an enjoyable activity (signifying that users would like to observe other people), thereby Shaftoe emphasizes vantage points being significant components in the whole setting of plazas and sitting places should be designed considering this kind of a use.
Leaning is a type of a pedestrian activity which can also take place in a square that people would prefer when they do not want to sit aside but they would like to observe the scene within a standing position (Shaftoe, 2008; Childs, 2004). Squares should provide spaces for leaning such as a piece of public art, plinth, bollards, parking meters, lampposts or suitable walls (Shaftoe, 2008; Childs, 2004).
To conclude, seating is probably the most significant component of a successful square; and in this respect should be provided within various forms, styles and materials. A variety of seating places can be provided in different subspaces of a square, provision of moveable seating opportunities may attract users and child size tables and chairs may draw on children‟s attention (Childs, 2004). 32
2.3.2.3.2 LANDSCAPING
Landscaping is a significant component of a successful square within its physical existence which make contributions in ecological and psychological Terms as well. Floors cape as Carmona et al. (2003) call is composed of hard pavement and soft landscaped areas. In this study landscape elements will be studied under the headings of hard landscaping and soft landscaping.
Hard Landscaping
The character of a hard landscape is related with the material used for surfacing and cladding such as brick, stone, marble, concrete etc. Creating a floor pattern has utilitarian considerations as well as aesthetic concerns (Carmona et al., 2003).
Paving has aesthetic contributions in terms of introducing scale to urban spaces. For instance, stone paving slabs introduce a human scale and thus make the large, hard spaces easier to perceive (through human proportions) and handle with (Carmona et al., 2003). Floor patterns can also affect and divert one‟s perception of a space‟s actual dimensions by using particular elements and ornamentations (Carmona et al., 2003). Within this context, paving pattern contributes to the provision of a sense of place, regarding the visual expression of the floor representing a sense of stopping or staying in case of squares (Childs, 2004; Carmona et al., 2003).
Carmona et al. (2008) reviews the functions of floor paving in a square as follows, Providing a sense of scale, unifying the space by linking and relating the centre and edges and bringing order to what might otherwise be a disparate group of buildings (by using a simple geometric paving pattern a stable center to the plaza can be Provided).
Childs (2004 ) introduces another function of floor paving which is serving as a game board. It is a feature that can significantly contribute to the social life taking place in the square. Finally, paving of a square can become the 33 symbol of the space and concurrently can aid the image and identity of the place (Childs, 2004).
Soft Landscaping
Soft landscaping is a significant element as well as hard landscaping for creating identity and image of a place. Soft landscaping covers natural elements such as plants, shrubs, trees, grass and lawns. Planting is an advantageous action regarding its contributions to the success of a square within psychological, well- being, aesthetic and practical aspects (Shaftoe, 2008; Carmona et al., 2003).
There should be a variety of natural elements such as flowers and trees providing also a variety of color, texture, height and degree of shade serving for the users in a square, in order to enhance the square‟s visual complexity (Marcus & Francis, 1998) Trees can contribute greatly to the attraction and character of a space by providing shade and good access to winter sun where winters are cool. Subject to careful species selection they can also offer seasonal variety and, allow people to hear birdsong etc. The height of the planting should not be interrupting any user‟s sight line and prevent their visual access (to an activity space, passer-by or fountain etc.) (Marcus & Francis, 1998).
2.3.2.3.3 STREET FURNITURE
Street furniture is a general term used for the furniture and the other equipment taking place in the urban space including hard landscape elements apart from paving such as lighting elements, lampposts, planter beds, benches, bollards, litter bins, boundary walls, railings, gazebos, kiosks, fountains, monuments, statues (in a sense, public art is a kind of street furniture, yet it will be discussed further in following sections) (Carmona et al., 2003; Childs, 2004). Street furniture significantly aids the development of image and identity of a place, by increasing the quality standards and expectations of the environment (if properly organized and provided). In this respect, in order to enhance local identity and create suitable and 34 particular furniture for an urban square, designers may be commissioned to produce particular furniture (Carmona et al., 2003).
2.3.2.3.4 SHELTER AND PROTECTION: MICROCLIMATE
The fundamental aim of a successful square is to assure the comfort of its users; unless squares are comfortable, they will not be preferred and used. Such climatic elements as sun, shade, temperature, rain, snow, wind, and humidity affect the user‟s feeling of comfort (Carmona et al., 2003; Marcus & Francis, 1998).
Microclimate, having influences on users comfort (in terms of feeling warmth or coolness), can be designed through proper organization of streets and buildings around the square and use of landscape elements as well (Carmona et al., 2003). Public spaces should reach to the maximum level of sunlight (daylight), concurrently a shading shelter should be provided for the sun and protection from cold and wind.
2.3.2.3.5 LIGHTING
Lighting is a significant physical element that influences the use and contributes to the success of squares especially during night time. The lighting of a square should provide a sense of welcome and should ensure safety and security. Lighting for town squares must form a balance between good seeing conditions over the entire area and a light pattern that provides an attractive and welcoming visual environment (Phillips, 2002 cited in Ünver, 2009). The lighting of a square also aid creating image and identity of a place (Carmona et al., 2003). Access of natural daylight into a square allowing various play of light makes significant aesthetic contributions (Carmona et al, 2003); similarly particular night lighting creates interest in the place and stimulates a sense of discovery (Phillips, 2002 cited in Ünver,2009). 35
2.3.2.3.6 HUMAN SCALE
Human scale is another crucial quality for the success of a square. As far as urban areas exist for human beings this quality of human scale should be primarily provided throughout the urban spaces in cities (Tibbalds, 2001).
Tibbalds (2001) argues that a comfortable human scale environment may be created by considering the scale and pace of pedestrians, not the fast moving vehicles. However, this does not imply an over minimization of dimensions. High buildings and huge structures with proper designs considering the perception of people at the eye level may be included (such as landmarks). Yet the lower heights seems to be more human-friendly (Tibbalds, 2001; Shaftoe, 2008). Building façades, in this respect contribute to create a human scale as well. A low height building without a friendly façade does not provide a pleasant environment. Additionally, there should always be an activity embedded in the frontage of the surrounding buildings (like particularly shopping) (Tibbalds, 2001).
Vast open areas and left-over spaces that are a result of twentieth century planning approaches (in which streets and public spaces are no longer clearly defined at their edges by buildings), are unlikely places to create a sense of human scale (Tibbalds, 2001; Shaftoe, 2008). The surrounding buildings should define the square without making it seem as a vast open area.
The sense of enclosure in a place is preferred by users, unless the place is claustrophobic (Shaftoe, 2008). Human scale environment can be achieved by stimulating a sense of enclosure through the use of buildings as mentioned up above, walls, arcades and natural elements around the square that provide a sense of protection and well being as well (Tibbalds, 2001; Shaftoe, 2008; Childs, 2004).
Paving introduces scale to urban spaces as well; for instance, stone paving slabs introduce a human scale and thus make the large, hard spaces easier to perceive (through human proportions) (Carmona et al., 2003).
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2.3.2.3.7 PUBLIC ART
Public art is a remarkable asset that should take place in a successful square. Besides having a variety of functions ranging from social, political, experiential, and/or formal speech, public art has other architectural functions in a public space regarding both the physical design of the space and the behavioral and psychological needs of the users (Childs, 2004).
Public art involves generally sculptures, monuments, statues, fountains (also aids creating a pleasant environment by screening out the noises of traffic etc.), murals, sculpture like furniture (such as seating elements) and additionally today graffiti and stenciling etc. It can be produced with any material, in any form, but should be robust and resilient and most significantly should fit to the context of the environment it will be located both in terms of material and form (Shaftoe, 2008; Marcus & Francis, 1998).
Public art primarily contributes to the generation of image and identity. It is used as part of urban ornamentation which plays a crucial role in making the image of city and enlivens the environment. Public art appears to function as a community symbol or as a tool for place-making. It not only has commercial value but it enhances its settings culturally and aesthetically. This is often achieved with the employment of a wide variety of images, forms and elements, including materials and techniques, from everyday life, notably popular culture. Public art has not only promoted the transformation of a setting but the appreciation for the artwork. It also aids the spatial setting of the square and creation of subspaces; it may provide shelter and protection, seating places, creative playgrounds and operate as a landmark (Childs, 2004). Being an essential element as one of the major sources of social interaction (creates triangulation in Whyte‟s (2009) terms) public artworks psychologically stimulate a sense of engagement and discovery, provides comfort and creates relaxation and joy (Carr et al., 1992; Carmona et al., 2003). However on the other hand, unattractive public artworks may alter the reactions of the people and create just the opposite responses (Shaftoe, 2008). Marcus & Francis (1998) reviews that, art in public spaces should make a positive contribution to the city, and to the well-being of its inhabitants , it should 37 give the public some positive benefit delight, amenity, fantasy, joy, sociability in a word a sense of well-being.
Harvest believes that public art leads to a diverse array of activities and purposes that go beyond purely aesthetic merits. It also helps to enhance people‟s experiences of the environment. As Shin (1999) states, Public art is expected to contribute visually and experientially to the quality of life of those who experience it as an element in their daily environment.
Shin wrote that artwork placed in public places is the main ingredient of the urban environment and it is the three dimensional object most closely related to architecture which helps to enhance the spatial experiences of the public. Echoed by a broad range of settings, public art animates and provides the public spaces with a desired identity. Miles (1997) emphasizes, an image of a city is in part determined by the personal associations the image may conjure, and in part by the viewpoint from which the city is seen materials of a building, or a glimpse of a familiar landmark, might suggest a particular place; the image gives little idea of the city as a whole.
Camillo Sitte (1965) made recommendations about the location of the artwork (monuments) in his seminal work, having such a principle that the center of plazas be kept free, according to Sitte monuments should be located at an off center position or along the edge, close to pedestrian routes.
According to Bach (1992), Public art can express civic values, enhance the environment, transform a landscape, heighten our awareness, or question our assumptions. Placed in a public site, this art is therefore for everyone, a form of collective community expression.
The ability of public art to meet the needs of social objectives for an inclusive society also largely depends on the quality of the built environment. In public places, there are many forms of art that enhance the space and give it character. In general, it improves the physical environment to benefit the residents and visitors. It also helps to humanize public spaces and create meaningful places where people feel comfortable and relaxed.
