Figure 1
WRITTEN & ILLUSTRATED BY LILY WHITMARSH
TABLE OF CONTENTS 2 ABSTRACT 4 DEFINING PLACEMAKING 5 EXTERIOR PLACEINTERIOR CONCEPT 8 INTRODUCING PRACTICAL THEORY 13 APPLYING THE THEORY
16 SPATIAL PLANNING SIMILARITIES 23 CONCLUSION 25 REFERENCES LIST 28 IMAGE REFERENCES 30 BIBLIOGRAPHY
ABSTRACT
This paper aims to provide a narrative connection between the notion of ‘place’ within city squares and public interior spaces, arguing their success based on the use of the square as a conceptual driver in the design process. Chosen case study examples will help to demonstrate the relevance of architecture and urban planning theories within communitydriven interior design projects. A context for the research will be provided with an outline of the fundamental role of public space in urban life. Following this, an introduction to the topic of placemaking from the perspective of interior design will be presented. The main body of the paper will revolve around the critical design analysis of relevant interior projects. The analyses will combine theoretical and secondary visual research methods to evaluate the designs in the context of academic discussion. Further to the narrative-led conversation prevalent in contemporary design discourse, the research will aim to draw specific comparisons between interior ‘squares’ and urban planning theory using exterior examples as explanatory tools. The concluding contribution of the paper will be the suggestion that interior projects can benefit from the use of exterior placemaking strategies and concepts when aiming to create successful places that inspire community engagement.
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DEFINING PLACEMAKING Urban space is inherently a public environment, being “for the community rather than the individual” (1). Whereas private spaces are often exclusive and rigid, public space by definition, is for use by all. Often the heart of a locality, the public square plays “an essential role in enhancing the quality of urban life” (2). Historically a location for trading, recreation and civil discourse, they are today the epicentre of the city (3). If managed well, and conceived with close attention to placemaking considerations, a square has the potential to become a liveable environment for communities as well as an iconic landmark. The single outdoor destination for gatherings, events and celebration, a well-considered square is synonymous with an exemplar public space. ‘Placemaking’ refers to the process of shaping the public realm “in order to maximise shared value” (4). The theory of placemaking spans many fields of study, including architecture and planning disciplines, and social sciences. It is an idea that can also be applied to many spatial design projects, especially those that concern the creation of public or community spaces, and can be a useful tool in the design process. To understand placemaking, it is vital that a designer first understands the meaning of ‘place’. Place can be defined as a memorable location with “structure, order, and identity” in strategy as well as in design (5). Many tools and processes can be used within design projects to create a notion of ‘place’. However, it is important to remember that designers “do not hold a monopoly over the making of places” (6), it is the users of a ‘space’ that determine it as a ‘place’. Thus, placemaking is a process partially conducted by the public as they associate previous and new experiences with physical elements found in an environment. Physical elements may include architectural installations, material choices or interactive fixtures. These elements trigger users to imagine a use for the environment beyond what may be explicitly laid out to them, drawing on their own aspirations to create a place that works for them and their community. “Placemaking is a form of storytelling, a way to connect to the public and help them imagine future communities” (7). Viewing placemaking as a form of storytelling can help us to assess the conceptual application of the public square in interior spaces. Consequently, we can begin to understand why the square is often used as a descriptor in interior placemaking projects.
EXTERIOR PLACEINTERIOR CONCEPT
Figure 3: Entrance Hall
Figure 4: Render showing design intent The LocHal Public Library in Tilburg, The Netherlands was a collaborative project completed in 2019. The studios involved were Inside Outside, Civic Architects, Braaksma & Roos, architecten bureau and Mecanoo. The library’s design revolves around an entrance hall conceptualised by Inside Outside as a ‘Central Square’. Civic Architects describe the library as “Tilburg’s new public city forum” (8). The notion of a forum, or ‘place for discussion’ can be linked back to the traditional use of a square for civil discourse. In the sense of a library, ‘discussion’ can also be viewed as the building and sharing of knowledge, something facilitated by the hybrid reading and learning environments found within LocHal.
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Architect Jefferey Scherer describes library-specific placemaking approaches as including “drawing on the character of the existing place and co-locate[ing] library and non-library uses” (9). The library’s design demonstrates both approaches compellingly in its application of the square as a conceptual driver.
Figure 5: Hanging fabric screen
The site, a disused locomotive shed, was already a landmark of the city, rich in collective memories. Referring to John Agnew’s definition of place as “a meaningful location” (10), LocHal’s design team used a multifaceted approach to add layers of meaning to the site’s existing atmosphere. The resulting space recalls stories of the past and the future through the combination of functional elements reminiscent of an exterior square and adaptive reuse interior design strategies. These include the exposed shell, towering steel columns and reused elements of locomotives in interior elements. Many of the new interior elements within the library were commissioned from local manufacturers. Most striking are the large textile screens made jointly with TextieLab of the local TextieMuseum. Tilburg is a city with a long history of textile production. By utilising this local knowledge and manufacturing power in statement interior features, LocHal comes to possess a region-specific quality which makes the space feel familiar to locals even on their first visit.
