Temporal Urban Design

<p><i>Temporal Urban Design: Temporality, Rhythm and Place</i> examines an alternative design approach, focusing on the temporal aesthetics of urban places and the importance of the sense of time and rhythm in the urban environment.</p><p>The book departs from concerns on the acceleration of cities, its impact on the urban quality of life and the liveability of urban spaces, and questions on what influences the sense of time, and how it expresses itself in the urban environment. From here, it poses the questions: what time is this place and how do we design for it? It offers a new aesthetic perspective akin to music, brings forward the methodological framework of urban place-rhythmanalysis, and explores principles and modes of practice towards better temporal design quality in our cities. The book demonstrates that notions of time have long been intrinsic to planning and urban design research agendas and, whilst learning from philosophy, urban critical theory, and both the natural and social sciences debate on time, it argues for a shift in perspective towards the design of everyday urban time and place timescapes. Overall, the book explores the value of the everyday sense of time and rhythmicity in the urban environment, and discusses how urban designers can understand, analyse and ultimately play a role in the creation of temporally unique, both sensorial and affective, places in the city.</p><p>The book will be of interest to urban planners, designers, landscape architects and architects, as well as urban geographers, and all those researching within these disciplines. It will also interest students of planning, urban design, architecture, urban studies, and of urban planning and design theory.</p> <p>List of figures</p><p>List of tables</p><p><b>Introduction </b></p><p><b>Chapter 1: The need for a paradigm shift</b></p><p><i>Why the sense of time and rhythm is important for design</i></p><p><i>The problem of our cities: new conditions and challenges</i></p><p><i>The problem with growth-led development</i></p><p><i>The problem with design: obsolete aesthetics hinder innovation</i></p><p><i>The intermittent loss of temporality with Covid19</i></p><p><i>Ways forward: an intellectual and aesthetical review </i></p><p><i>A doughnut spatial economy: an alternative model</i></p><p><i>Temporal Urban Design: an alternative aesthetic</i></p><p><i>Cultural and social place-temporalities as temporal heritage to design for</i></p><p><i>The need for methodological innovation and interdisciplinarity</i></p><p><i>The need for a paradigm shift </i></p><p><b>Chapter 2: Time and temporality in urban design</b></p><p><i>Incorporating time in urban design studies</i></p><p><i>Planning cities and time</i></p><p><i>Governing and delivering through time</i></p><p><i>Mapping through time: time-geography and urban mobility studies</i></p><p><i>Managing through time: planning for slowing time in the city</i></p><p><i>Taking stock of urban design research on time</i></p><p><i>The significance of senses of time in urban design</i></p><p><i>Conclusion</i></p><p><b>Chapter 3: Time and temporality in philosophy and in science</b></p><p><i>Time or temporality: early conundrums in philosophy and science</i></p><p><i>The first temporal conundrums: origins of the Western discourses</i></p><p><i>The dialectics on time: Aristotle and Plato</i></p><p><i>The early Christian times</i></p><p><i>The dialectic in the Middle Ages: presentism or eternalism</i></p><p><i>The progressive and instrumental times of the Middle Ages</i></p><p><i>Eternalism or Presentism: early to late modern physics</i></p><p><i>Eternalism: the absolute time</i></p><p><i>Presentism: the crumbling of time</i></p><p><i>Quantum time: on spacetime, time and rhythm</i></p><p><i>The time of the mind, experiential or relational time</i></p><p><i>Critical debates on the experience of urban time: Bergson and Bachelard</i></p><p><i>Time as duration: intuition and memory, and its distortion in space, by Bergson</i></p><p><i>Time as discontinuous and creative, by Bachelard</i></p><p><i>Duration, temporality and rhythm</i></p><p><i>Temporality: as concrete duration and refrain, by Bergson</i></p><p><i>Temporality: as created by rhythms, by Bachelard</i></p><p><i>Listening to rhythms to understand temporal existence</i></p><p><i>Temporality: phenomenological time, rhythm, rhythmanalysis, assemblage, refrain and territoriality</i></p><p><i>Temporality: as the phenomenological time</i></p><p><i>Distaff theories of time and temporality: Deleuze and Lefebvre</i></p><p><i>Conclusion</i></p><p><b>Chapter 4: The urban temporal condition: understanding rhythm in urban space</b></p><p><i>Time constructs in society and space</i></p><p><i>Temporality as a sense or as a process? Time, rhythm and urban space</i></p><p><i>Temporality as a sense: experiential and representational time</i></p><p><i>Temporality as a process time through the rhythms of everyday life </i></p><p><i>Rhythm, refrain and territoriality</i></p><p><i>The coincident accent on rhythm to express time in space</i></p><p><i>Towards the territorialisation of time: paradigm shifts in urban critical theory</i></p><p><i>Place as temporal: sense of time, sense of place or atmosphere?