Att beskriva upplevelsen av stadens rum
The city is complex, multi-faceted and fascinating. The same can be said about the rooms of the city. The experience of the rooms of the city can be described in as many ways as there are individuals. The question concerned in this essay is How can you describe the rooms of the city as a phenomen...
| Main Author: | |
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| Format: | Otro |
| Language: | Swedish Swedish |
| Published: |
2008
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| Subjects: | |
| Online Access: | https://stud.epsilon.slu.se/12650/ |
| _version_ | 1855572106272571392 |
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| author | Andersson, Karin |
| author_browse | Andersson, Karin |
| author_facet | Andersson, Karin |
| author_sort | Andersson, Karin |
| collection | Epsilon Archive for Student Projects |
| description | The city is complex, multi-faceted and fascinating. The same can be said about the rooms
of the city. The experience of the rooms of the city can be described in as many ways as
there are individuals. The question concerned in this essay is How can you describe the
rooms of the city as a phenomenon and how can you describe the experience of these rooms
in general?
The concepts city and room are widely understood and neither of them has a description
that can be used in all situations. Different time periods in history have had different
defi nitions and different thinkers and philosophers have theirs. A changing context have
given these words different meaning. The same can be said about the experience of the
rooms of the city and the description of this experience. In different situations, different
descriptions, explanations and analyses must be used.
This essay will not present a way to describe a specifi c city room, but will examine the
rooms of the city in general and the city as a phenomenon. The architect Inger Bergström
believes that you can look at experiences on three levels. The top-level looks at how the
species experience and focuses on our mutual experiences through our genes. Next level is
the group level where you can compare experiences in a group of people. The lowest level
focuses on the individual experience. These experiences are based on a persons previous
experiences. Bergström means that it is what we experience on the level of the species,
and to a certain extent on group level, that is interesting in the profession of a landscape
architect. Further, she believes, like the phenomenological architect Christian
Norberg-Schulz, that it is possible to describe the common experience in general terms.
It is the highest, common level of experiences that is the base of Kevin Lynch´s description
of the city from a point of legibility and orientation. Along with a description of
Lynch´s way to describe the rooms of the city, other ways to describe the city rooms and
the experience of them will be presented, both general experiences and individual ones.
Fiction in literature offers a language with metaphors and atmospheres that leads to an
understanding of experiences on an emotional level. In art we fi nd a way of exploring and
investigating places and the rooms of the city that intrigue refl ections concerning descriptions.
Every description has its medium and when they come together they are close
to offering a comprehensive picture of a complex city. |
| format | Otro |
| id | RepoSLU12650 |
| institution | Swedish University of Agricultural Sciences |
| language | Swedish swe |
| publishDate | 2008 |
| publishDateSort | 2008 |
| record_format | eprints |
| spelling | RepoSLU126502017-10-23T11:23:39Z https://stud.epsilon.slu.se/12650/ Att beskriva upplevelsen av stadens rum Andersson, Karin Landscape Architecture (until 121231) Landscape architecture The city is complex, multi-faceted and fascinating. The same can be said about the rooms of the city. The experience of the rooms of the city can be described in as many ways as there are individuals. The question concerned in this essay is How can you describe the rooms of the city as a phenomenon and how can you describe the experience of these rooms in general? The concepts city and room are widely understood and neither of them has a description that can be used in all situations. Different time periods in history have had different defi nitions and different thinkers and philosophers have theirs. A changing context have given these words different meaning. The same can be said about the experience of the rooms of the city and the description of this experience. In different situations, different descriptions, explanations and analyses must be used. This essay will not present a way to describe a specifi c city room, but will examine the rooms of the city in general and the city as a phenomenon. The