Public **** space design can improve people's living needs, enhance the comfort of the space. So, what is public **** space design? The following is a relevant introduction to public **** space design that I have organized for you, I hope it can help you.

Overview of the design of public **** space

The design of public **** space is not only the purpose and the result, nor is it designed to cater to the logo of a few people, but a process, a process in which the public participates in and continues to show the transformation of its life, the new design is not only a new style or a new form, but refers to the new content and the creation of a new way of life.

Space can be clearly divided into occupied space and unpossessed space from the definition of physical form. People's possession of space is defined by physical signs: such as piles of stones. The most effective is to build a structure, or simply build a house to consolidate the occupation of space, such a physical definition is based on the number and physical and other tangible and clear definition. Under fairly normal circumstances, the rational use and division of space is often necessary to distinguish between public **** space and private space, and it stands to reason that public **** space has a special responsibility to understand and serve the interests of the public, and that we pursue ways to adapt it to the various needs of the human being, rather than the public adapting it to the various environments. Public **** space and private space is largely organic whole, so this issue is our study of environmental art and design or has become the eternal theme of the designer!

Urban public **** space design concepts and methods

Then in general, from the planning of the building or project to the design of the building, implementation to the final completion, as well as to the subsequent use of these facilities and management, these and designers and experts are related. There is also the education of the community and the education of the users.

We all know that Italy has the best conservation of buildings. The original source of these ideas did not come from architects or from government departments, but from the public. It was a bottom-up movement, initiated by the public, that encouraged the government to adopt such an attitude. We have seen a continuation of the face of our cities and a development of culture.

My topic today is that when I was doing my doctoral research I couldn't find a suitable topic, if I just go to study a building how should I study it, so I was very confused. But at that time there was a lot of discussion about what our society should do. At this time I realized that our own, we architects and experts, our service users, that is, our clientele, as well as the citizens and the general public who use them. There is a contradiction between demand, provision and creation. How to solve such a contradiction is the starting point of my lecture. In this process there is the problem of public ****ness.

Let's start with some pictures. This is a plaza, a private organization that provides free access to the public to communicate here.

This is a random shot of a shopping mall on the street, what is the role of this art, this sculpture on the street.

At the same time, there is a trend for private artists to set up their sculptures in plazas and buildings for people to enjoy. In some buildings there are such sculptures.

And then indoors, in a large glass space range, began to gradually recognize the signage system. Indicating what kind of exhibition is on today, the schedule and so on. Relatively speaking, there is a sense of freshness in the relatively boring room. In the following place to put the external space into the interior.

This is in the subway aisle, this wall is very? The wall is very gray. Some people spontaneously made this kind of thing out of metal on it. It was a completely spontaneous behavior.

This is a real person, in a corner of the entrance to the subway.

There are some private companies abroad that display some of these works. This is a Chinese artwork displayed for all to see. It's a reflection of the United States during World War II. This sculpture is very expensive to buy.

In some large buildings and on the sides of the streets there are sculptures like this, which are not very good, but they enrich the space.

This is a ventilation tank, which would be monotonous without this next to it.

This is a metal component, mainly to enrich, including the treatment of the entrance, do some regularity, do some sculpture. This is something like titanium alloy enclosed.

This is the stream, there is water flow in the summer, giving people the feeling that there is still a place to see.

So the above is just a casual look, whether it is correct or not, but mainly there is such an idea. But on the contrary, this idea is right or wrong. We subjectively believe that the user should be satisfied, should be appreciated. Is this actually the case, and is there a difference? What are the real needs of the public?

With socio-economic development, the public's demand for quality of living environment and public **** art has increased. We reflect on our previous time, we build a house, people can live to carry on is very satisfied. But nowadays, many houses are more are landscaped, the quality has to be good, not good directly related to the price of the sale.

In this way, our government and the development of the structure, a large number of sculpture and so on. After doing it is not everyone's evaluation will be very high. We often hear a statement that many sculptures after a short time will have no head and arm. Why are these things the way they are, and is there some specific problem here. Both sides have both sides of the argument, the artist and the architect both argue that the public can't understand perfect creativity. The public would say you have misrepresented what we want. That produces what is happening now.

