NPPF - what is poor design?

The NPPF says at para 64 that 'Permission should be refused for development of poor design that fails to take the opportunities available for improving the character and quality of an area and the way it functions.' Good stuff.

The consequences of new policy documents take a while to become apparent, and it may be a year or so until we find out which bits of wording are the 'sites of contention' in this document, but this is likely to be one of them.  Previous policies did not go this far.  Paul Finch pointed out in a recent article that the wording in the draft referred to 'obviously poor design' - and that the (welcome) loss of the qualifier in the final version might come to be seen as significant. (No doubt it will be argued that the second half of the sentence qualifies or waters down the first half - but the second half ('fails to take opportunities...') is in fact simply an inevitable attribute of poor design.)

What are we to make, for example, of the average product of the average housebuilder?  Generally speaking, it represents  'poor design' in all sort of ways - even without considering what it looks like, which compounds the offence in most cases.  Will all this stuff - and the (let's say) 50% of all new development, as seen (let's say) from your window during a long train journey -  that represents 'poor design' - be turned down by planning authorities now?

And if not, why not?

Open Source Architecture

In a new community architecture initiative to be launched by Communities Secretary Eric Pickles later today, Open Source Architecture will allow speedy, guaranteed planning consents for planning applications which are deposited online in SketchUp, with drawings in a form that can be modified by consultees.  The scheme as it stands at the close of the consultation period will proceed automatically to consent.

This is a natural heir to Open Source Planning, an idea popular in the Tory party before they got into power, whereby planning policy would be continuously updatable by interested citizens.  Civil servants pointed out practical objections to this as a basis for government policy soon after the Coalition was elected, and we hadn't heard much more about it until now.  But you can't keep a good idea down, and the new initiative has been hailed by commentators as an entirely logical consequence of the precepts of localism and neighbourhood planning.

Budget and NPPF - a nation holds its breath

Plenty of pro-growth measures in the Budget, in infrastructure and housing, which are welcome. But the projects that are being supported will still need planning permission – so it's a shame we didn't get the National Planning Policy Framework issued on the same day, in a form that reinforced the message. It is promised for next week.  

Speaking to the Parliamentary Architecture and Planning Group on the day after the Budget, planning Minister Bob Neill told us that the NPPF would be strong on design quality. Neill mentioned certain poor development being thrown up in booming China as an example of the dangers of ignoring design quality.

But he made it clear that the NPPF was also intended to deliver faster planning consents, needed by business in order for us to compete globally - and seemed blithely unaware that the twin goals of speedier outcomes and quality outcomes might turn out (in practice – no problem in theory) to be in conflict.

He said that existing PPS’s and PPG’s would be abolished - except where there was important technical content that needed to be retained (that sounds like a muddle in the making).

So if PPS5 turns out to be no longer needed, perhaps we could flog it to the Chinese – a win-win for a more competitive UK.  
  

The politics of shared space

A thoughtful piece in the New York Times (reprinted in today's Observer's roundup) admires the achievement of the recently completed shared surface makeover of Exhibition Road.  The ideas that underlie the project, inspired by the late Hans Monderman and already widely put into effect in continental Europe, have been well covered in Britain, but it is interesting to know how they go down in the land of the free.

In the UK, such measures might be favoured more by the liberal (cycle-using, Guardian reading) urban intelligentsia, and less by Daily Mail buying types whose human right to drive unimpeded at 30mph could be seen to be under threat.   But the NYT piece suggests that shared surface projects can be seen as deregulatory, anti-nanny-state initiatives - that is, the kind of approach that in other fields might be favoured by the right-leaning - with pedestrians and drivers working things out between themselves rather than being bossed around by big Government.

The legal presumption, as a starting point, that the less vulnerable (e.g. driver), rather than the more vulnerable (e.g. cyclist) (but also cyclist relative to pedestrian) is to blame in an 'accident' has been established elsewhere in northern Europe, and it seems obvious that it should influence behaviour for the better, but it is not yet gaining headway in the UK.   In a decade or two, though, the idea that pedestrians are expected to jump out of the way of vehicles may have gone the way of drink-driving in its social acceptability.   Even Tories have to go on foot sometimes.