architect Inger Bergström believes that you can look at experiences on three levels. The top-level looks at how the species experience and focuses on our mutual experiences through our genes. Next level is the group level where you can compare experiences in a group of people. The lowest level focuses on the individual experience. These experiences are based on a persons previous experiences. Bergström means that it is what we experience on the level of the species, and to a certain extent on group level, that is interesting in the profession of a landscape architect. Further, she believes, like the phenomenological architect Christian Norberg-Schulz, that it is possible to describe the common experience in general terms. It is the highest, common level of experiences that is the base of Kevin Lynch´s description of the city from a point of legibility and orientation. Along with a description of Lynch´s way to describe the rooms of the city, other ways to describe the city rooms and the experience of them will be presented, both general experiences and individual ones. Fiction in literature offers a language with metaphors and atmospheres that leads to an understanding of experiences on an emotional level. In art we fi nd a way of exploring and investigating places and the rooms of the city that intrigue refl ections concerning descriptions. Every description has its medium and when they come together they are close to offering a comprehensive picture of a complex city. Staden är komplex, mångfacetterad och fascinerade. Så är även stadens rum och vår upplevelse av dem. Den individuella upplevelsen av stadsrum finns i lika många upplagor som det finns individer. Beskrivningen av dessa upplevelser skiftar också. Frågeställningen i denna uppsats är Hur kan man beskriva stadens rum som fenomen och hur kan man beskriva upplevelsen av stadens rum i allmänhet? Båda begreppen stad och rum är breda och inget av dem har en definition som kan användas i alla situationer. Olika tidsperioder har sina synsätt och olika teoretiker och filosofer sina. Beroende på sammanhang får således orden olika betydelser. Detsamma gäller för upplevelsen av stadens rum och beskrivningen av den. Olika situationer kräver olika beskrivningar, förklaringar och analyser. Uppsatsen tittar inte på sätt att beskriva ett specifikt stadsrum utan tittar generellt på stadsrum och stad som fenomen. Arkitekten Inger Bergström menar att man kan dela upp upplevelser på tre nivåer. Den översta är artnivå, där våra upplevelser styrs genetiskt och alltså är allmänna och samma för alla människor. Nästa nivå är gruppnivå och här kan man jämföra upplevelser inom en grupp av människor. Den lägsta nivån är på individnivå. Dessa upplevelser grundar sig på individens tidigare erfarenheter. Bergström menar att det är upplevelserna på artnivå, och i viss mån även på gruppnivå, som är intressanta vid gestaltnings- och planeringsarbete. Hon menar också, liksom den fenomenologiske arkitekten Christian Norberg-Schulz, att denna allmänna upplevelse går att beskriva i generella termer. Det är den högsta, gemensamma nivån av upplevelser som Kevin Lynch utgår ifrån när han tolkar och beskriver staden utifrån ett läsbarhets- och orienteringsperspektiv. Tillsammans med en beskrivning av detta sätt att beskriva stadens rum, presenteras i uppsatsen fler sätt att beskriva stadsrum och upplevelsen av dem, både individuella och generella. Den skönlitterära litteraturen erbjuder ett språk med metaforer och stämningar som lockar till en förståelse för upplevelser på ett känslomässigt plan. Inom konsten kan vi se ett utforskande av platser och av stadens rum som snarare leder till reflektioner över beskrivningarnas utformning. Varje beskrivning har sin plats och tillsammans kommer de nära att beskriva en heltäckande bild av en komplex stad. 2008-09-16 Other NonPeerReviewed application/pdf sv https://stud.epsilon.slu.se/12650/1/andersson_k_171023.pdf Andersson, Karin, 2008. Att beskriva upplevelsen av stadens rum. UNSPECIFIED, Alnarp. Alnarp: (LTJ, LTV) > Dept. Of Landscape Architecture, Planning and Management <https://stud.epsilon.slu.se/view/divisions/LMNR=3A644.html> urn:nbn:se:slu:epsilon-s-8139 swe |
| spellingShingle | Landscape Architecture (until 121231) Landscape architecture Andersson, Karin Att beskriva upplevelsen av stadens rum |
| title | Att beskriva upplevelsen av stadens rum |
| title_full | Att beskriva upplevelsen av stadens rum |
| title_fullStr | Att beskriva upplevelsen av stadens rum |
| title_full_unstemmed | Att beskriva upplevelsen av stadens rum |
| title_short | Att beskriva upplevelsen av stadens rum |
| title_sort | att beskriva upplevelsen av stadens rum |
| topic | Landscape Architecture (until 121231) Landscape architecture |
| url | https://stud.epsilon.slu.se/12650/ https://stud.epsilon.slu.se/12650/ |