Figure 6: Steel and glass roof
Figure 7: Riveted steel columns & beams
Figure 8: Varying levels within the entrance hall When compared to external sites, further features become apparent in LocHal’s entrance hall that contribute to its notion of experience-based place. One such feature is the use of verticality in the design. The building shell allows for multi-level open plan space usually reserved for external environments, unrestricted by floors or other horizontal partitions. Its vast size and industrial design grant the possibility of sightlines that vary in height. The ability to curate one’s view of a space not only in depth (by moving closer or further away from the subject) but also in height allows for the greater personalisation of user experiences. The raked seating units, balconies and gangways provide opportunities for visitors to view the activity from an elevated perspective. Furthermore, their multiple levels add rich layers to experiential journeys by providing the freedom to discover multiple ways to operate within the library, sometimes revealing new possibilities over time. It can be seen that placemaking and concept strategies contributed to the ultimate success of the LocHal project, though the design strategy was primarily narrative-based.
Figure 9: Sightline opportunities on raked seating units
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INTRODUCING PRACTICAL THEORY Beyond such value heavy narratives, the study of placemaking has generated practical frameworks and identified common physical characteristics found within successful public places. It is by these tangible ideas that we begin to be able to comparatively assess placemaking projects.
At the forefront of practical placemaking advice is the Place Diagram from the Project for Public Spaces (Figure 10). The diagram outlines four key measures by which we can judge the relative success of placemaking projects. ‘Sociability’ and ‘Uses and activities’ are the most relevant to discuss when considering projects with existing sites. To explain these ideas, we can study the urban regeneration of Azatlyk Central Square in Naberezhnye Chelny, Russia. The square’s regeneration in 2019 used a strategy that demonstrates consideration to both the sociability of the space and its uses and activities.
Figure 10: The Place Diagram
Figure 11: Raked seating unit in the events square
Figure 12: Plan view of the cultural square
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Figure 13: Helical viewing platform in the green square
Intended as a promenade to a museum that was never built, the 7,800 sqm square was previously an empty and underused environment with very few facilities to inspire meaningful use. As argued by Derek Thomas in his book Placemaking: An Urban Design Methodology, urban spaces require certain qualities to be successful. These include general aesthetic appeal, provision of recreational opportunities and social amenities, and the opportunity for social encounter (11). Azatlyk Central Square lacked all of these attributes; there was a need to regenerate the bland and uninviting square into a desirable place for the local community. To achieve this, the square was reconceived as three, each with specific and varied functions and amenities. Additionally, the previously central walkway was moved to one side to clear the area for the large scale architectural installations and open spaces required in each of the new squares. The reconfigured spatial layout of Azatlyk Central Square demonstrates a method of implementing the first of the key attributes: sociability. The Place Diagram defines sociability with a list of ‘intangibles’, or descriptive adjectives, including ‘cooperative’ and ‘diverse’. More broadly, sociability refers to a place’s attractiveness to the public as a destination for conducting social and leisure activities (12) . The large installations used to give the smaller squares their identities inspire different forms of activity and create “multi-character environments” with qualities that are attractive to and “inclusive of different groups of people” (13). Ambiguity in the intended function of the structures allows individuals to overlay their interpretations of the uses of the space and personalise their experience.
Figure 14
Figure 15: Spatial planning diagram
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Furthermore, the insertions allow for a varied program of events and use throughout days and seasons. Flexibility in use is central to another guideline from the Project for Public Spaces outlined in their 1999 book How to Turn a Place Around: ‘Create a place, not a design’ (14)- an idea that suggests over-prescriptive environments constrain rather than enable community activity (15). A ’place’, when viewed as a destination for community activity, can display evidence of the Place Diagram’s ‘Uses and Activities’ intangibles such as ‘fun’, ‘active’, and ‘celebratory’ (Figure 10). These hard to quantify measures are best recognised as demonstrative of an environment’s embodied experiences. Physical elements contain commonalities that members of the public associate with potential future uses. By providing the community with facilities to relax, socialise and gather, the architects were able to stimulate the rebirth of Azatlyk Central Square, which is now used with genuine spontaneity by local people. Outside of the intended program of markets, events and seasonal activities, there are often gatherings and informal music performances held in the square organised by the local community. This illustrates the square’s successful consideration of long-term uses and application of sociability, moving it beyond a physical environment to becoming a setting for “reiterative social practices” (16).
