Pattern 36 suggests designing spaces with different levels of public and private areas. This means arranging places from the most public (like streets or plazas) to the most private (like homes or quiet gardens). Using in-between spaces, like porches or courtyards, helps people move comfortably from public to private areas. It also allows them to watch public life without feeling exposed. By offering choices and gradual transitions, this pattern creates welcoming environments that balance social interaction and privacy.

Milan

In Milan, many old residential buildings have hidden courtyards. From the street, you only see big wooden doors, but inside, the space opens up quiet, green, and full of life. Some feel private, just for the people living there. Others are more open, with cafés or small shops where strangers can step in.

The feeling changes as you walk through. At the entrance, it still feels like the street, but the deeper you go, the more private it becomes. It’s a mix between public and private, between city and home.

Paris

The Centre Pompidou in Paris feels like part of the street. Outside, the big open plaza is full of people, performers, and movement. The building itself is open, you can see the escalators and pipes, everything is exposed.

When you walk in, the lobby still feels public, like anyone can be there. But as you go up, the feeling changes. The galleries are quieter, more private. Step by step, it moves from busy and open to calm and focused.

 

Activity Nodes are fundamental in creating lively public spaces by strategically clustering complementary activities within defined boundaries. This pattern promotes social interaction, community engagement, and a dynamic public realm. By carefully considering the scale, context, and flow between nodes, designers can craft spaces that are not only functional but also rich in social and cultural value.

Oss

A kermis pops up where people already are. A plaza or street turns into a mix of lights, rides, and food. Kids run, music plays, friends stop at game booths.

It’s not just the rides it’s where people meet, sit, and watch. Some spots are loud, others quiet, like benches where parents chat.

Like in a city, where the right spots bring people together, the kermis makes a place to stay, not just pass through.

Milan

Milan Design Week turns the city into a giant activity node. Streets, courtyards, and galleries fill with exhibitions, pop-ups, and people. A quiet alley becomes a place to stop, a hidden courtyard a place to gather.

It’s not just about design it’s about movement. Some spots are loud and packed, others calm, where people sit, talk, and take it in.

Public Outdoor Room emphasizes the need for outdoor spaces that feel enclosed yet open, providing comfort and encouraging social interaction. By incorporating defined boundaries, human-scale proportions, and inviting elements like seating and shade, these spaces become natural gathering points. A well-designed public outdoor room fosters a sense of community, enhances urban livability, and transforms underutilized areas into welcoming, vibrant places for people to connect and relax.

Rotterdam

The Lijnbaan courtyards are semi-public spaces, shaped by the apartment blocks but still open and breathable. Clear edges make them feel designed, not leftover, while paths and sightlines keep them linked to the city. They create a natural balance between being social and having space, where residents can observe life without forced interaction. The passive watch from surrounding flats adds safety, and greenery and seating make them welcoming.

Paris

The Sacré-Cœur is a perfect public outdoor room—framed yet open. The basilica and hillside give it structure, while the steps and terraces create natural places to gather. Its height and views keep it connected to the city, making it feel open but intentional. People can engage or just exist, with the crowd itself adding a sense of safety.

 

 

Pattern 120: Paths and Goals highlights the importance of designing walkways that lead to meaningful destinations, making movement through a space purposeful and engaging. Paths should not feel arbitrary; instead, they should guide people toward inviting places while offering a sense of discovery along the way. By integrating clear goals, visual interest, and a balance between directness and meandering, this pattern enhances navigation, usability, and the overall experience of a space, creating a more intuitive and enjoyable environment.

Basel

Tadao Ando’s Vitra Conference Pavilion is Pattern 120 in action, movement with purpose, guiding people toward a clear destination while creating a experience.

The curved walls and shifting sightlines create a slow, intentional approach, making the entrance feel like a journey, not just a doorway. It’s all about building anticipation and making arrival feel defined.

Sigiriya

The staircase to the top of Lion Rock in Sigiriya follows Pattern 120: Paths and Goals, movement shaped by a clear destination while making the journey an experience. The path isn’t direct, it winds through gardens, rock shelters, and murals before reaching the steep, narrow staircase. The changing surroundings and elevation build anticipation, making the summit feel like an achievement rather than just a place.

 

Pattern 106: Positive Outdoor Space is that outdoor areas shouldn’t just be whatever is left over after placing buildings. Instead, they should be intentionally designed to feel inviting, enclosed, and like actual "outdoor rooms" rather than empty gaps. When spaces have clear boundaries, like walls, trees, or fences. They feel more comfortable and are more likely to be used. The goal is to create outdoor spaces that people naturally want to spend time in, rather than just passing through.

Milan

The courtyard at Fondazione Prada is a great example of Positive Outdoor Space because it feels intentional, not just leftover space. It's enclosed by buildings, making it feel like an outdoor room rather than an empty gap. The mix of old and new architecture, especially the gold-covered building, gives it character and a strong sense of place. It’s not just a walkway it’s a space where people naturally gather, and interact. Seating, pathways, and visual elements make it inviting and usable, turning it into an experience rather than just a transition between exhibitions.

Sorrento

Bagni della Regina Giovanna is a perfect example of Positive Outdoor Space because it feels enclosed, inviting, and intentional. The natural rock formations create walls, making the cove feel like an outdoor room rather than just an open stretch of coast. The archway to the sea acts like a framed entrance, giving the space a special, hidden quality. People don’t just pass through, they pause, swim, jump and gather in the natural pools and on the rocky ledges. The ancient Roman ruins add character and history, making the space feel even more meaningful and designed rather than just an empty landscape.