Other forms of public art like fountains celebrate the reflections and coolness of water and add white noise, drowning out the sounds of traffic (DBKL 2006). In 38
Malaysia, the water element is a major part of public art which is important as the weather is hot and humid. Water encourages „livability in the community, which in turn promotes the quality of life.
2.3.3 BEHAVIORAL AND PSYCHOLOGICAL ASPECTS
Behavioral and psychological aspects cover a humanistic approach which is beyond the physical and geographical functionalist structure of a square. Yet the major aim of both physical and geographical issues is to provide behavioral and psychological satisfaction of the users (regarding their needs that are to be satisfied) in order to sustain success of the square. Carr et al. (1992) introduces five needs that people satisfy in public space such as comfort including safety and security, relaxation, passive engagement with the environment, „active engagement with the environment and „discovery. And joy is another psychological need that can be satisfied in a square.
2.3.3.1 Comfort
Comfort appears as the primary concern of the successful squares regarding its effect on the use of a place. Behavioral and psychological experience of comfort is realized through the provision of microclimatic conditions (shelter and protection for sun, cold and wind), physical elements (such as seating [as Whyte (2009) particularly stresses], landscaping etc.) and psychological satisfaction (regarding the identity and the ambiance of the space) ( Carmona et al. 2003; Shaftoe, 2008). Comfort of a space can be developed by means of physical design and management strategies (Carmona et al., 2003).
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2.3.3.2 Relaxation
Relaxation is directly related with psychological comfort, yet it is a more developed state with the body and mind at ease (Carr et al., 1992). A relaxing environment can be created with the proper use of natural elements (trees, grass, water elements) and segregation of site from the vehicular traffic; but both provision of visual access into the space (regarding the natural elements) and safety and security concerns (regarding the separation of the space from the surrounding environment and traffic) should be taken into consideration (Carmona et al., 2003).
2.3.3.3 Passive Engagement with the Environment
Passive engagement with the environment, although it is related with creating relaxation up to a degree, implies that the person takes place in the environment, but does not present an active role (Carr et al., 1992). People- watching (observing others without eye contact) is the major type of passive engagement that can be actualized commonly in public spaces; other means of passive engagement are offered along fountains, views, public art and sitting, reading, observing performers etc. (Carmona et al., 2003, Francis, M.,2003). Passive engagement makes significant contributions to the success of a square by introducing vitality to the place, which is a crucial aspect according to Montgomery (1998) referring to the number of people around the place. In this respect passive engagement like observing others attracts people and consequently, people attract more people (Shaftoe, 2008). On the other hand, being in the presence of other human beings is reassuring (Shaftoe, 2008).
2.3.3.4 Active Engagement with the Environment
In active engagement with the environment, there is a more physical and direct interaction among users and place, and between users within each other (Carr et al., 1992). Being among other people in a public space provides chances of 40 social interaction. Gehl (1987) introduces a scale of contact forms ranging from passive contacts to chance contacts, acquaintances, friends and close friendships; which is in other words, ranging from being alone to being together. Other than the satisfaction gained with passive engagement through people watching, one may prefer being together and want to create a more direct contact, whether with friends, family or strangers (Carr et al., 1992). In this respect, Carmona et al. (2003) states that, successful public spaces provide opportunities for varying degrees of engagement, and also for disengagement from contact; such design elements as fountains, seating elements, sculptures, statues (public art) , kiosks etc. and activities should be considerately organized in order to induce social interaction and thus, active engagement. This is what Whyte (2009) calls triangulation, the process by which some external stimulus provides a linkage between people and prompt strangers to talk to other strangers as if they knew each other. Previously mentioned elements can be designed in a setting that individuals would have an excuse to talk to other people they do not know.
2.3.3.5 Discovery
Discovery is related with feelings of curiosity and excitement that will make people come to a place. Therefore it depends on variety and change in the organization of the space (Carmona et al., 2003). There is also a kind of mystery in the place that stimulates the experience of discovery (Carr et al., 1992). The setting of space may take a variety of forms according to seasonal changes, management strategies, and animation such as concerts, art exhibitions, street theatre, festivals, society events etc. (Carmona et al., 2003).
2.3.3.6 Joy
Within the context of previously mentioned behavioral and psychological needs of people to use a place, the need of joy appears as a concluding and complementing aspect for the comprehension of the successful squares. Each of the 41 needs that are pointed out, in a sense, aims at attaining joy in the end. For instance, people watching in terms of passive engagement and actively having further interactions with others create joy up to a degree, however this can be enhanced by providing focal points to draw people in and encourage them to linger (Shaftoe, 2008). The use of appropriate hard and soft landscape elements (good materials and natural elements producing much delight), color (brightening up the environment with colors), public art and provision of entertainment facilities (like animation: concerts, festivals, social events etc.) create considerable amounts of joy and result with social interaction (Shaftoe, 2008).
2.3.4 MANAGERIAL ASPECTS
The managerial aspect covers the way that the public space is managed which is a crucial point to be considered for the success of a square. Management of place for a safe and secure environment can be supplied in two ways which are hard and soft controls (Carmona et al., 2003) or in other words, heavy and light controls (Shaftoe, 2008). Hard controls cover the security officers, rules and regulations, prohibitions etc.; whereas soft controls cover symbolic restrictions (Carmona et al., 2003). A number of scholars point out that the over-control can make the place unattractive regarding the people‟s perception that they are not free (Wood, 1981; Holland, 2007 cited in Shaftoe, 2008). However, good management of a space does not only deals with safety and security; but also deals with the provision of a variety of activities, amenities and maintenance of the physical elements. This study discusses managerial aspect in terms of uses and activities, food: eating and drinking, vending and maintenance.
2.3.4.1 Uses and Activities
Squares and plazas serve for a variety of users from different social backgrounds, different age groups, and genders. For a successful square, designers should keep the questions of who are the users. And what do they want to do? In 42 addition to these they should manage to create a balanced, accessible environment involving attractors that will reach to the users in various ages and genders from any section of the society. Public spaces should be regarded as dynamic, organic and adaptable, rather than for a fixed single use (Shaftoe, 2008,).
Who are the users?
Men are the most common users of squares (alone or in groups); whereas women do not tend to use a square unless there are amenities provided (such as cafés etc.). Whyte (2009) states that the male-female ratio is one to watch. If a plaza has a markedly low proportion of women, something is wrong. Conversely, if it has a high proportion, the plaza is probably a good and well- managed one and had been chosen as such. About the location selection of the genders, Whyte (2009) argues that, men prefer more front places; on the other hand women prefer more secluded parts of the plaza. The more a plaza is used, the greater the variety of users ages and the more evenly sexes are balanced (Marcus & Francis, 1998).
Mozingo‟s (1984 cited in Marcus & Francis, 1998) research shows that women are more sensitive to environmental negatives (pollution, noise, dirt, excessive concrete) and look for experiencing comfort, relief, security, control and relaxation; where men look for publicans, social interaction and involvement.
Children and young people are the users of public spaces as well as the adult men and women discussed above. They mainly use squares and plazas as playgrounds and places for hanging out (Shaftoe, 2008). Young people are the ones that are most likely to be found in, and to benefit from the public space and mainly tend to „stay away from their parents; yet children should stay closer to them (Shaftoe, 2008). As socialization is an essential issue for the healthy personal development and well-being of children and young people, squares and plazas should be designed considerately providing sociable, enjoyable, exciting and safe 43 environments stimulating a sense of discovery and active engagement (Shaftoe, 2008).
What do they want to do?
A successful square should provide a variety of reasons to the users to gather and linger. There are many studies searching on the uses taking place in squares and plazas; they show that people would like to use squares to meet with friends, rest for a while and relax, walk through the greenery, have something to eat or drink, watch other people, shop, and engage into various activities such as open air theaters, concerts, festivals, social events etc. (Marcus & Francis, 1998). There should also be opportunities for children and young people like creative playgrounds, skateboarding and rollerblading etc. (Shaftoe, 2008). Designers of a square/plaza should mix the activities in order to make the place democratically accessible for all people and everybody should feel welcome in the place (Shaftoe, 2008, ; Francis, M., 1987). In this respect, programming is a significant managerial aspect to be considered. Management of the plaza should organize programs of events and performances taking place in the square; and public should be well-informed about them (Marcus & Francis, 1998).
2.3.4.2 Food; Eating and Drinking
Provision of such eating and drinking facilities make remarkable contributions to the success of a square since they are one of the most significant people attractors in a place. In this regard, Whyte (2009) states that food attracts people, who attracts more people.
Al fresco food and drink offers a sensory pleasure (Shaftoe, 2008) and increases the liveliness and activity in a place (Marcus & Francis, 1998). In addition to food kiosks or pushcart food vendors, cafés and restaurants with tables outside can be placed in a square (Marcus & Francis, 1998; Shaftoe, 2008). Another option is the provision of picnic places, there may not be particularly designed elements, yet 44 people may use various spaces in a square (such as grass, appropriate sitting places with shelters etc.) for picnicking (Shaftoe, 2008). The key point here is the supply of suitable and adequate litter bins that will sustain the clean and pleasure-giving environment (Marcus & Francis, 1998; Shaftoe, 2008).
2.3.4.3 Vending
Squares and plazas have an essential commercial role, in terms of being a place for selling and buying a variety of goods, since the ancient times. Because of the fact that squares/plazas can draw attention and increase interest of people in the surrounding environment, vending appears as a significant tool for maintaining economic benefit (Marcus & Francis, 1998; Akkar Ercan, 2007).
Provision of vending opportunities in a square increases the liveliness and activity in the place; and since there is going to be more and more people around, it aids sustaining the security of the environment (Marcus & Francis, 1998).
Apart from food and drinks, vending should include particular products such as flowers, handicrafts; vendors may be artisans (Marcus & Francis, 1998). There should also be a program about the vendors whether they are going to be permanent or temporary. The design of the vending structures (stalls, kiosks etc.) should be considered keeping the idea in mind that they also contribute to the identity and character of the place; they can become a symbol of that square/plaza (Childs, 2004). Marcus & Francis (1998) review the features of vending structures as follows:
- add color and vitality to the plaza - provide shelter and shade - contrast with the scale of the surrounding environment - improve the visibility of the building entrances - Help the plaza not look empty during winter or off-peak hours.