</i></p><p><b>Chapter 5: Temporal Urban Design: situating the theory</b></p><p><i>The case for a turn towards Temporal Urban Design </i></p><p><i>Manifesto (Thoughts on cities/notes to the urban designer)</i></p><p><i>What defines Temporal Urban Design?</i></p><p><i>A new temporal aesthetics for urban place design</i></p><p><i>The aesthetics of place-temporality</i></p><p><i>Conclusion: Place-temporality and the principal aspects of its aesthetics and experience in urban space</i></p><p><b>Chapter 6: An aesthetics akin to music: a new temporal aesthetics for urban place design</b></p><p><i>Music in urban environment research </i></p><p><i>Music, place-temporality and rhythm: experiencing, performing and listening</i></p><p><i>The experience</i></p><p><i>Performing: choreography and resonance</i></p><p><i>Listening</i></p><p><i>The conceptual tools</i></p><p><i>Three musical processes: rhythm, performance and tonality (or tonal organisation) </i></p><p><i>Rhythm (as in music)</i></p><p><i>Rhythm in urban space</i></p><p><i>The temporal aesthetics of places: eurythmia, performativity and tonality as in a place-score</i></p><p><i>Conclusion</i></p><p><b>Chapter 7: Temporal Urban Design: situating research practice</b></p><p><i>Temporal Urban Design: interdisciplinarity and inherent intellectual foundations</i></p><p><i>Place-rhythmanalysis: a methodology for temporal urban place design</i></p><p><i>Researching the temporality and rhythmicity of urban landscapes</i></p><p><i>Rhythmanalysis in urban studies</i></p><p><i>The focus on place-rhythmanalysis</i></p><p><i>Place-rhythmanalysis: ethnography into the temporal phenomenology of places</i></p><p><i>Working as a place-rhythmanalyst</i></p><p><i>Listening to urban place as a musician in urban places</i></p><p><i>The process: the fieldwork</i></p><p><i>The process: the analysis</i></p><p><i>Conclusion</i></p><p><b>Chapter 8: A place-rhythmanalysis: the singular rhythms and temporality of Fitzroy Square</b></p><p><i>At Fitzroy Square</i></p><p><i>An everyday place</i></p><p><i>Architecture and public space design </i></p><p><i>Nature at the square</i></p><p><i>Everyday social and cultural profile</i></p><p><i>A residential and communal square</i></p><p><i>A multicultural place</i></p><p><i>An events place</i></p><p><i>A working and institutionally representative square</i></p><p><i>An exceptional private-public garden square</i></p><p><i>Location and relationship to the wider neighbourhood</i></p><p><i>A particular sense of time, or tempo and the aesthetic significance</i></p><p><i>Spatial expression of place-rhythms at Fitzroy Square</i></p><p><i>Social place-rhythms: societal, cultural and functional</i></p><p><i>At Fitzroy Square</i></p><p><i>Physical place-rhythms</i></p><p><i>Natural place-rhythms </i></p><p><i>Temporal expression of place-rhythms: an horizontal place-rhythmanalysis</i></p><p><i>Principles for temporal horizontal place-rhythmanalysis</i></p><p><i>An horizontal temporal rhythmanalysis of social place-rhythms at Fitzroy Square </i></p><p><i>Physical and natural place-rhythms rhythmanalysis</i></p><p><i>Temporal expression of place-rhythms: a vertical place-rhythmanalysis</i></p><p><i>Principles for the temporal vertical analysis</i></p><p><i>Eurythmia at Fitzroy Square: One day performative narratives</i></p><p><i>A place-score on the temporal rhythmic aesthetics of place: a representation and interpretation tool for urban designers</i></p><p><i>The rhythmic DNA of one day at Fitzroy Square: intensity and accentuation barcodes</i></p><p><i>Summary</i></p><p><b>Chapter 9: Temporal urban design: Situating practice (epilogue)</b></p><p><i>Introduction</i></p><p><i>Framing the realm of practice </i></p><p><i>Temporary, Acupuncture and Tactical Urbanism</i></p><p><i>Participatory Data Urbanism</i></p><p><i>Sensorial and Performative Urbanism</i></p><p><i>Practising Temporal Urban Design: framing action</i></p><p><i>A collaborative route to methodological innovation</i></p><p><i>Tactical interventionism</i></p><p><i>Craft and craftsmanship in the temporal design of the city</i></p><p><i>Craftsmanship in urban place-rhythmanalysis</i></p><p><i>Collective urban craftmanship processes in places co-production</i></p><p><i>Designing for the Slow and Soft City </i></p><p><b>Conclusion</b></p><p>References</p><p>Index</p>