APPLYING THE THEORY
Figure 16 Using this supplementary theory, we can reassess LocHal Public Library with closer attention to its satisfaction of the outlined principles. Although not initially identified as part of the design strategy, it is clear that LocHal’s entrance hall is a sociable place inspiring varied and genuine community participation.
Figure 17: Portion of the entrance hall in use for studying
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Figure 18 The ‘Central Square’ within the library holds a small café, areas for exhibition and an open plan space suited to a variety of events. A “covered public space”, its housed amenities and their inherent flexibility provide opportunities for a variety of people-led activities (17). Able to be sectioned off into smaller areas by textile screens when needed (see Figure 18), the flexible events space can also open up to large raked seating units which flank the entrance hall. Four large tables mounted on old train wheels can transform from communal workspaces or café tables to a stage or catwalk when arranged in a line facing the steps (18) . This adaptability allows the space to play host to performances, talks and impromptu concerts. Most importantly, the activity is not solely prescribed by the organisations that run LocHal but also organised by members of the local community. Enabling people-led activity transforms interior or exterior environments into “spaces […] that transcend their physical attributes and contribute to the well-being of the occupants” (19) . Community engagement with a public interior space, such as a library, can benefit a community’s sense of local pride and overall sense of place. A space’s sociability and flexibility contribute to the community’s perception of it as an attractive and useful environment. From relevant literature, it can be inferred that the ultimate aim of placemaking, whether in exterior urban environments or public interior projects, is to benefit the quality of life of local people. By implementing placemaking theory, projects are able to become closer to the archetypal public environment: accessible and enjoyable by all.
Figure 19: Dancers at LocHal
Figure 20
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SPATIAL PLANNING SIMILARITIES
Figure 21: Exterior render of Town House (right)
To further investigate the presence of urban planning placemaking strategies in interior environments, we must consider another facet of their design: spatial layout and arrangement. Town House is an academic and public building which is part of Kingston University’s London campus. Grafton Architects and the University collaborated on the design concept of a “front door” to the university, a bridge connecting the local community with the student population (20). Its programmed spaces include a library, theatres, dance studios and two cafés. As well as these, the library includes a large amount of public multi-use space where visitors can study or socialise. Kingston upon Thames is a town and borough of Greater London with an estimated population of 180,000 and a student body of 17,000 within Kingston University. To build a better connection between these two groups of people, Grafton architects employed a design solution described as including “convivial, flat-hierarchy spaces reminiscent of a town square” (21). These convivial spaces centre around open-plan hybrid study and social spaces which make up over fifty per cent of Town House’s total floor area. The following visual analysis of the Town House floor plans divides them into the following zones: public space, amenities and activity areas, cultural provisions and back of house areas. By identifying how these categories of space are arranged in relation to each other, we can draw comparisons to the spatial layout of exterior environments.
Town House has a recessed street façade that contains an atrium entranceway and a café within its colonnade. This porous border leads to a generous orientation area which in turn leads to the covered internal courtyard. The courtyard has fixed seating for 300 audience members and is used as a performance space by the university. The shows, lectures and other events on the university’s programme have varying requirements based on size and reach. To “respond to these natural fluctuations” flexibility has been built into the design (22) with the capacity for additional temporary seating to be added. Furthermore, when not in use for an event, the raked seating units act as informal break out space for students and the public. Sliding doors can be pulled back to open up an 8-metre wide gap that looks directly onto the entranceway and surrounding corridor spaces. Central within the plan, the courtyard is connected to surrounding corridors and library spaces on the lower three floors of the building. The addition of external and internal windows on multiple levels within the courtyard provides a visual connection where a physical connection is impossible.
Figure 22: Internal courtyard when open
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Figure 23: Annotated ground floor plan
On the second floor, as seen in figure 25, the courtyard is surrounded by library space. The library space is open to students and members of the public and contains a variety of seating arrangements for studying or reading. In an almost fully-connected loop around its perimeter, are a range of archive and study rooms, categorised here as cultural provisions and amenities respectively. This cyclical arrangement demonstrates an idea within urban planning, theorised by Frederick Law Olmsted, of ‘inner’ and ‘outer’ spaces. First applied to the design of urban parks, it has since become a widely used theory applied to a variety of public environments (23). Olmsted describes the surroundings of a public space as being dependent on its perimeter for its atmosphere. This theory is demonstrated in one of Olmsted’s most notable projects, Prospect Park in Brooklyn, New York City (see Figure 24). The park is located in a commercial and residential area of central Brooklyn, yet its atmosphere is determined by the amenities placed along its perimeter. All cultural or entertainment destinations, including a zoo, a bandstand and the Brooklyn Museum, they create a barrier to the private sector dominated surroundings. Hence, the open green space of the ‘inner park’ has a civic sense of place. Re-imagining the floorplan of Town House as an external environment with an open-air ‘public square’ or courtyard in the centre and a perimeter of closed rooms as surrounding ‘buildings’, we begin to see how the courtyard’s atmosphere is governed by its perimeter. Access routes to a square are described by the Project for Public Spaces as “like tentacles of an octopus extending into the surrounding neighbourhood”. The square’s atmosphere begins to be formed before the entrance to the square itself (24). By surrounding the library centre with scholarly spaces, the design is actively “encouraging collaboration and helping to facilitate learning as a social process” (25). Visual connections to others and “the comradely, but not distracting, presence” of other people studying encourages users of the space to engage in similar activities and academic discussion with each other (26).