This state of affairs has to be addressed before we can move forward, before we can design more in line with the public, before we can achieve public recognition, not academic recognition. Reflect on what it means to be public ****ness. Here is a question of public ****, in the sense of public ****, is our goal is our pursuit. Pursuits are different for everyone, I want my home to be 180 square meters, I want to have a garden, etc., in which case public ****ness cannot be regulated. So public ****ness is not the will of the individual, but a kind of ****ness formed by the regulation between the individual and the individual, this ****ness is from the individual, and at the same time, there is a process of returning to the individual cycle.

That is to say, the requirements of public **** with the improvement of the overall level of a cyclical and progressive process. Then at the same time in the administration, our country has a lot of administrative means of regulation, including macro-control or economic practices, are top-down. Then the government is not the only way to solve the problem, and the formation of institutions or associations between the individual and the individual organization, is often able to solve the appropriate public **** sex.

Then there is another concept here, the concept of public ****art that has now been widely proposed. This concept is actually very difficult to define. Up to now there is no precise understanding, at least from four aspects can be determined.

First, in the public **** place is the public **** free intervention and participation.

Second, it is a work of art, or form with public **** will and public **** interest.

Third, the selection, presentation and operational mechanisms reflect public ****.

Fourth, the public **** enjoy the social resources, rather than individuals to appreciate.

The breadth of the specific scope of public **** art involves the visual category, plastic arts, performance, dance, these things can be public **** art. At the same time, the concept of public ****ness is also inclusive. Everyone is free to participate.

There are several ways to think about public **** art.

First, the process of realizing public ****art while its definition is a way to refer to it.

Second, there are different levels on which to question the so-called ? Public ****? , public **** art will become a way for public **** to express itself.

Third, how to study the process of the development of public **** art. Strategy, policy development and composition.

Public **** environmental art also has materialized embodiment and place-based.

First, these include the buildings themselves, street spaces, stores, public **** services. Public **** sculpture and so on *** with the composition, the relationship between them is embodied in the public **** place.

Second, the point of public **** environmental art is not the artist's private things, he belongs to the general public.

Third, with social functions, must be compatible with the environment, and social needs.

Fourth, art belongs to the city and exists with the city.

Fifth, public **** art is a form of art, through the art of improving the transformation of the environment is the most basic principle.

Just mentioned the three parties, one is the public, one is the public **** environmental art works, there is a designer, experts, what is the relationship between them? What is the relationship between them? The relationship between the three of them is circular.

Public **** demand is not individual, but the formation of **** knowledge and **** sex between people. Through the experts and architects to understand the public **** needs, through the creation of it into a work, and this work is needed for the public to use, is such a circular process. In this cycle, it is very important that the experts and architects, we play a role in promoting here.

So this public demand is not exactly there, this is a table of the relationship between the consumption of spare time, the inputs and expenditures on the environment needed in spare time, using Japan as an example. We can see the correlation in the graphic. the Japanese economy took off in 1973 and continued to grow until the bubble economy emerged in 1989. In this decade, the Japanese economy was in recession, and in 1999, it hit a low point, and in 2003, it started to have a slow growth, which is a process. Such a process brought about a change in national income and high unemployment. So in this chart, the general food, clothing, housing and transportation are slightly correlated with economic development.

Then for the spare time to the environment needs of public **** living expenditure, with economic growth, it is gradually increased to the peak. After that, with the changes in the economy, there has not been a sharp decline, but a flat state. From here we see that my demand is going to the second state, gradually rises, and the public demand for consumption becomes higher and higher.

Social affluence increases the shortening of labor time, the expansion of spare time, the demand for daily and proximity will increase. Therefore, it is important to meet the demand for public space in the neighborhood as much as possible.

From open space to public transportation, the example of what public space really looks like is an example of economic development. By the early 1970s there were 11 valid examples, gradually increasing as the economy grew, and then gradually declining in 2002 when the economy took a turn for the worse. The economic downturn meant that our investment in the public **** has turned a bit, and conversely the demand for quality has been very high.

Look specifically at the relevance of the behaviors that occur in these venues directly to our lives. General behavioral settings such as walks, activities. Psychological needs such as quiet, rest. Relationships with others such as meeting and communicating. There is also a functional sense of place-awareness, such as shopping plazas and so on. The state of the place is whether it is a lively or thematic gathering.