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2.3.4.4 Maintenance
Management of a square requires a regular and persistent maintenance facility in order to sustain the success and use of it. With the provision of quick repairs, regular clean ups and emptying litter bins, lawn care and planter maintenance expresses that the square/plaza is cared and significantly influence users perception of the square/plaza as a more pleasure giving environment (Shaftoe, 2008). In this respect, Marcus & Francis (1998) state that in any public space, people will care for an environment if they see that management cares.
On the other hand, there are social, cultural and personal dimensions in the success of a public space related to the public who is going to be the user of the place. Carr et al. (1992) argues that good public spaces are easily created where community already exists. When there is a homogeneous community with similar needs and preferences, having similar meanings attributed to specific places, successful public spaces will be achieved. Similarly Banerjee (2001) states that designers should focus on the concept of public life rather than public spaces and moreover, focus on the design for conviviality and public life, and respond to the changing demands of increasing diversity of the urban population. Culture (being whether an urban, open-air society or not) and the personal psychological mood (being positive and perceiving a more pleasant environment or vice versa) are influential subjects on the other hand, about the users‟ physical and psychological perception of a square/plaza (Knez & Thorsson, 2006).
Only by providing basic human dimensions and qualities can open spaces are made into truly democratic, meaningful and lovable places (Francis M., 1987). These human dimensions have been studied in order to reveal design criteria about the attributes of a good, successful square/plaza regarding the geographical, physical, behavioral-psychological and managerial aspects. Although every individual has different tastes and preferences, these attributes obtained from literature may be helpful in satisfying the needs of general public.
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CHAPTER 3
METHODOLOGY
3.1 Introduction
This research aims at understanding and evaluating the physical elements which contribute to identity of the historical square in Melaka. It is an attempt to examine whether it is possible to understand and evaluate the effect of physical elements on identity of square on the basis of certain criteria, and arrive at their advantages and defects. Such analysis would give us an understanding of the area in which the physical elements and surrounding building that effect on characteristic of square.
This chapter explains the methodology of the study. It outlines the procedure researcher used to collect the data and analyze it. Basically, researcher integrated the research methods used in traditional psychology and environmental studies such as questionnaire, observation of the spaces and case study method. This chapter begins with highlights of field of study. The second section presents how data is collected.
3.2 Study Area
3.2.1 Introduction
The focus of this part is to introduce the area under study. One of the oldest research methods is the case study method .It is an in depth study method of one or more variables (Jackson, 2006). It provided the researcher a thorough background of the area. It is a detailed examination of one seeing (Wellington et al., 2007). The heritage zone and Dutch square, where the research is conducted, were studied. This 47 chapter also provides a scenario of the tourism as newcomers on the area under the study. Conservation zone of Malacca is rich in different variables studying in this research such as: landmarks and route pattern. Indeed, Malacca is an outstanding example of architectural features and types of buildings (Idid, 2008). It could be an appropriate place for studying on the behavior and perception of newcomers in the city center who are not familiar with the site. Moreover, due to its physical characteristics, it could be a practical study to assess people's image and perception in regards to physical elements and visual cues. On the over hand, it would be a fruitful study in conservation area not to allow people to block landmass used as visual cues. It can also show the value of physical tangible characteristic of Malacca that should be enhanced. Thus, in order to assess perception of users and study the impact of visual cues (landmarks, architectural features, pavement graphics, and artworks) on identity, researcher chose Dutch square in Melaka heritage zone as a study area.
3.2.2 Background
This part focuses on physical settings and the significant role the city had attracted tourists. Melaka city is a conservational1 zone which is rich in historical values. It has seen some of the most profound historical events happened to the country (Lin, 2008). The historical urban environment of Malacca refers to the built and natural heritage of the earliest recorded urban settlement that was established near the Malacca River from early 15th century (ZMD Planning Consult, 2003). It earned historical city status in 1989 (Lin, 2008). Malacca heritage city center holds within its boundary a wide variety of attractions that has drawn tourists to this area Since there are cultural heritage many visitors come to Malacca for vacation and weekend to visit cultural values especially, cultural heritage in Malacca city center. A number of visitors to Malacca have been increasing steadily each year. Therefore, in Malaysia the historic city of Malacca has always been in the forefront of attracting tourism. Indeed, Malacca provides splendid example of the way in which history promoted it as heritage (Hassim, 2006). The study area includes one of the historical places in Melaka heritage zone which is Dutch Square, surrounded by historical 48 buildings next to the Melaka River. The declaration of Melaka as the historic city in 15th April 1989 and the phrases place where it all began (Warden, 2001) and Visit Melaka means visit Malaysia shows the momentous function of this city especially atoning tourism.
3.2.3 Development of Melaka city through history
Heritage part of the city was developed from 1511 to 1640 by the Portuguese, from 1641 to 1824 by Dutch, from 1825 to 1942 and from 1942 to 1945 by Japanese then 1945 to 1957 by the British. The Portuguese conquest of Melaka in 1511, established a walled town around me bill. It marked the beginning of European influence of building and town planning with We constriction of the first stone and brick work buildings (ZMD planning Consult, 2003). The urban morphologic context in the 1600s showed the rapid expansion of activates toward the area on the west bank of Malacca River (Conservation Area Action Plan, 2005). Within the study area, the remaining structures from the Portuguese period include the remains of the Fortress Gate, the ruins of St. Paul's Church and the street layout of the early settlement near the river.
Dutch occupation of Malacca began in 1641 and Malacca fell into the hands of Dutch. By creating a town square surrounded by important public buildings such as the Stadhuys and Christ Church, the Dutch created an impact on the urban design of the historic center (ZMD Planning Consult, 2003 and Conservation Area Action Plan, 2005). The structure of the town under the Dutch rule was more refined win infrastructural development especially the road system on the west bank of Malacca River. The early street pattern of the settlement west of the Malacca River was reinforced by the building of row houses which were long and narrow such as in Heeren Street (Jalan Tun Tan Cheng Lock) and Jonker Street (Jalan Hang Jebat). Much of the traders and craftsmen lived and offered their services to the new community. Jonker Street was the main street for Malacca town during that time.
When the British came, the urban pattern of Malacca was already established. Development focused on public works, land and sea transportation (ZMD Planning Consult, 2003). Port buildings, warehouses, schools and government buildings wed constructed. Majority of the houses along Heeren Sheet and Jonker Street has 49 transformed into linked houses (Conservation Area Action Plan, 2005). British put less emphasis on the role of Malacca since their focus was based on Penal to make it as one of the main ports in the region. In the early part of the British occupation, there were not many changes to Malacca form that was left the Dutch occupation. At that time Malacca was divided into two parts, the European town and the Native town. Native town was referred to parts of the town near the wet bank of Malacca river while the Europe covering the area around Saint Paul's hill.
Malacca like over Malaysian towns fell under Japanese note in 1942. The Japanese adopted what the British had left in short period of occupation. British resumed its occupation in 1945 after the short occupation of Japanese until Malawi gained its independence in 1957 (Conservation Area Action Plan, 2005).
Malaysia gained its independence from the British in 1957.The first declaration for independence was in fact announced at the Malaria Esplanade next to the A Famosa on 20 February 1956 (ZMD Planning Consult,2003).Today, Malacca has developed into a lively city and retains its old world chant. Its growth is reminiscent of its historical spent.
Figure 3.1: Development of Melaka city through history form 17th century from the Dutch period the present. Growth was particularly rapid in the early 20th century under the British rule .Expansion of the town began in serious after independence. Source: ZMD Planning Consult, 2003
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3.2.4 Location of study area
The area under the shady is located at the conservation zone at the heart of Malacca city. It is rich with urban e elements and historical values and mostly has commercial and tourist attraction building. The genius loci are stronger here since there are more elements such as the monumental fountain, historic churches, clock tower and unique architectural styles of buildings surrounded the square. This area holds the most number of people, either pedestrian or vehicle, at a time. The Dutch Square is a node and a main gathering space. From socio-cultural aspect it is still a beneficial element for the locals despite of it tends to cater for tourists.
As shown in the old Malacca map, Malacca River divides the city into two distinct parts (figure 3.2). The Civic area where is (fortress of de Santiago) on the left and the Old Quarter on the right side of the map (Hanson, 2006). The main roads in this area are Jalan Tun Tan Cheng Lock or Heren Street, Jalan Hang Jebat or Jonker Street. Other notable streets are Jalan Tokong, Jalan Tukang Besi and Jalan Tukang Emas. Each of these streets has its own function for example Jalan Hang Jebat is known for its antiques shops.
Figure 3.2: Malacca City 1744(Dutch Era) Source: Website of Badan Warsan Mlaysia
The study area in Malacca (Figures 3.3and 3.4) comprises of Dutch square the Old Quarter, and the Civic area which consists of commercial d residential area. 51
The quarter is considered the oldest area in Malaysia. It started as a small settlement for commoners and traders, while the Sultans, nobles and their families lived across the Malacca River where the Stadhuys and St Paul's Hill are located. The quarter is a small dense area bordered by four streets and part of it by Malacca River. There are several narrow streets and alleys inside the area as well as Chinese temple, Mosque and a Hindu temple. Over the times, the old China town expanded across the Malacca River towards the east to Kampung Java Jalopy Pasar baru and jalan Bunga Raya.
Between St. Paul's Hill and the river, Dutch Square is the only historic civic square of its kind in Malaysia. It is actually triangular in shape, framed by the Stadhuys, former residence of the Portuguese governor and Christ Church. In the past this area was the most important part of Malacca as its location is direly in front of Malacca River. Clock tower was built at the center of the square in the 19th century. Two old Rain Trees complement this picturesque setting. The best approach to the square by road is through Jalan Laksamana which is a narrow street and settled shop houses on both sides. Colored concrete pavements for the road widen the square were introduced in 1 980s. All the buildings here wear a coat of maroon paint, giving the square a decidedly foreign feel not found anywhere else in Malaysia. Unlike popular perception, however, the buildings were not originally painted maroon as you see today. Instead they were faced with bricks. When the authorities discovered the brick façade leaks, they covered it with plaster and painted it white. Later, in the 1920s, the British changed the color to a bright salmon red. The present local authorities darkened the color further, so now the buildings have a maroon color.
