PEDESTRIAN

CIRCULATION VEHICULAR
PARKING
MOTION
Motion is involved in the person or in the thing experienced. Structure is seen most
often in a three-dimensional way for a person s usually on the move. Motion is
impelled by form and concept. The architects then are the movers, with their of the
design the landscape, it dictates on how the person perceives the structures.
THE KINEMATICS OF MOTION
By design, from the point of references, the line or the trajectory of induces movement
may be meandering, discursive, circuitous, looping, zigzagging,, ricocheting,
ascending, descending, hyperbolic,, or centripetal, it may be an arc or a direct straight
shot.
The alignment, speed and nature of motion on how a person responses on the design
should be considered in the design. The abstract qualities of the path or line by which
an object or space is approached must also be controlled with care.
The compelling factors in the subconscious plotting of courses are our senses of sight,
hearing, taste, touch and smell.
MOTION

These are patterns that can be applied in a

design that will enable movement.
IMPELLING FACTORS
We tend to move:
In logical sequence of progression.
In lines of least resistance.
Along easiest grades.
In lines suggested by directional forms, signs or
symbols.
Toward that which pleases.
Toward things wanted.
Toward things that have use.
Toward change; from cold to warm, from sun to
shade.
Toward that which has interest.
Toward points of entry.
Toward the receptive.
Toward points of highest contrast.
Toward points of richest texture or color.
To attain a goal.
By pride of height attained, distance traveled,
friction overcome.
In haste, via the direct; with leisure, via the
indirect.
In harmony with circulation patterns.
In harmony with abstract design forms.
IMPELLING FACTORS
Toward the beautiful, the picturesque.
For the pleasurable sensation of motion.
For the experience of space modulation.
To exposure, if adventurous.
Toward protection, if threatened.
Toward and through pleasant areas and spaces. Toward order, if tired of confusion.
Toward confusion, if bored with order.
Toward objects, areas, and spaces that suit our moods or needs.
REPELLING FACTORS
We are repelled by:
Obstacles The demanding
Steep grades Danger
The unpleasant Friction
The monotonous Disorder
The uninteresting The ugly
The dull The unsuitable
The obvious
The undesirable
The forbidding
MOTION DIRECTORS
We are directed or guided by:
Arrangement of natural and structural forms.
Implied patterns of circulation.
Baffles, screens, and space dividers.
Dynamic plan lines.
Signs
Symbols
Mechanical controls such as gates, curbs and barriers.
Spatial shapes.
Suggested progression such as red to orange, from hole 1 to hole 2.
RESPONSE INDUCERS
We are induced to repose by: Dominant

Conditions of comfort, Beautiful Spectacular

enjoyment or rest. Varied Subtle
Opportunity for response. Near pix or eye level Associative
Opportunity for concentration. Decorative Inspiring

Restriction of movement. Necessary Strange, amid the familiar.

Desirable New
Pleasant arrangement of forms
and space. Restful when weary Pleasing in pattern.

Meaningful Startling Pleasing in form.

Vigorous Pleasing in scale.
Animated
Bold Pleasing in texture.
Contrasting
Interesting Pleasing in color.
Unusual
exciting Safe
RESPONSE INDUCERS
We are induced to repose by:
Stable suitable convenient Bright Sophisticated
On course Familiar, amid much that is Comprehensible
strange.
Dramatic Superlative
In motion against a mixed
Simple Suspense
background.
Clean Impressive
Charming
Natural Surprising
Subdued, when weary of the
Weird bright. Ingenious
Plausible Abstract Useful
Colorful Select Logical
Lively Successful Sequential
Pleasantly shocking. Distinguished Progressive
RESPONSE INDUCERS
We are induced to repose by:
Appealing Amusing
Educational
Suggestive
Curious
Satisfying
Exotic
Awesome
Extraordinary
Symbolic
Appropriate
Fresh
Stimulating
Excellent
Admirable
True
Diverting
DISTANCE
AS A FRICTION
In moving about, distance is always considered an obstacle. Often the design adapting a
minimum distance with straight and rapid travel is a users demand. Safety and motion
stress on unleveled areas are considered as factors in designing.
POSITIVE QUALITIES OF DISTANCE
Distance is a function of an area, and area is a function of a space, and both are usually
at a premium. When boundaries are fixed, we usually attempt to expand and this is
through increasing perceived distances.
SPACE MODULATION
People in motion take great pleasure in the sensation of change – change of texture,
light quality, temperature, scent, visual patterns, expanding or contracting vistas, and
the fluid visual impressions of objects, spaces and views.
CONDITIONED PERCEPTION
DISTANCE
SEQUENCE
Is the terms in planning,
maybe defined as a
succession of
perceptions having
continuity.
Sequence is basically
what we experience.
Sequence are casual and
free.
A planned sequence is a
conscious organization
of elements in space.
PEDESTRIAN
PEDESTRIAN MOVEMENT
FOOT TRAFFIC tends toward the shortest distance and has a pressure of
momentum. Swift movement requires a straight, smooth channel with increased
width at the curves.
OBSTACLE creates turbulence, they are usually experienced in intersections. But in
pedestrian movement, this is considered desirable as in tends to allow observation of
spaces, a place of excitement, activity or high interest.
PEDESTRIAN
MOVEMENT

Compared to a stream,
this is the discipline that
can be positively
adapted to pedestrian
movement.
PEDESTRIAN MOVEMENT
Random path
layout

Reinforcemen
t of walk
curves and
intersections
FACTORS OF DESIGN:
Things seen.
The base plane.
Distance and grade.
Traffic flow.
VEHICULAR
THE AUTOMOBILE
Highways, streets and even driveways, as plan elements, must be considered as
LETHAL LINES OF FORCE. These lines and their intersections are lines and pints
of smashups, crippling accidents and death.
TRAFFIC FLOW
Streets and highways should be conceived as a friction-free paths of vehicular
movement. Roads needs to be planned for fast, safe and uninterrupted traffic flow.
Rights-of-way should be designed accordingly and likewise to the parking types and
accesses to adapt to the changes.
A highway, road or driveway is in itself a unified whole. It must be complete, safe,
efficient and must work well as a route of circulation and interconnection. It should
also provide a pleasant experience and movement from point to point through the
landscape.
THE AUTOMOBILE
IN THE LANDSCAPE
Once established in any landscape, a roadway becomes a potent feature and
immediately changes the character of the land areas through which it makes its way.
In the new landscape for living, all motor and pedestrian traffic will be segregated.
Our living and working areas will be readily approached and serviced by the
automobile, but they will be oriented to and interspersed with attractive, refreshing
pedestrian spaces unpenetrated by roadways. Walking will again be a pleasure when
it is freed from the sound, sight, fumes, and danger of rushing traffic and when it
leads us through places and spaces designed for walking and congregating. And our
motorways, designed solely and specifically for free vehicular movement and riding
pleasure.
THE AUTOMOBILE
THE ROADWAY PRINCIPLES:
1. Determine the most rational alignment.

2. Accommodate the traffic.

3. Preserve the natural systems and scenic superlatives.

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