Path is a general term in design that is interpreted in various disciplines.
In landscape architecture, path can be defined as linear landacpe spaces for travel, linking forms taht create networks of circulation, or linear surfaced areas. Paths are used to mediate or facilitate the spatial experience of landscapes. It is formed and informed by various aspects such as social, aesthetic and environmental ones. Features like topography, vegetation, structures and water are important in designing pedestrian paths.
Regarding people’s use and experience of paths, the objective is usually to encourage access and bring joy to the walkers, or in other words, bring about a good movement or kinetic experience of landscape, which involves human’s awareness of space-time relationships while moving through the landscape. It can be achieved by the designed sensory aspects such as changing views, sounds, scents, warmth, coolness, brightness or shade layers.
In order to faciliate people’s movement, appropriate surfacing is important. Topographical effect is also crucial in people’s choice of route. Steps, sloping ground, shortcuts, formal and informal paths are among designers’ choices to create this facilitations.
To avoid monotony, sequence and incident need to be accounted for. Similarly, arriving and leaving experience can be designed so that they can be emotionally or symbolically significant.
Concepts such as ecological corridor is important in urban landscaping. It can form networks across cities or countrysides, linking spaces of blue-green systems or provide recrational resources.
System of paths can be designed to give hierarchical arrangements, according to their functional purposes (direct access, meandering exploration of landscape etc.)
Nodes and foci are also important in the landscape networks, and should be integrated in the overall composition.
Paths also imply spaces and edges. Wide paths can be considered as spaces.
Path form can be generated from the analysis and synthesis of existing site forms ans uses, site geometry, archetypes, or even metophor or symbolism. History of site and vernacular features are also great inspirations to generate path forms. In addition, storytelling or narrative can also be employed to design path form, since it inhertis metaphore and symbolism.
Path can appeared “artificial” or “natural,” depending on its character. For example axis can be used to associate with order or power, thus brings about its artificiality. In contrary, meandering paths are usually considered more “natural.”
Paths can give a sense of openness or enclosure, depdening on the designers’ intent to make people more comfortable, feel more secure, or to “control” them.
Topographic paths can create special experiences for the users. A topogaphic path can be a ledge path, where ussers are provided with one side view of the landscape.
Paths can also be cuttings in a landscape setting, in order to provide distinct or contrast spatial experience.
In a wetland landscape, ridge paths are essential in exposing viewers to the surrounding environment in all directions.
Spiral paths, or zig-zag paths can be the result of a specific topography, but might also be the result of specific narrative or designed spatial sequences.
In steep area, paths can be staircases and ramps, which are often associated with transition of posistions or activities (sitting, resting, viewing)
Vegetation paths.
Built paths.
Water paths.
References
Dee, Catherine. Form and Fabric in Landscape Architecture, A visual introduction. Spon Press.