Two way streets

What a pleasure to cycle through Russell Square in Bloomsbury, for the first time in a while, and find that streetscape improvements have undone the unpleasant one way system, and returned the roads on all four sides to the normal two way arrangement.

All one way systems in city centres have a dehumanising effect, the worst of all being the 'gyratories' such as Russell Square was until recently - a Georgian square transformed into a roundabout.  They encourage vehicles to drive faster, which is unpleasant and dangerous for pedestrians and cyclists; they make traffic go further than necessary; and they result in the various expensive and ugly paraphernalia of signs, white lines, barriers etc. - all of which make cities nastier to live in.

The traffic calming project in Exhibition Road, which has received much more media coverage, is a 'designer' project - done very well.  Russell Square, by contrast, is a project where there is not much to see on completion - the square now just looks neat and tidy and normal.  The previous arrangement had had measures added in recent years to provide cycle contraflows and so on, all making the square a progressively uglier and more complicated boondoggle of blinkered, incremental interventions.

Just as it's hard to imagine how people would countenance the idea of the Hammersmith flyover if it were proposed as a new project now, so it's hard to imagine anyone proposing today to turn what is a nice square into a roundabout. But that is what Russell Square was until a few weeks ago.  Those who put it right again deserve our thanks and congratulations. I hope they get a prize.  But they probably won't, since  photographs of the square will lead a jury to ask 'er, what have they done here exactly?' The trick of the recent project is progress by subtraction rather than addition.  A new competition category is needed.

Urbiculture

To the launch party for Farrells' new book Continuum, which charts the last ten years' work of London's pre-eminent urban design practice - where we learn from Terry Farrell a word new to me and others there, 'urbiculture' - the culture of placemaking that they aspire to.

Earlier in the day I'd undertaken a tour with colleagues of large recent projects each of which had major elements of what we have learned to call 'public realm' (an awful bit of jargon that fails the 'would your mother have any idea what you were talking about' test - but is called by that name with a straight face during the planning process) which is in fact revealed to be 'private realm', when on site after site we were told, by the usual characters in hi-vis tabards, 'you can't take photographs here, this is private property'.  They were polite enough - but if the public 'offer' is part of the planning deal for these projects, being ordered around doesn't feel in the spirit of the thing - a far cry from the welcome that the Victorian sponsors of Brompton Cemetery provided at their gates:



 When you raise the issue of 'real' vs 'pretend' public space with developers, they will say that they don't want their investment in landscape handed over to a local authority who may or may not look after it properly.  That's fair enough, but it's an entirely separate point from whether or not a visitor is made to feel that they are somewhere genuinely public.

The various and admirable self-generated projects instigated by Farrells - Marylebone Road and others - have more in common with the Victorian generosity of spirit suggested by the sign at the cemetery than with the bizarrely paranoid and unpleasantly over-protective attitudes found in the 'public but not really' parts of so many new developments.

New Boring the new Zeitgeist

We've had the New Boring in architecture for a while now, but according to reports of yesterday's Brit Awards, it is just as big in the world of pop.  Triumphs for Adele and Ed Sheeran are both offered by commentators as examples of this trend.  Diligence, subtlety, craftsmanship etc. are rewarded in preference to shoutiness, showmanship and attention seeking.  Evidently there is a Zeitgeist thing going on here.

Townscape and cityscape can work well when there are a few attention seeking buildings but not too many, set amongst 'good ordinary' background buildings.  That doesn't quite make sense for the pop charts, but the Brits suggest you can attract attention, and achieve recognition, without seeking attention in that noisy or hotel-room-trashing tradition. But we'd all miss that tradition if it went away altogether.  You need a few Pete Dohertys and Will Alsops to stop you nodding off.