Dutch square, a public space between the Clock Tower and Christ Church, is the most popular tourist spot. Some of the former civic buildings have been convened into museums by the Malacca Museums Corporation (PERZIM), namely the Cultural Museum, History Museum, Youth Museum, People‟s Museum and Ethnography Museum .There are also places of worship along Jalan Tokong that are often visited by tourists such as the Cheng Hoon Tens Temple, Masjid Kampung Kling and Chitty Temple (Sri Poyyatha Vinayagar Moorthi Temple). In addition there are historical attractions such as the Hang Kasturi Mausoleum along Jalan 52
Hang Jebat and Hang Jebat Mausoleum along Lorong Kuli. Presently, the Chinese community forms the bulk of the population living within the old quarter.
Area under the study is in the core zone and is one of the historical sites in Melaka. The history background of the site traces back to early Malay Sultanate, and become the most prominent for traders.
Figure 3.3: Arial vie w of the study area
Figure 3.4: Plan of area under study; dashed line specifies border of the study area where is the closured area.
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3.2.5 Architecture feature and physical elements
In terms of architectural, this study studied the significant buildings surrounded Dutch Square and other building which are used as physical elements, visual cues and landmark by visitors.
3.2.5.1 Significant buildings
Dutch square has some similarities to Signora or manor place in Italian cities. It looks like a kind of vestibule to a royal residence at Stadthuys building and market was like a meeting place of citizens. Similar to Italian cities there usually stands a decorated traditional fountain. Nowadays market has changed the function mom residents to merely tourist .Therefore, everything in Heritage Zone form the market to the river works for tourist.
Main buildings studied in this part consist of the buildings surrounded Dutch square and individual buildings which have significant historical value. One of the main landmarks in Melaka, Malaysia is the cluster of red buildings at the Dutch Square. One simple indicator that you have reached is to see the surrounding buildings all painted in red.
3.2.5.2 Tang Beng Swee Clock Tower
The Clock tower was built in 1886 during British era in honor of a generous Chinese tycoon named Tan Beng Swee. This is an important historical landmarks and historical physical element that effect on character of square.
Figure3.5: Clock tower Source: Website of virtualtourist.com 54
3.2.5.3 Christ Church
Chris Church was built in 1753 by Dutch and it is the oldest Portuguese church, which was shattered. It was formerly the Dutch Reformed Church of Malacca. It is the oldest surviving Dutch church building found outside the Netherlands. Located opposite the Stadthuys, the red church of Melaka was once situated within the fort walls of the old fortified town of Malacca. The fort walls, however, were demolished by the British at the beginning of the 19th century.
Figure 3.6 Chris Church, east part of the Dutch Square
3.2.5.4 Museum and Art Gallery
Between Christ Church and Laksamana Road there is the Malaysia Youth Museum & Art Gallery which was built in 1784 as Dutch Administrative Complex. In1826, it was turned into a school (Malacca Free School). In 1920s, the building was renovated to be double-storey building and later used as a post office before converting into a museum as what we see today. 55
Figure 3.7 Museum and Gallery at the east part of the Dutch Square
3.2.5.5 Stadthuys building
The focal centre of the Dutch Square is the Stadhuys (once the Dutch administration, centre), and the Christ Church. Among these eye-catching building, Stadthuys is the largest building surrounded the square. In old Dutch spelling it is literally translated as „town hall‟. It is said that the Stadthuys is probably the oldest remaining Dutch colonial building left in Southeast Asia. However, the history of the Stadthuys remains somewhat of a mystery. All that is known about the age of the building is that it was built shortly after Malacca was captured by the Dutch in 1641.
Figure 3.8 stadthuys building located at the south part of the Dutch Square 56
3.2.5.6 Public art
This part consists of studying on the artworks and public arts such as fountain and statues. Public arts enhance the visual and make the city more vibrant place for people who live or visit there. It can express the unique history and spirit of the city.
Melaka art is a more visible and accessible part of the urban places in Melaka heritage town, combining with its history, can enhance the city and make it livelier. Melaka heritage zone is built on its traditional architecture. What is special and unique in Melaka is tied to its history. Monumental public arts that form Melaka‟s identity are limited to Dutch square and the Victoria Regina Fountain. The history should be accompanied by art to recall history for visitors. The purpose of combining history and art is to enable people to know their stories in new ways (Freeman et al., 2003), the shortage that is seen in current Melaka city.
On the other hand, monumental art is responsible for announcing the place as destination. For example it can be used for determining downtown as destination. Indeed, it can be used as a landmark by visitors to help them orient as it is an important puzzle piece for defining cultural district for public and subsequently enhance the identity and character of place.
3.2.5.7 Victoria Regina Fountain
Right at the entrance of Christ Church, there is an antique looking water fountain which is still functioning well. This is the Queen Victoria‟s Fountain. It was completely built in 1901 by British to commemorate the Diamond Jubilee. The fountain as the only public art in the study area, tries to recall the history for visitors.
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Figure 3.9: Victoria Regina Fountain, located in the middle of Dutch Square
3.3 Data collection
After recognition of the research issue and deciding the information requirements as shown in chapter one, an appropriate design will approve the given set of research objectives. This is an important part to data collection method which is presented secondarily. In addition, the design of questionnaire and instruments which are used for collecting data is presented in this part. This research utilized both the quantitative and qualitative research methodology. The quantitative methods consisted of questionnaires. Users were be given a questionnaire and invited to fill it in during their stay at the area, so that the answers would reflect their immediate experiences and were asked about their reasons for coming and using the square as an historical open space. They were also asked to evaluate the identity of the square through the effect of physical element and its components.
3.3.1 Research Instruments
This research utilized both the quantitative and qualitative research methodology. The instruments are used to collect the data were questionnaire and observation. A set of questionnaire containing seven questions were distributed that 3 of them divided into 10 sections. Different questions types, such as yes-no, ranking and choice question were used in the questionnaire. 58
3.3.2 Respondents
Simple random sampling is the process of selection sample in such way that all individuals in the defined population have an equal and independent chance of selection for the samples (Gay 2009).
People who are different in age and gender with different race and residency status have been chosen and in order to balance the uncontrolled effect in the study the researcher decided to use randomization.
In order to reach the research objective 50 person were chosen randomly in the study area, Dutch square. The reason for choosing them was to assess their reason of this sample for coming to this site and investigating their idea of effectiveness of existing physical element in identity of the square.
3.3.3 Procedure
Research was conducted between two groups of people. First group refer to those who are local residence and the second group related to those who are foreign tourists. At the beginning of the research, respondents were given an explanation of the study and the questionnaire. They were asked to fill it up. Further information about the physical elements was given to them whenever it was needed. Also, main concern of the author is to involve those people whom it was their first time of visit and people who came to this square several times. To do so, the questionnaire was divided among people that came for the first time and almost equal in number with others that came more than one time.
3.3.4 Questionnaire method
In comparing with other data collection method, the survey questionnaire give researcher high level of control while questions were written down and also it has control over the response. Survey questionnaire is usually the most cost efficient way for collection of data from large number of respondents. 59
Questionnaire method is one technique that is used by researchers to evaluate human perception. Gifford in 1997 claimed that survey questionnaire technique are utilized to realized the option and idea if user by asking question among enormous of numbers residence to respond to questions due based on context and field of study. On the other hand there is a need to select respondents carefully and define collection tools obviously. The questionnaire method contains guide sampling and data collection procedure.
In this study a questionnaire survey was established to find the Dutch square‟s visitor perception and vision about the existence and effectiveness of physical element in the identity of square. It is including six questions where the first two questions are status of citizenship and frequency of visiting has been asked. It is continued with questioning the respondents about their reasons of coming to the site, the attraction and the physical elements that contribute to identity of this square. In last question all the specifications of physical elements that were collected during the literature review are listed in a table and the respondents were asked to select those specifications that help the contribution of physical element in identity of the square.
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CHAPTER 4
RESEACH ANALYSIS AND DISCUSSION
4.1 Introduction
This chapter includes the analyzing of the findings and discussion of the results of this research. The findings are presented and analyzed within the context of the research objectives. It is collected from the self-administrated observation in the chosen square in Melaka.
As mentioned in literature review the identity of something refers to a persistent sameness and unity which allows that thing to be differentiated from others. Kevin Lynch defines the identity of place simply as that which provides it‟s individually or distinction from other places and serves as the basis for its recognition as a separable entity. This tells that only each place has a unique address that is identifiable. The physical setting and activities constitute the basic elements of the identity of the square. The image and identity of square depends on users experience and it is related to the perception of the users.
The physical elements of this square like the building, clock tower, and fountain and so on were evaluated based on their specification and the effects of each of them on identity of the square.
4.2 Respondents residency
In terms of respondents‟ residency status, according to figure 4.1 the percentage of people who came to the square as tourist with a remarkable difference with local visitors is 76 percent. 61
LOCAL FOREGN TOURIST
76%
24%
Figure4.1 Respondents residency status
According to site observation from 2 o‟clock in the afternoon until 9 o‟clock at night the majority of visitors are foreign tourists, it represents the importance of this square regarded to tourist attraction for Melaka city and the potential opportunity that provided.
4.3 Frequencies of respondents visiting
Respected to respondents frequency of visiting the site, 58 percent of them said it was their first visit.
Yes No
42%
58%
Figure4.2 Frequencies of respondents visiting of the site 62
This is important in the case that the people who come to the square give attention to some physical elements and some of them are less important and people who come to the site more than one time considered other physical elements.
4.4 Reason of going to the square
From the analysis of respondents most important reason for coming to this square is for visiting it as a tourist attraction, 71 percent of respondents who come to site are tourist and recognizing this square as a historical square of the heritage part of the city. The rest of percentage is divided among other activities. Meeting friends with 13 percent of respondents and spending leisure and recreation with 9 percent are the highest after tourist attraction. Other reasons like walking with 5 percent and short pause with 2 percent are chosen by respondents.
To walk Spend liesure 5% and recreation 9%
Meeting friends 13%
Short pause 2%
Visitiong the tourist atraction site 71%
Figure4.3 Reason of respondents of going to the square
There are several reasons that cause people to come to the square or public spaces. Public places work best when they do not lay out a script of intended uses, but rather allow different people to make use of them in the way that suits them. The mix of people that thereby results is one of the keys to understanding the importance and vitality of public space. For Melaka Dutch square during the period of distributing the questionnaire and data collection based on the observation so many 63 people with different age and gender and from different race were visiting the site. Majority of people were visitors and tourists from inside and outside of Malaysia, busy with taking memorial photo from each other and their children. Some people come for walk or spending some time for leisure and recreation. Also there are some people that found this square as a good spot for meeting their friends in order to talk or walk and so on. Based on observation Melaka Dutch square, it is a public space that visitor could with free consent choose their desired activity, but still because of being historical most of the visitors are tourist.