In these eras, we can see that in the 1970s, the main focus was on the setting of the user's behavior, as well as the relationship with others and the performance of place recognition. In the 80's, the psychological needs and the state of the place began to emerge, and in the 90's, it was the combination of functions. In the 1990s, it was the combination of functions. In the case of leisure time consumption, more attention was paid to the setting of behavior.

I would like to look at this change through two cases. One is that we directly set it explicitly, unilaterally. The second is to recognize the problems with this unilateral setting, and to have the demands of the public, which are combined to create such a design work.

This is a government site, and in this location are various cultural facilities such as a theater. In front of this is a busy avenue, this side is a famous department store, and in the back there are many office buildings. There is such a piece of land, how to develop. It must serve the public, and some experts suggest that there should be a public **** meeting place, and secondly, there should be a public **** bus station. At the same time, it should be combined with the entrance and exit of the subway, and at the same time, it should take into account the profitability. The commissioner was a design company from Dalian. They did well thought out design work, while at the same time to reflect the requirements.

This is the situation around the building, this is the entrance, this is a comprehensive cultural center, this is where the big companies are located, and this side is a commercial building. This is the passageway, walk up to get into the cultural center. This is the big scene. (Photo) This is the oval-shaped opening, which is framed by four large steel columns, and the platform for viewing the view from above, is very large structure. Entering from this location is the bus station for the public ****. This is the lower plaza where public **** parties are usually held. This lower circle is all stores with some public **** resting seats.

This is a lot of small components or small parts of the design, such as seats, tables, elevators and so on. After this work came out of his high evaluation, the designer is also very satisfied with the success. This work is very good at the first glance, and I have been there many times, morning, noon and night, because I am close to it. At the same time when it was built in the fall, and then to the summer have gone to see. This water feature is still more absorbing.

I was on this investigation, time period, even to the change of seasons, the location of each person in the end what he is doing, and what is the relationship with the environment, spent a year to do the investigation. In this survey, according to the main flow of people, the flow of people is basically like this, after coming in from the exit, it is divided into two, one is coming from this side to carry on the upper side of the building. The second is to go to the building from this side. This is the first intuitive view that this place is an aisle. Secondly, the attributes of the users, children and young people account for the majority, children are more into the cultural center. The young people are basically of a transitory nature. The original principle of making this building was to provide a place where people can communicate with each other. In this case, it's not quite the same as the original idea.

As the lower level is a ring, mainly interested in stores. One very interesting thing is that very few people are crossing the blue ground in the center, basically walking around. If you are interested to see the plaza, if the plaza is oriented pavement, people will follow the guide to go, not walk very scattered, this environment has a kind of inducement to people.

We can see that basically 80% of the consumption is concentrated in a short period of time. Then this place has lost its own meaning as a place of communication, and turned into a dating place, only a little bit of the function. The 80% of people who spend money in a short period of time almost always stay next to the armrests instead of the seats we set up. That is to say, it is dominated by these two main lines of movement. This is our designers in the design is not a deviation.

The requirements of movement and the environmental elements he needs and the requirements of static he needs environmental elements. Just saw the dynamic requirements, in terms of transportation convenience. And the static requirements, the macro needs to be away, the micro needs to be comfortable, and the visual impact.

We came to the conclusion that the work just designed. We academically, or we from the perspective of the designer, we made such a landmark building on the use of the existence of a contrast. This contrast is that we have ignored the possibility of the people in the neighborhood to demand for the environment. The work itself is a nearly perfect building, but there is such a deviation in the use of the building, which leads to a reduction in its efficiency.

Now that this problem has arisen, and the cycle between the needs of the public, the architect or the artist, and the work has not reached a complete cycle, is it not possible to revisit the principles of design, the methods of design, and the rationale for design. In this place there is such an example. That is to say, the coordination between the three from the public **** demand point of view is not to make a good building, this is an attempt.

Residents' spontaneous organization to actively participate in the design of public **** facilities and environmental necessity. The importance of the architect's guidance and coordination is reflected there, and how the process of this work should be done. There is a very small city in Japan that did this cultural center that took a bottom-up process.