Figure 24: Annotated Prospect Park map
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Figure 25: Annotated second floor plan
Surrounding this co-dependant building core is a network of external terraces, hanging gardens and external stairways. The permeation of atmosphere, therefore, works as a two-step process. Not only influenced by the atmosphere within its own four walls, Town House’s sense of ‘place’ relies on it belonging within a broader context. The “character of the existing place”, identified earlier as an important concern in library placemaking (27), in this project can be considered to be the town of Kingston upon Thames. The design intent behind the external terraces was similar to that behind the building as a whole: “building stronger links with the town centre and connecting its vibrant student population with the local community” (28). By realising the theory of ‘inner’ and ‘outer’ spaces, Town House’s spatial arrangement creates both physical and conceptual links to the surrounding place. Granting access to fresh air, external views and opportunities for an informal breakout from studying, the terraces have a positive impact on the well-being of the occupants of the library. Referring back to the Place Diagram, we can see that this approach fulfils another of the key attributes ‘Comfort and Image’ by creating façade-adjacent environments that are ‘green’, ‘charming’ and ‘attractive’ (Figure 10). The multiple walkable layers “give the facade depth, play with your sense of scale and green higher levels of the building”, whilst providing an escape “into a joyful everyday freedom” (29). Though primarily functioning as a spatial reflection of the public square typology, Town House also exhibits practical and conceptual applications of squares’ senses of place. This builds upon the conclusion previously identified in the analysis of LocHal Public Library; exterior strategies can be useful tools in interior projects when aiming to achieve similar placemaking goals.
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Figures 26-28: External terraces
CONCLUSION This paper has explored various methods by which interior projects apply public square typologies and placemaking strategies; concept and narrative, enabling of activity and engagement, and spatial arrangement and layout. The notion of ‘place’ is a multifaceted ideal that encompasses many storied interpretations around how people interact with, and perform within internal and external environments. The iteration of these concepts in both conceptual and literal forms within contemporary design has been demonstrated in the chosen case study examples. The overall finding is that identifiable and tangible methods can be used to achieve these intangible ideas. The research analyses have highlighted the commonality of the ‘public square’ as a metonym for successful public place. The reoccurrence of common physical interventions, such as large banks of raked seating and flexible open-plan spaces, has also been identified in the case studies. Within both interior examples, the success of the ‘public square’ driven concepts has been conditional on the projects combining physical resemblances with multiple layers of placemaking strategy. LocHal Public Library and Town House not only use discussion of a ‘public square’ as a method to explain design decisions around the layout and intended uses but also demonstrate characteristics of considered urban places in their execution. This may suggest that physical resemblances alone are not conducive to success in the relocation of the square-specific sense of place to the interior environment. Comparing the two interior projects, the scale in approach can be noted as the critical difference. LocHal, whilst being almost seventy-five per cent of the size of Town House, only employs a placemaking approach in a comparatively small area of the total site. Beyond the ‘city square’ entrance hall, visitors find standard library shelving and conventionally laid out corridors and rooms. Where similar methods could have been applied throughout the library, they were instead focussed on the first area members of the public encounter on arriving at LocHal. This presents both benefits and drawbacks. On the one hand, the attractiveness of the entrance hall facilitates an increase in participation with the standard library facilities. This approach means that visitor numbers are increased without the need to employ complex placemaking strategies within the entire scheme. Conversely, Town House’s integrated approach demonstrates the holistic outcome that arises when all elements within a design are considered in relation to their contribution to the overall sense of place. Though differing in their execution, both LocHal and Town House support the conclusion that exterior placemaking strategies can help to inspire community engagement in interior projects.
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The making of ‘place’, in the context of the interior, can refer to the movement beyond an arrangement of physical elements towards the ideation of a commonly held notion about an interior environment. Users of an interior contribute to a non-physical sense of place that is more than the sum of its parts. When designing for the community, attention must be paid to how they will ultimately interact, physically and emotionally, with the space. Ensuring interior environments are not only successful designs, but also successful places is instrumental to them becoming destinations that inspire community activity, socialisation and triangulation. This paper has found that re-interpreting the ‘public square’ within the interior realm is an effective design strategy by which to realise these aims. These findings culminate in a conclusion that suggests interior design can benefit from a broader consideration of theories more commonly found in urban planning and architecture disciplines.
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