4.5 Square attraction
Site observation and survey conducted by author and asked the respondents from different type the reasons that motivate them to come to this square.
35 35 30 26 25 22 20 21 20 20 16 16 12 12 12 15 10 8 9 9 10 4 3 3 2 5 0 0 0 0 0 0
strongly agree agree disagree strongly disagree
Figure4.4 Respondents point of view about square attraction
Figure 4.4 shows the proportion of respondent agreement to the six reasons of their attraction to Dutch square in Melaka; including being landmark, historical, visual and aesthetic elements, sociable, dynamic and has various activities and entertainment. 64
Historical:
According to their point of view, with 78 percent strongly agree and 22 percent agree, being historical is the first effective and most important reason that attracts them to the site. (Refer to figure 4.4 and 4.5)
disagree strongly 0% disagree 0% agree 22%
strongly agree 78%
Figure4.5 Percentage of agreement respected to Historical
There are several monuments and historical building in Dutch square which have witness the glorious days of Dutch rule and British colonial era. All these colonial structure, have specific feature, that distinguish them from other monuments. They include clock tower, Christ church, Museum and art Gallery, Stadthuys building and Victoria Regina Fountain. Each one of these historical item represent a story behind themselves related to particular period of time in the pass history of Melaka. The Stadthuys building, Museum and art Gallery (1784) and Christ church (1753) is related to Dutch period. The clock tower (1886) and Victoria Regina Fountain (1901) was built during the British colonial period. Context of historical square give a community a sense of place or history and maintaining these resources maintain the city‟s historic identity. In the Dutch square all the respondents believe that being historical is one of the reasons that attract them to this square.
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Landmark:
The second effective item among others is, being landmark. Based on figure 4.6, only 7 percent of respondents disagree that this square is a landmark for Melaka. Fifty-eight percent strongly agree and 35 percent agree that the square has the potential of being land mark.
disagree strongly 7% disagree 0%
agree 35% strongly agree 58%
Figure4.6 Percentage of agreement respected to Landmark
Physical form, shape, location and in contrast with their back ground made the square for respondents to utilize it as a landmark .Spatial prominence can establish elements as a landmark in two ways. First is by making the element visible from many locations such as Christ Church and Clock tower. Second is by setting up a local contrast with nearby element like St. Francis Xavier‟s church. Among different landmarks and elements which are located in the study area, Christ church and color of the building were in the mind of majority of the visitors. Christ church is a significant landmark in the area. Form of the church is distinctive enough for ordinary people to remember it. At first glance it seems the clock tower could be the land mark most of the visitors mentioned in the site. But after observation and questions asked from the respondents it was noted that its shape and location of the church were more recognizable for first time visitors than the clock tower.
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Visual and aesthetic element:
In placing the attraction in order of priority the visual and aesthetic elements cited as third. Nine percent of respondent disagree that visual and aesthetic elements existed in this square provide any attraction. In contrast, 44 percent strongly agree and 47 percent agree that it has the visual and aesthetic requirement to attract people into the site. (Refer to figure 4.7)
disagree 9%
strongly agree agree 44% 47%
Figure4.7 Percentage of agreement respected to Visual and Aesthetic element
One of the qualities of good urban spaces is the visual and aesthetic elements. Beauty is needed to reconsidered in urban spaces and also needed to have some criteria to evaluate beauty and good visual effects. Clearly beauty is a quality not quantity is evaluated according to some criteria like ordering, unities, composition, correct proportion and harmony are measured. In Melaka Dutch square, as respondent agree, correct proportion and good composition are existed among different element. Several attributes of elements like color in the building creates the unity of the elements. The vertical and horizontal relation of buildings and the square show well balanced proportions and the harmony of the building surfaces, height, existing human scale and built structure.
Art, as an element gives an identity to an area, makes the public open space different, special and attractive (Carr et al., 1992). It awakens spatial feelings, reflects the social and cultural characteristics of a place and creates a style that symbolizes a space. Art in the public square is generally introduced to make a place interesting and to add beauty, and gaining character. Art in the urban setting exists mainly for the sake of the community, joining utility and beauty, and 67
often historic meaning. Public art gives the community an identity a character that can be representative of the city and its people. Sculpture, memorials, monuments, fountains and murals are located in the Square to display historic meanings, cultural significance and beautification. The only public art located in Dutch square is the fountain that attracts the people.
The hard and soft landscape elements are generally concentrated on the square. This situation could support activities and affected the character of the square. As a result the visual features and well defined relations between the components of physical elements, furnishing, and the built and special forms have increased the character of the square.
Dynamic, sociable and various activity and entertainment:
Being dynamic as is shown in figures 4.4 and 4.8 is cited next after visual and aesthetic elements in forth. Twenty-seven percent strongly agree and 49 percent agree that because this square is dynamic they were interested to come to the site. In contrary, with a remarkable growth of almost 3 times more compared to visual and aesthetic elements, 24 percent of respondents disagree that this square is qualified for being dynamic; included in this percentage 4 percent strongly disagree with the effectiveness of this attraction.
strongly disagree 4%
disagree strongly 20% agree 27%
agree 49%
Figure4.8 Percentage of agreement respected to being Dynamic 68
Among the six attractions, the quality of being sociable is placed fifth. According to respondents opinion, 34 percent strongly agree and 34 percent agree that the square has the qualification of being sociable. Meanwhile, 23 percent of respondents disagree and 9 percent strongly disagree that it has the requirement of being sociable. (Refer to figure 4.9)
strongly disagree 9% strongly agree disagree 34% 23%
agree 34%
Figure4.9 Percentage of agreement respected to being sociable
Chosen by the respondents, the facilities provided in this square in order to bring various activities and entertainment is sited in the last level of priority of attraction. According to this survey as is shown in figure 4.10, 44 percent disagree that various activities and entertainment attract their interest to visit the square. This amount of disagreement is the highest among these six categories of attraction. Twenty percent strongly agree and 36 percent agree that in some level various activities and entertainment attract them to come to the area.
strongly strongly agree disagree 20% 0%
disagree 44%
agree 36%
Figure4.10 Percentage of agreement respected to various activity and entertainment 69
Activity: Activity in a square is important for its vitality and, therefore, also for its visual attraction, because the activity and life in a square is seen as an attraction to both locals and tourists According to Vardar (1990), activities are important in terms of the dynamism and visual allure of a square.. Such activities also describe the direct correlation between the numbers of users and the form of the square. Lynch (1961) describes squares as the centers and hubs of intensive activities created in cities and as a tool to read urban environments.
The possibility to choose the activity in public spaces is one of the important criteria in citizen attraction. This was firstly presented in Jan Gehl publication. Who divided the activities that occur in the public space into three categories; the necessary activities, the optional activities and the social activities. In this square the value of optional activity is more than others. Due to the possibility of optional selection, the attendance of citizen in space will increase with social activity.
Figure4.11 Activities in Dutch square
Sociable place: Public square are areas where people from all walk of life gather and maintain constant communication through public activity, which support and guide social life. The most important function of public square that is accessible to every resident of a city and where people can move freely is to create a social life among buildings. Social life is created when a number of people gather and communicate with each other in a public square and thus form a shared identity. Here, a square is treated as a structural frame for human actions and this frame is based on a variety of defined factors. The form of a square, surrounding buildings, size, proportion relationship, its width and length as an open area, interaction with nearby streets, and finally fountains, or three-dimensional components, that is, special visual and aesthetic relationships, determines whether a square is an empty or an integrated area. 70
In Melaka Dutch square the lack of public activity is highly sensed. One of the reasons that cause such problem is because the scale of the square is not big enough to provide the physical possibility for social activity. Few activities are done in this square by the people that are limited to sitting around fountain or walking. Also, existence of the street passing through this square causes separation of open space along the bank of the river which can be used for different social activities like open air theater.
Figure4.12 People social interaction in Dutch square
4.6 physical elements contributions in identity
According to people‟s perception about the physical element which contribute to identity of the Dutch square in Melaka, all of the respondents (100%) agree that the clock tower is the most important physical element that make the square unique compared to others. As it is shown in figure 4.13 the next important physical elements that affect the characteristic of the square is the fountain that with only 2 percent less than the clock tower (98%) standing in second place. The color according to respondents point of view has the third priority, 93 percent agree that it is one of the element that creates the identity of the square. Buildings also with 87 percent according to survey play a significant role in identity of the square. After the building following the order, trees and flowers with 80 percent, pavement with 66 percent and river with 60 percent are cited. Both furniture and siting and stalls with 51percent agreement by the respondents are placed in next order of priority of physical elements. Lighting with 35 percent is cited least. 71
agreement
Wind mill 8
lighting 35
River 60
Trees & Flowers 80
Color 93
Decorative Trishaw 71
Furniture & Seating 51
Pavement 66
Stalls 51
Clock Tower 100
Building 87
Fountain 98
Figure4.13 percentage of agreement about physical element contributions to identity
Figure 4.14 shows the respondent evaluation about each physical element. Their assessment is presented by four level of agreement that include strongly agree, agree, disagree and strongly disagree.
Chart Title
35 30 25 20 15 10 5 0
Strongly Agree Agree Disagree Strongly Disagree
Figure4.14 Respondents agreement about physical element contributions to identity
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4.7 physical elements attribute
In this section the specification of the physical element which can help to create their identity of square presented. These specifications that may all cover fewer than one item or in some cases only some of them that are not related include style, scale, material, texture, sound, shelter and protection, color and ornamentation and aesthetic. Each element is evaluated by the respondents that which specifications of these physical elements cause its contribution in identity of the square.
4.7.1 Fountain
As shown in figure 4.15 regarding fountain respondents believe that style, ornamentation and aesthetic and sound are the most important attributes of the fountain that makes it a remarkable element in terms of identity of the square. The percentage that rely on these specifications are 75.6 percent for style and the same for ornamentation and aesthetic and 71.1 percent choose the sound as an effective item. Following these item, scale with 42.2 percent and texture with 31.1 and materials with 28.9 are cited in second group of priority.