First of all, if you look at this place, there's a basement level. This is the first floor, a very small building, with a floor area of more than 8,000 square meters. This place is under the jurisdiction of the government. The entire design took 10 years to complete. The site is an L-shaped building with a large space, a rectangular footprint, and a gently sloping lawn. This is the scene from the side entrance. This is the glass curtain wall with copper plates on top. This is the passageway, this side put together from ceramic tiles.

There is an information station here, with some information and internet access. This side has a theater, this is the entrance to the theater.

There is a theater here, this is the entrance to the theater. This is a space for women and their children to share their parenting experience and do some activities. This is a small space for reading.

The building itself is still a good building, so what kind of organizational structure it has adopted, and later conducted a survey. Generally speaking, the mayor, the government, the council allocates funds to coordinate, and then budgets, the money comes out of that. After that the designers are commissioned in the design, or tenders are invited. Then exchanged to the government administration, the government administration to operate it, this is a basic development process.

But the process of this building is completely opposite, first of all, it is an interest group formed by the public, it is a spontaneous organization of the masses, such as art, dance, etc. They spontaneously discuss what kind of building is needed. They spontaneously discussed what kind of building was needed, and hundreds of requests emerged, such as a spa and so on. The discussion started in '94 and continued until '98, on the basis of which the person in charge of the building came up with the idea that we should design a central cultural facility. There were those who specialized in building the house, and there was also a part that was in charge of the operation. Some university professors were hired to participate in this activity, and gradually the idea was sorted out, and when it was, it was gradually reflected to the city government. The councillors thought it could be done, and the government coordinating body set up a building committee to discuss the matter. At this point in time, there was no one architect to really take on the design of the building.

This is the workflow of that year, from the beginning of the discussion in '97, to today's program. Finally, in December 1999, the design was finalized and a very famous designer was hired. After the design program came out, it began to return to the public, the public began to discuss. Discussion to the final finalized the implementation of the program.

Then after this process was completed, a number of points were made, the building was completed after the public response was very good. Inside the studio, the creation of the room is not booked all full, regardless of whether it is not the rest of the time, including the use of outdoor plaza. In the course of the discussion, the public proposed ways to cut construction costs, including building materials.

Just now I took a look at the department, the veneer was taken by the people themselves to put it on. In the end, the management of this facility falls into the hands of the citizens' own organizations, and they themselves operate it, and even propose how much the fare is. Who can use it and the cost of using it. The operating costs are 40% lower than those designed by the government.

To summarize, the public is the main user. This is one of the more successful examples where the public was fully involved in the design process. Through dialogue between the three, the public's views and needs are taken into account and recognized in the design plan. What is the public's main concern? How well the environment is made, what materials are used, whether furniture is provided for use, and so on. Than the government thought to save money, this opinion in the idea in our design process is very important reference.

Through the planning of **** the same, individuals themselves are decentralized and need to have an understanding of the environment through the process of art and design. Through our interaction with the public we can modify our ideas. For example, the spatial scope, the creation of space, the architectural form, the architectural structure, and the choice of site and other things in this regard. For example, when I do local architecture, we may still understand the local climate and human environment. But if we go abroad, we can't communicate with them, they can fill in the gaps in this area and provide us with some design references. They may say it is more imaginative.

This process does not happen overnight. The level of understanding and the stage is gradually increased, gradually understand your design, gradually feel your good and bad, is such a process. This way of communication can be used in existing life. So we don't want to be too hasty in this process.

The art of the public environment, if the individual simply understood as works of art in the public **** place is the public **** art, this understanding is not very realistic.

What are the design points of the hotel public **** space?

1. The conference level should have a service room, part of the meeting room before the appropriate public **** tea break space.

2. Hotel administrative office area should be located in the hotel public **** area, mainly set up the general manager's office, sales department, catering director, finance department, reception room and other departments, four-star hotels general public **** area of the administrative office area of 200-300 square meters.

3. Swimming pool surface shape can be free, but should ensure that there are 25?4 meters of straight road area, straight road length of at least not less than 20 meters. Should try to avoid the swimming pool surface area with columns.

4. The long side of the swimming pool at both ends should not be directly against the wall, there should be a poolside space for shore rest. The poolside should have a lounge chair rest area, as well as beverage service facilities.

5. Changing rooms leading to the swimming pool should be equipped with foot washing and disinfection pool.

6. The public **** area should be equipped with a passage or observation window directly to the pool.