the outdoor room and enclosureIn this section of the casebook weare concerned with the person's senseof position, his unspoken reaction tothe environment which might beexpressed as 'I am in IT or above ITor below IT, I am outside IT, I amenclosed or I am exposed'. These

But, this is what in fact happened (for Festival Year). A railing has been deliberately erected to cut off the street from the square to destroy the square in fact and leave only a churchyard and a street. The actual focus of interest, the steps of the cross around which people congregate, is decisively isolated by concrete posts and flower beds. Up to now we have emphasized thecategories and moods of the environ­ment, the quality of thisness. Thenext phase is to bring together Thisand That to find out what emotionsand dramatic situations can beliberated out of the various forms ofrelationship. The first example,illusion, is based on the bluff thatThis is That. We know that it is inthe nature of water to be level inrepose and yet, by cunningly rampingthe retaining walls of the pool, re­taining walls which, as everyoneknows are always level, the illusion iscreated that the water is sloping.Levelness is sloping, This is That. Buildings, rich in texture and colour,stand on the floor. If the floor is asmooth and flat expanse of greyishtarmac then the buildings will re­main separate because the floor failsto intrigue the eye in the same waythat the buildings do. One of themost powerful agents for unifyingand joining the town is the floor, asthese two pictures so effectivelydemonstrate. Cullen is therefore closely associated with the three decades-long Townscape campaign, initiated and promoted by the prestigious London-based magazine The Architectural Review, which espoused a visual modern-picturesque approach to city design. Though Cullen is well known, he is little studied and--owing specifically to the malleability of and contradictions in his legacy--even less understood. In examining his urban ideas, most scholars have placed him in the history of urban design. An in-depth study of Cullen's printed image and modus operandi, however, is conspicuously missing. This study fills this gap. It provides a structural understanding of Cullen's massive popularity and influence through his image-making trade--its professional status, income sources, clients, norms of success, production modes--and through his drawings. These influences work palpably beyond urban design and Townscape: they signal a major shift in the role of image makers and the status of the image in the production and consumption of popular architecture in the postwar era. The term ‘townscape’ dates from a 1949 AR article by Hastings. Over the years that followed, Cullen’s artistic work for the magazine - including the monthly Townscape column and many other articles - provided rich material for the dense assemblage of photos, plans and free-hand illustrations that characterised the book. The collective gathered around Hastings sought to revive the picturesque, an aesthetic mode of regarding the world that was cultivated in the 18th century by an elite with a taste for foreign travel. While often associated with landscape, as Richard Williams points out in his study on the origins of townscape, the picturesque has also long been accepted as a mode of perceiving the city, with its visual power acting as a means of assuaging urban anxieties.No responsibility is assumed by the publisher for any injury and/or damage to personsor property as a matter of products liability, negligence or otherwise, or from any useor operation of any methods, products, instructions or ideas contained in the materialherein. Because of rapid advances in the medical sciences, in particular, independentverification of diagnoses and drug dosages should be made

In this shortened version, the studies of specific towns have been left outand instead Cullen has contributed a new foreword and conclusion which Firstly we have to rid ourselves of the thought that the excitementand drama that we seek can be born automatically out of the scientificresearch and solutions arrived at by the technical man (or the technicalhalf of the brain). We naturally accept these solutions, but are notentirely bound by them. In fact we cannot be entirely bound by thembecause the scientific solution is based on the best that can be made of

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well remain a private or communal garden, enclosedand screened from passers-by by the usual railings. This explosion resembles nothingso much as a disturbed ant-hill withbrightly enamelled ants movingrapidly in all directions, toot-toot,pip-pip, hooray.

There is a further observation to be made concerning Serial Vision.Although from a scientific or commercial point of view the town may bea unity, from our optical viewpoint we have split it into two elements:the existing view and the emerging view. In the normal way this is anaccidental chain of events and whatever significance may arise out of thelinking of views will be fortuitous. Suppose, however, that we take overthis linking as a branch of the art of relationship; then we are finding atool with which human imagination can begin to mould the city into acoherent drama. The process of manipulation has begun to turn theblind facts into a taut emotional situation. I below left are delicate lines drawn ing to traffic, connected by lightI at danger points and not ponderous chains which warn the unthinkingII and stuffy barriers, like those shown pedestrian. These are direct and:1 below, which are right outside the practical steps taken to avoid disaster,

Took a call during a shift at Boots to hear that they had been successful

spaces created by buildings. Fluctua­tion as shown here at Abingdon isimplicit in this conception, it is thestimulation of our sense of positionthrough moving from the wide to thenarrow and out again into somefresh space. is going to produce an emotional reaction, with or without our volition, itis up to us to try to understand the three ways in which this happens. Not quite so brazenly cheeky asillusion is the Metaphor which onlyhints that This is That, but there isgreat scope here for the power ofsuggestion. In the three examplesshown on this opening the standardof suggestion and its aptness is notvery penetrating, I'm afraid, but atleast they convey the idea that theartillery shells surrounding a warmemorial might have been bollards,that a huge circular structure when

Sylvia Lavin, Professor, Department of Architecture and Urban Design, University of California, Los Angeles, USA. Through numerous case studies of the streets and publics spaces of places such as Shepton Mallet and Basildon, and including Liverpool Cathedral precinct and a re-imagined London Bankside, Cullen explores the ‘art of relationship’: ‘Bring people together and they create a collective surplus of enjoyment; bring buildings together and they can give visual pleasure which none can give separately’. Cullen advocated an artistic approach to using environmental ‘elements’ including buildings, trees, water, traffic, advertisements and so on, each of which was to be woven together in such a way that drama was released. These examples show the seafrontat Hove turned into a mural, and anItalian allegorical scene in which thecaptured ships underline the point.hidden by the ramp; only its upper part is visible. This effect of trunca­tion serves to isolate and make remote. The building is withheld. We areHere and it is There. As we climb the ramp the Rashtrapathi Bhawan is His archive, consisting of 125 boxes, is a very diverse and rich collection, and includes records of projects he worked on, his work with The Architectural Review and his time in other countries including Barbados, France and India. With justification we may assume the precinctualorganization of cities and a more equal distributionof privileges. Put together in terms of town planning,the result will be the square as quadrangle protectedfrom all but local traffic. The enclave or interior open to theexterior and having free and directaccess from one to the other is seen