Fountain
75.56 75.56 71.12
42.23 28.89 31.12
0 0
Figure4.15 Fountain attributes 73
There is no doubt that, fountain is an inseparable element of Dutch square. Everyone knows this square with its famous Victorian fountain, where the pedestrian can stop around and admire the decoration of the area in front of the museum and art gallery. It is the only public art in Dutch square which recalls the history of Melaka for visitors. Public art primarily contribute to the generation of image and identity of the square. It is used as a part of ornamentation which play crucial role in making the image of square. It appears to function as a community symbol for place making. Fountain as a public art, screen out the noises of traffic and car movement by substitution with water sound and creates pleasant environment as well as providing a source of social interaction, comfort and relaxation.
Figure4.16 Fountain in Melaka Dutch square
4.7.2 Building
The color for the building got the highest number of agreement equal to four- fifth percent of respondents. The red color of the building is remarkably effective for the character of the square. In contrast, the qualification of building to providing shelter and protection got the lowest percentage of agreement among respondents. It is notable because providing the shelter and protection is the function of the building but chosen by respondent, only 11.1 percent believe this specification is helpful to distinguish the square. In addition, scale with 64.5 percent and style with 62.2 is cited after color. Ornamentation and aesthetic with 42.2 percent represent the effect on quality of building to make the square unique. In addition, materials have been chosen by one-third of the respondents. (Refer to figure 4.17) 74
80 80 62.23 64.45 70 60 42.22 50 33.34 40 30 20 11.12 10 0 0 0
Building
Figure4.17 Building attributes
The edge of the square consists of the buildings significantly help to define the square. Surrounding buildings include church, Stadthuys building and art gallery. Remarkable specification of these building is the color that strongly attracts the people attention and makes an image of this square. The red color of these building is a kind of identity mark for the building in this area. The different tonality of red color repeated in roofs, walls and pavement and contrasted with white color in windows would help the people to locate themselves in the heritage area. Furthermore, in case of scale, existence of buildings with two or three story high surround this square, it has a good connection with human scale. The smooth conversion of height in church façade with curve shapes appropriately and providing the massive volume of stairs in front of the three story building smoothly convert the scale to make it pleasant for people. The great combinations of trees with buildings soften up the height to human scale. In addition to trees, the scale and height of the fountain located in the center also smoothly change the scale in perspective of human vision. It means that fountain as a public art has its own geometrical proportion that it has harmonic relationship with human scale; the existence and location of fountain in this square creates that the same relationship extended between human and building. The style of the building is mainly following the Victorian style that is produced by combination of color, texture, materials and forms. As mentioned before, contrast of white color windows framed with walls, in 75 salmon red color except that the church have flat form and texture, significantly affect the identity of the square. Rise and concavity on façade of the church highlight its importance in this square and the grouping with color and scale makes it a landmark in this square.
Figure4.18 Building in Melaka Dutch square
4.7.3 Clock tower
Clock tower as a sub category of the building has the same specification and respondents reflected almost the same with the building. But there is a slightly different specification that is the sound. The sound of the clock tower that could be heard every one hour causes an improvement in identity of square; figure 4.19 shows that 35.6 percent of the respondent selected this attribute for the clock tower. Almost the same as building, three –fifth of people agree that style and scale would help the identity of the square. 37.8 percent chose the quality of ornamentation and aesthetic and 20 percent considered the material of clock tower. The small numbers of people in this sample believe that clock tower has the potential of being shelter and protection equal to 2.2 percent. 76
60 60 57.78 60 50 35.56 37.78 40 30 20 20 10 0 2.22 0
Clock Tower
Figure4.19 Clock tower attributes
Since clock tower is categorized in building group, almost all discussions related to building could be used for this part also, but there are some specifications that make the clock tower the most important physical element. In case of scale, the proportion of clock tower that is tall and thin element and its individuality in comparison to other buildings make it as a landmark in this square and in Melaka. Apart from the other buildings, the ability of producing sound as a clock tower on every hour contribute the sense of hearing of people that have a remarkable affect in identity of the square.
Figure4.20 Clock tower in Melaka Dutch square
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4.7.4 Stalls
In case of stalls, most of the respondents did not agree that the stalls could be beneficial in identity of square. As it shows in figure 4.21 the highest agreement with specification of stalls is related to color equal to 31.1 percent which is the lowest maximum among all physical elements in this square. Also, differentiating between its terms is very low. Scale and ornamentation and aesthetic with 24.5 percent each, style and shelter and protection with 22.2 percent each and lasting materials with 17.8 percent are located in priority order by respondents.
31.12 35 30 22.23 24.45 22.23 24.45 25 17.78 20 15 10 5 0 0 0
Stalls
Figure4.21 Stalls attributes
Stalls as a part of square which are added over so many years ahead of Dutch when it was square built and designed. Based on the respondents point of view it could not make a good connection with it and nearly less than 30 percent of them agree that any of these specifications could help the stalls to make a unique picture of this square. This amount of agreement was mainly gained from the local people and almost all the foreign tourist believes that these elements are improperly located in this square. (Refer to figure 4.22) 78
Figure4.22 Stalls in Melaka Dutch square
4.7.5 Pavement
As it shows in figure 4.23, according to respondents‟ point of view style with 20 percent, scale with 26.7 percent, materials with 35.6 percent and at highest level of agreement color with 68.9 percent, have effectiveness on identity of the square. Also, ornamentation and aesthetic have been chosen by one- third of the sample of people as an effective quality of these elements in identity of square.
68.89 70 60 51.12 50 35.56 33.34 40 26.67 30 20 20 10 0 0 0
Pavment
Figure4.23 Pavement attributes 79
In every pedestrian oriented square like Dutch square in Melaka, pavement works as a background theme which outstandingly affects the ornamentation and aesthetic quality of space. If the floor is a smooth and flat expanse of grayish tarmac then the building will remain separate because the floor fail to intrigue the eye in the same way that the building do. A good combination of the pavement with physical elements like building and flowers and trees in perspective of users makes a pleasant visual scene and support the perception of integration in the eyes and mind of pedestrian in public square. Pavement can enhance building individually and as a group, defining the positive space surrounding and between them (Ashihara, 1970; Moughtin, 1995). As in this square, the color and texture of pavement highly attract the attention of respondents that represent average acceptance by people. Also, it must be considered an equal partner with the buildings and by the nature of its level, scale, texture and general property, produce the effect of sociability. (Cullen, 196)
People in a landscape usually select their way to go through. If the designer did not provide a path way after a while it is created with several crossing by people. In the Dutch square a pathway is created by people nearby the flowerboxes as shown in figure 4.24. However the pavement of this part is not good. Pavement of the street that passes the square is almost appropriately matched with square pavement, while the differences between these two improve the identity of the square.
Figure4.24 Pavement in Melaka Dutch square
4.7.6 Furniture and seating
In case of furniture and seating the quality of material gets 44.5 percent agreement among respondents and style with 40 percent are the highest effective 80 specifications of furniture and seating in respect to identity of square. Other qualities that come in following are selected with almost the same percentage of respondents. Ornamentation and aesthetic with 22.2 percent, scale with 20 percent, texture and shelter and protection with 17.8 percent each and color with 15.6 percent are considered effective to highlight the furniture and seating in identity of Dutch square. (Refer to figure 4.25)
60 44.45 40 40 20 22.23 17.78 17.78 15.56 20 0 0
Fourniture & Seating
Figure4.25 Furniture and Seating attributes
One of the important physical elements that should be provided in an urban square is seating places and urban furniture. Seating element such as formal and informal that are incorporate into the design can contribute to the square identity and character. As squares are gathering, pausing and resting places, a variety of seating, leaning and resting opportunities should be provided. In this case study square people prefer mostly to sit on stages provided in round circle area of the fountain, although the seating area around two big trees in the left side of square beside the seems to be good and acceptable but passing vehicles without any obstacle that can act as a filter made these two seating area are somehow uncomfortable. (Refer to figure 4.26) 81
Figure4.26 Furniture and Seating in Melaka Dutch square
4.7.7 Decorative trishaw
Among others, decorative trishaws as an entertainment feature unites some attributes that make the square unique. These attributes were considered by respondents include color which was cited by 57.8 percent, sound with 55.6 percent and ornamentation and aesthetic with 48.9 percent. (Refer to figure 4.27)
55.56 57.78 60 48.89 50 40 33.34 31.12 30 22.23 20 11.12 10 0 0
Decorative Trishaw
Figure4.27 Decorative Trishaw attributes 82
Trishaws as an entertainment feature attract the attention of tourists. In the Dutch square, trishaws are decorated with flowers and lights and loud music played by the owners attract the attention even more (figure 4.28). As discussed before, sound, colors and aesthetics and ornamentation are the attributes of decorative trishaw that improve the identity of the square. The trishaws undoubtedly, helps the identity of Dutch square.
Figure4.28 Decorative Trishaw in Melaka Dutch square
4.7.8 Trees and flowers
As shown in figure 4.29, 62.2 percent of respondents believe that trees in this square have the quality of giving of shelter and protection, obviously against the excessive sunshine. Sixty percent think the ornamentation and aesthetic of trees and flowers improve the identity of the square and 42.2 percent reason that color in these elements increase the meaning of the square. Scale and style each received 35.6 percent, texture with 15.6 and materials with 4.5 percent cited by the respondent as effective attributes identity of the square. 83
70 62.22 60 60 50 42.22 35.56 35.56 40 30 15.56 20 4.45 10 0 0
Trees & Flowers
Figure4.29 Trees and Flowers attributes
Trees can contribute greatly to the attraction and character of the square by providing shade from excessive sunlight. Also, they can improve the identity of square within psychological, well-being, aesthetic and practical aspects. Providing a variety of color and texture and act as a converter filter for scales that work in intercession of building and human scale are the duties of trees and flowers which improve the character of the square. Plants also provide a situation for hearing sounds of the birds by people that makes the place more pleasant and notable. (Refer to figure 4.30)
Figure4.30 Trees and Flowers in Melaka Dutch Square
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4.7.9 River
River as a neutral element nearby this square was cited for its physical specification, as figure 4.31 shows river scale with 44.5 percent and ornamentation and aesthetic quality with 40 percent received more attention by respondents. Also, in order of priority style with 24.5 percent, sound with 8.89 percent and finally color with 4.5 located after ornamentation and aesthetic.
