Public art is an artistic expression created in streets, squares and other public spaces, including parks. Using the two popular public parks in the New York City, Central Park and the High Line, this paper explores the affordances offered by public art in these two urban environments, with a focus on physical, intellectual and emotional connections between the visitor, the artwork and the landscape setting. Using affordance theory as a framework, it considers the design of the landscape as a behaviour setting that affords viewing, acknowledgement and reflection of the artwork within the contemporary cultural context. Using preliminary qualitative observations of six artworks within the two parks, this research suggests that public art has the potential to afford such diverse opportunities for public park visitors. In order for these affordances to be actualised, the design of the park and the artwork’s intentions should be coordinated to ensure that the experiences of the visitor align with the claimed benefits of public art.
The aim of this paper is to study how women’s privacy needs are met through the physical form of public spaces in both old and new urban designs, using as a case study the city of Nablus, Palestine, which has been significantly influenced by the culture of gender separation. The findings will help develop a better understanding of the relationship between women’s privacy and the physical form of public spaces and will enhance the development of public spaces that women can use comfortably and actively to participate in the urban life. An environmental approach based on the concept of behavioural setting was used to examine women’s privacy issues in the chosen public spaces. Direct observations and questionnaires were used in the fieldwork, in addition to interviews with women and relevant people who influence the women’s privacy. Maps (GIS), sketches and SPSS techniques were used to interpret the data.