44.45 45 40 40 35 30 24.45 25 20 15 8.89 10 4.45 5 0 0 0 0
River
Figure4.31 River attributes
According to site observation, as it shown in figure 4.32 people have the desire to come along the river bank area which is a shared space with the Dutch square and have some activities. Nevertheless, the space is more like the pathway rather than nodes for people to pause and the quality of space is very low; the activity in this part of square based on the observation is very low and limited to two stalls of selling snacks. In addition to specification like the scale, some others like the sound and style could be improved in order to attract more people to this side of the square and increase its identity. Lack of multilevel platform in river side, existing pleasant seating area and appropriate urban furniture is highly sensed. Also, sound of water that present the liveliness of the river barely heard. 85
Figure4.32 River bank in Melaka Dutch square
4.7.10 Lighting
As figure 4.33 shows, among all specification of lighting existed in Dutch square Victorian style is significantly considered by the respondents as 68.9 percent chose this quality. Ornamentation and aesthetic voted by 35.6 percent and the brightness of lighting get the one – third of the agreement. Materials of lighting with 26.7 percent, scale with 22.2 percent and color with 17.8 percent are following the .
68.89 70 60 50 33.34 35.56 40 26.67 22.23 30 17.78 20 10 0 0 0
lighting
Figure4.33 Lighting specification
Lighting not only works as the source of light that helps people to see the surrounding area, but also works as a decorative element that helps the ornamentation and aesthetic of square at night and causes an improvement in identity 86 during night time (figure 4.34). Lighting should provide the sense of welcoming, safety and security. Among the others, those respondents who were interviewed during day time significantly considered the scale, materials and style of the lighting poles which is somehow following the Victorian style of the other elements like the fountain. On the other hand, those respondents interviewed at night hours considered the brightness, color and aesthetic and ornamentation. According to observation during night time, lighting provides an appropriate condition with respect to aesthetic. The mixture of red lighting spotted on red walls and green projector that illuminate the whole area makes the square unique at night, but not enough light and brightness during the night time according to respondents.
Figure4.34 Lighting in Melaka Dutch square
4.7.11 Windmill
Decorative windmill is one of the physical elements that are located in this square. Figure 4.35 represent the respondent‟s point of view regarding the attributes that contribute to improving the identity of the square. The most remarkable quality of this element is the color chosen by one–third of the respondents and ornamentation and aesthetic received 26.7 percent with style at 20 percent. Materials, scale and texture are among the lowest in percentage with to 11.1 percent, 6.7 and 4.5 percent respectively. 87
33.34 35 26.67 30 25 20 20 15 11.12 6.67 10 4.45 5 0 0 0
Wind mill
Figure4.35 Wind Mill attributes
The windmill in Melaka Dutch square received the least attention by the visitors. It is located in north edge of the square along the river bank, surrounded with a condense mass of plants and vegetation. Color and the scale specification cause it to be hidden from visitor eyes in this mass of trees. As it shown in figure 4.36, the windmill as a decorative element lost it connection with the square by locating in a position that is separated by the street. It means the street act as a barrier for the visitors that must be passing through to reach the windmill. As the street is a place for cars, the pedestrians are not comfortable it.
Figure4.36 Wind Mill in Melaka Dutch square
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4.8 Street based on observations
In this chapter almost all the elements that effect on quality and identity of the square have been studied. Also, street as one of the elements that form the square requires more explanation. Apart from all its specifications that were already covered, street has a main objective that is the transportation. Streets are an inseparable element of the cities. In case of specification and quality of space, streets are acting like a double sided blade; it means although it has lots of advantages and benefits, it has some opposite impact and disadvantages which usually resulted from the inappropriate design and placement. Several problems arise, particularly when the street is an upgrade of the historical street. In Melaka, the heritage area in pass were design before using car became popular and they are mainly for pedestrian; the width of the streets and their scale is not appropriate for cars and this is not considered in transformation of the street from pedestrian orientation to car orientation. In Melaka Dutch square this matter is highly sensed. Since the square and the street is designed with human scale the presence and passing through the square is disturbing for people. Noise, pollution and increasing the risk of accident without providing any barrier that acts as a filter are the problems this square faces.
Figure4.37 Street in Melaka Dutch square
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CHAPTER 5
CONCLUSION
5.1 Introduction
This study explored the physical element effectiveness on identity and character of the square. The main concern of this study is focusing on people‟s perception regarding to the sense of belonging and sense of place which resulted to creating a good public square. The urban square criteria and special quality of physical element have been studied in Melaka Dutch square. The study extracted the meaning of a good urban square with respect to identity due to physical elements through visitor‟s eyes. Within this respect, the study explored the consideration of Dutch square visitors for specification of different physical elements for a good identifiable urban square. To conclude the research result is divided into two parts; first include the presentation of the result concluded from data analysis and the second part is suggestion for further research.
5.2 Contribution and limitation of the study
The in-depth descriptions of respondents‟ show that an appropriate identifiable public square should be composed of physical elements, including particularly the sense of enclosure, a variety of seating elements, public art ,surface materials, nighttime lighting, the relationship to the surrounding context and land scape, and the color; and allow the users to haves opportunities for various social activities. This inquiry uncovers the importance of the physical elements in identity 90 of the square and facilities must be provided in public squares to encourage people to have social and optional activity.
In urban public spaces, it could be argued that the first responsibility of landscape architects and urban designers is to create functional spaces that enable a variety of activities and serve the public. Aesthetic design is normally the second consideration after functionality. Public space that has achieved these two design goals is generally seen as successful on the part of the designer. However, designers have the ability and the responsibility to create public spaces that are more than just functional and beautiful they can and should be contextual, memorable, and meaningful.
Melaka Dutch square to some extent can be considered as a successful public square in case of physical element contribution and people‟s social activity. According to data collection and analysis Dutch square has several aspects like being historical, landmark and visual and aesthetic elements that attract people to visiting this site. Locating in the middle of Melaka heritage part and surrounding with some of the most famous historical building in Melaka provide the opportunity for this square to have so many visitors from inside and outside of Malaysia. Existing Christ Church and clock tower that to some degree are among the highest heritage buildings has improve the identity of the square and act as landmarks. Also, there are so many visual and aesthetic elements in this square like fountain as a public art or decorative trishaws. It is important to mention that from the aspect of physical element Dutch square has enough items to improve the identity, but with respect to the activities there are some lacking. As far as the majority of activities in this square related to visiting the historical building, it can be concluded that there are a few facilities provided to attract people to have social and optional activities, those who comes to the site for some reason other than visiting the historical building. For example that citizen of Melaka who want to spent some time for leisure and recreation.
Identity has strong relation to activity and people. Activity creates a positive image for a strong sense of place and it is related to vitality and diversity. Vitality have major role for success of a place by referring to the number of people in and around the place. Having some social and optional activities in Public Square require some spatial prerequisites. Creating some areas and open species that have no any 91 particular function will provide a situation where people could choose some sort of activity that they like to do. Clearly the scale of Dutch square does not give the designer so many choices, but optimum utilization of free space near the river bank and creating some sort of staging area for some activities like group seating or open air theater, would be helpful in inviting people to this square to have social activity. Providing some appropriate cafe stands with some place to sit that do not disturbing the boundary of historical building is also preferred special events have to be organized to stimulate public life and vitality of the square both during day and night. Providing such facilities not only improve activities during day time also make the square to be lively at night. As mentioned in chapter 4 during the night time, due to other tourist attraction in Melaka like river cruise at night, fewer tourist come to this site which reduce the vitality at night.
Based on literature there are several physical elements that contribute to identity of a public square. Physical elements can be divided into two main categories; first related to square specification like the form and the size of the square. Second part related to visual and aesthetic elements including lighting, public art, landscape, street furniture and seating, shelter and protection and human scale. This research scope is limited to these visual and aesthetic elements. Each of these elements has some particular specification that has contributory effect on identity of the square.
In Melaka Dutch square there are twelve physical elements that improve the identity of the square where each of them has some positive points and some shortage as negative points. In order to improve the identity of the square designer should consider these points, strengthen the positive points and try to remove the defects. As mentioned before buildings, clock tower and fountain are among historical element in this square that attracts the visitors who are interested. In addition the color, style and scale for building and clock tower make the sense of unity in this square which by itself, it is very effective on the perception of people on identity of square; building façade provide well-defined boundaries for the square. The quality of space, integrity and symbolic character of the Chris church can improve the presence of people and creates a spiritual space. Other than these items, several concepts such as rhythm, harmony, balance, form, texture and proportion 92 come into play. Spatial composition is also about the ways in which different elements can be organized together within a space.
Public art, as an element giving an identity to the settlement, makes the public square, sociable and attractive. It creates a style that symbolizes a space. Art in the public square is generally carried out to make a place interesting and to add beauty, gaining character. As it was represented through this research the fountain is the only public art in Melaka Dutch square and its several specification contribute in specifying the square identity. In addition of being historical, it exists for the sake of the community, joining utility and beauty. More than aesthetical and style specification, the remarkable effect of the fountain is converting the scale in a way that smoothly changes the height of the building, church and clock tower to human scale.
Sound is one of the specifications that improve legibility of the character of the space and identity of square. The focus on sounds in the environment is often concerned with how sounds hinder speech communication and social interactions, as well as how they cause increases or decreases in concentration levels. While some sounds overload the senses and reduce memory capacity, other sounds are capable of affecting how people process information about the environment. There are three source of sound in Melaka Dutch square which help the legibility of the space; first the fountain water sound which make the surrounding area pleasant to sit and spend some time. That the water sound blurs the noise created by vehicles passing in nearby streets. Second sound that has wider range of distance of effectiveness is the clock tower sound heard every hour. This sound provides a powerful sense of place for area around this square. Sound of decorative trishaws is the third source of sound that contributes to identity of the square. Loud music played by the driver of trishaws attracts the attention of people specially the foreign tourists. Among these three, only the water sound of the fountain reduces the noise of space and makes the place more pleasant, while the other two only contribute in legibility of square.
The river is one of the physical elements that could give the sense of identity to the square. As it mentioned previously the water sound has two contributory effects on public places; first, it has a pleasant sound by itself and second, it cover the noise of the space. The path of the river could be designed in way that makes the 93 water sound; it makes the river bank more enjoyable place to sit. It makes the river side even more enjoyable, if some appropriate staging area for sitting can also be provided.
Seats can create rhythms through a space by the way in which they are used, so can lighting elements. These can be placed regularly along path to create even illumination at night and a sense of rhythm during the day or they can be grouped to be seen as sculptural elements during the day and to provide accented pool of light after dark. Clearly there are not any appropriate places for sitting in Melaka Dutch square and visitors most of the time sit on the edge of the flower boxes. Although, providing quality formal seating element is not so much a choice because of lack of enough space, designing informal seats, steps and platform would be a way to improve this kind of facilities in this square that lead to improvement in identity of square.
One of the effective physical elements that have a direct impact on sense of place and identity of the square is the pavement. Pavement is the background theme that connects every single physical element in the square together and causes the unity of the elements. Color, texture and material of the pavement are the specification that has the most effect on surrounding environment.
Among others trees and flowers are the elements that help to make the place smooth and pleasant. Planting should reinforce the basic structure of the square, positively shape open space areas, and be functional in defining and unifying streets, paths and open spaces. The natural elements should provide distinct visual identity to key open space elements such as gate ways to the square, views to amenities and create an atmosphere where the users will want to pass throe through.
Streets are among the most effective elements in public squares. As mentioned in previous chapter one of the challenging works for designer is an effort to upgrade the historical street to accommodate motor vehicles and cars. Dealing with such modifications causes so many inconsistencies in environment. In past it did not need to consider barrier and filters between path ways. But because of noise and pollution causes by motor vehicles new design or renovation should be considered. In Melaka Dutch square the existence of the street cut the square in two parts and causes the river side to be less in function and activity. In addition, it 94 provides so much noise and pollution and due to the lack of existence of any vegetation filter or barrier and the small scale of the square makes it a problem such a creating character and identity of the building. There are several solutions for such cases like playing with the level of the street or square or using plant and vegetation as a filter that can absorb the level of noise and air pollution.
To make it short, peoples are the true user of the square, so it is a must to give appropriate attention to the people‟s perception of square. Integrity and existence of physical element and the quality of space that provide due to these elements and finally the unique character of the square provide a situation that attract people and create the spiritual space and improve the sense of place. It is worth to mention that these physical elements causes the square has its own identity; subsequently people identify with a place feel a sense of belonging and attachment to it.
5.3 Future study recommendation
This research covers those physical activities that contribute in identity of a public square. Physical elements are divided into two main categories; first related to square specifications like the form and the size of the square. Second part related to visual and aesthetic elements including lighting, public art, landscape, street furniture and seating, shelter and protection and human scale. This research scope is limited to these visual and aesthetic elements. It is suggested for future study to cover other physical elements like the size, form and visual access of the square. Also, apart from physical element, investigating geographical location, behavioral attributes, natural elements and layout respected to the identity of the square would be appropriate.
Finally, it is important to stress that a strong and clear open space structure can provide a framework, not just for the design and development of individual urban spaces, but for the long term urban development as a whole. A robust network of open spaces can provide a stable framework within which the dynamic change in the form of development and urban renewal, which is necessary 95 in all urban areas, can take place while still retaining a long term identity for the settlement, town or city in question.
This inquiry revealed this kind of a practical knowledge that can be used in recommendation. In reference to the findings, the project can include visual elements, geographical location, natural elements, uses and activities, people and spatial identity. Defined design recommendations of these components are listed in Table 5.1.
Table 5.1: Recommendations for good character of urban square
CONTENT RECOMMENDATIONS LITERATURE GROUPS VISUAL Lighting ELEMENTS provide adequate and identical let the place reach natural daylight lighting provide a good seeing in the whole provide regular nighttime area during nights lighting and create a safe and provide a particular lighting pattern secure environment to create an attractive and welcoming visual environment and identical image *(Phillips, 2002; Carmona et al, 2003) Seating provide a variety of sitting, Provide seating elements leaning, resting places Include flexible seating should be at 40-75 cm in height Include informal seating (lawn may be in various forms and styles areas, stairs, edges and corners allowing diversity of sitting etc.) behavior and allowing using Use durable and proper seating as vantage points materials comfortable and use appropriate materials for convenient for all differentiating climatic and Seasonal conditions environmental conditions orient sitting places according to the sun and shade, and activity places * (Whyte, 2009; Marcus & Francis, 1998; Alexander et al, 1987; Childs, 2004; Shaftoe,2008) 96
Public art Provide a variety and a plenty of locate at an off-center position artistic elements may function as a landmark Provide a central monument locate close to the pedestrian routes (sculpture, fountains etc.) may be designed as shelter and Seating elements may be protection, artistically designed may function as seating places may function as creative playgrounds
*(Childs, 2004; Whyte, 2009; Carmona et al,2003; Carr et al, 1992; Marcus & Francis, 1998; Shaftoe, 2008; Sitte, 1965) Paving provide a visual expression use an identical material representing a sense of center, provide a robust, proper, long- stopping or staying by using floor lasting surface materials patterns provide easily walkable surface may be in various materials such as brick, stone, marble, concrete etc. stone paving slabs and introduce a human scale, thus make the „large, hard‟ spaces easier to perceive use more durable materials regarding the differing climatic conditions and the long term economic benefits embed a variety of activities to the floor pattern such as game board *(Carmona et al, 2003; Childs, 2004; Shaftoe,2008) Human scale keep dimensions according to pace Provide elements in of pedestrians smaller/lower dimensions use high and huge buildings as (buildings etc.) (in terms landmarks of height, volume) Embed activities and uses into the surrounding building frontages such as vending, eating and drinking etc. define the plaza with the surrounding buildings
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create a sense of enclosure by using buildings, walls, natural elements, arcades Incorporate physical elements properly such as paving, street furniture, public art, seating, kiosks etc. *(Tibbalds, 2001; Shaftoe, 2008; Carmona et al,2003; Childs, 2004) Visual access make the square visible from the surrounding area prevent creation of visually inaccessible spaces provide elements in order to screen out the noise and visual access of the traffic Color use trees and flowers to add use color for an identical color and fragrance and pleasure-giving use color for joyful environment (like paving environments stones, lighting and other *(Shaftoe, 2008; Carmona, 2003) elements) Form may be in various shapes , not Define the square with one shape fits all (may be buildings, walls, seating asymmetrical) elements, natural create a sense of enclosure Elements, paving etc. Provide a relation between *(Carmona et al, 2003; Sitte, 1965; the square and the other Childs, 2004; Nasar, 1998; Krier, surrounding uses, 1979; Shaftoe, 2008) buildings etc. visually and aesthetically organize the surrounding buildings use orienting elements
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GEOGRAPHICAL Centrality close to busy pedestrian and LOCATION locate in central locations vehicular routes and with mixed use transportation nodes environment Accessibility *(Whyte, 2009; Shaftoe, 2008; Marcus provide accessibility by all & Francis, 1998; Childs, 2004) means such as cars, buses, bicycles and on foot provide parking facilities NATURAL provide a variety of natural use the natural elements to ELEMENTS elements (trees, bushes, flowers, create a microclimate, to lawn areas etc.) provide shelter and allow users to benefit from protection (in a variety of sun height and shade options) allow users to access without interrupting the daylight users sight line and visual allow users to benefit from access to the activities, others, fresh air fountain views etc. provide shelter and use the advantage of seasonal protection (shadowy areas changes in the environment with trees and other regarding the natural elements) elements in terms of color and use natural elements to texture create sense of enclosure use trees and flowers to add (surrounding and defining color and fragrance the square) provide/create slopes and hills use natural elements to (within the grass and lawn create subareas use green area) allowing users to areas as informal have a better visual access to alternative seating the main site provide regular let the natural elements cover maintenance the hard buildings and introduce a human scale and a softer environment
*(Carmona et al, 2003; Shaftoe, 2008; Whyte, 2009; Marcus & Francis, 1998)
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USES AND Provide eating and provide outdoor tables ACTIVITIES drinking facilities (cafes, provide picnic places restaurants, kiosks, provide shelters teahouses, patisseries etc.) provide adequate and properly Provide vending and located litter bins (to keep the shopping opportunities square clean) (boutiques, vending stalls, shops etc.) *(Shaftoe, 2008; Whyte, 2009; Marcus & Francis, 1998) PEOPLE provide presence of other provide concerts, open air people in the square (with theaters, social events, art activities and uses) exhibitions, performances, provide a variety of dance shows, festivals activities, areas for users (enhancing image and identity of different age groups and of the square as well) genders provide creative playgrounds Provide spaces for skateboarding, rollerblading etc.
*(Shaftoe, 2008; Whyte, 2009; Marcus & Francis, 1998; Francis M., 1987) SPATIAL create an ambiance IDENTITY allowing users to identify themselves with the square produce square as a symbol of its locality
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APPENDIX A
This questioner is to know about physical elements of this square and the effect of these elements on identity of historical square .Thank you so much for your kind cooperation.
1. Are you local or foreign tourist? Local Foreign Tourist 2. Is this your first visit? Yes No
3. What is the attraction of this square? (Please score each answer respectively based on your evaluation)
Strongly agree agree disagree Strongly disagree
1.It is landmark
2.It is historical
3.visual &aesthetic elements
4.It is sociable
5.It is dynamic
6.various activity &entertainment
4. Why do you come to the square? (Please score each answer respectively based on your evaluation)
To walk Spend leisure and recreation Meeting friends
Short pause visiting the tourist attraction
5. What elements contribute to identity of the square? (Please score each answer respectively based on your evaluation)
Strongly agree agree disagree Strongly disagree
1.Fountain
2.Building
3.Clock tower 106
Strongly agree agree disagree Strongly disagree
4.stalls
5. Pavement
6.Furniture & seating
7.Decorated trishaw
8. Color
9. Trees & flowers
10. River
6. How do you think these elements contribute to identity of the square? (More than one item could be chosen)
Shelter & Orname Style Scale Material Texture Sound Color protection ntation & aesthetic
1.Fountain
2.Building
3.Clock tower
4.stalls
5.Pavement
6.Furniture & seating
7.Decorated trishaw
8. Trees & flowers
9. River
10. Lighting
11. Wind mill