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What does a public space need to truly affect our behaviour and wellbeing? Here are 15 psychological elements that play crucial roles in the design of public spaces and place-making, as we explore what it means to have somewhere to go beyond the home.
When we design for public spaces, we’re doing more than placing objects with the intention of a functional outcome. We expect a bench to be comfortable to sit on and in a place we’d like to sit. But when planning our designed environment, we’re shaping behaviours and influencing emotions. This places a responsibility on us to think things through and make the best of all resources so that our efforts have a wider positive impact.
It’s a quick stroll. Every one of these points is just a hint at an entire area of study so be prepared to vanish down rabbit holes of knowledge if one or more of these principles strikes a chord.
We must admit that we are funny creatures: we like to see without being seen. This may sound like the description of a nosy neighbour, but it’s actually rooted in our evolutionary past. Good public spaces offer both open views (prospect) and cosy nooks (refuge) – we can observe our surroundings while wrapped in a space that’s perceived as safe. It’s why that bench tucked away under a tree, with a view of the square, is always the first that’s occupied.
Dig into Jay Appleton’s ‘The Experience of Landscape’ for more about the prospect-refuge theory.
You have probably noticed that we seem to need more elbow room than our continental cousins. And this sense of personal space describes a circle around every individual, the circumference of which varies with cultural and personal preferences.
Different cultures have different comfort zones when it comes to personal space. Smart urban design takes this into account, offering a mix of intimate and open areas to suit various preferences.
Outer- and inner-curve design seating allows for simultaneous use of the same bench in a way that offers intimacy on the inner curve and more personal space on the outer radius.
We’re inevitably drawn to nature, whether we acknowledge it or not. Biophilic design taps into this innate affinity, incorporating natural elements to reduce stress and stimulate a sense of, well, natural well-being. It’s not just about placing a handful of plants to tick regulatory boxes. It’s about creating spaces that resonate with our primordial selves.
It sounds like a chapter in a maths book, but it’s not. Triangulation in public spaces refers to external stimuli that encourage stranger interactions and interactions with strangers (more of the latter than the former, in fact). Think of that quirky sculpture that gets people talking, or the street performer that draws a crowd. These elements act as social lubricants, turning strangers into neighbours and the often solitary city life into a more gregarious state of being.
If you want to read more about this notion, dip into this charming title that the author himself humbly called a ‘pre-book’. It explored New York plazas and started off a little revolution in urban planning and design.
Nobody likes feeling lost. Clear, intuitive layouts and signage reduce stress and increase comfort. It’s about creating spaces that make sense at a glance, where you instinctively know where to go without having to consult a map (on your smartphone, of course) every five steps.
From the fantastic work that Massimo Vignelli did on the NYC underground signage in the 70s to the Legible City Initiative in Bristol (2000s-present), there are countless examples of the way deliberate design principles give clarity to those who use public spaces. Don’t be surprised if most of your reading points to Lynch and his book ‘The Image of the City’ from 1960.
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The best public spaces are like Swiss Army knives – versatile and adaptable. Movable seating, multi-functional design elements, spaces that can host a farmer’s market one day and a concert the next. It’s about creating spaces that can evolve with the community’s needs. The examples are endless — most cities have moved from designing purpose-built spaces to multifunctional environments.
Edges are where the action is. People naturally gravitate towards the periphery of spaces rather than open areas. It’s why you’ll often see people lingering around the edges of a wide open public space rather than strut around in the middle. Designing attractive edges can significantly enhance the use of public spaces.
There’s a sweet spot between wide open spaces and claustrophobic corners. A good sense of enclosure makes urban spaces feel comfortable and human-scaled. It can be achieved through clever use of building heights, tree canopies, and even strategically placed street furniture.
There’s a story to be written about a couple – one with agoraphobia and the other with claustrophobia – who only ever meet in the revolving doors of a public building. Until this happens, you may want to read the book that gave us the term ‘townscape’, The Concise Townscape by Gordon Cullen.
A bit of bumping into each other (not literally, mind you!) can be a good thing. Designing spaces that encourage brief encounters can foster community cohesion. Shared amenities, well-placed seating areas, or narrow pathways that necessitate a polite “excuse me” – these all contribute to social friction in the best possible way. An understanding of social friction can be combined with the notion of triangulation for design practice that is intended to foster community interaction. And as loneliness presents itself as one of the inevitable attributes of dense city dwelling, design has a responsibility to do all it can to combat it.
Good public space design is a feast for the senses. The rough texture of a stone wall, the gentle splash of a fountain, the scent of blooming flowers, the play of light and shadow. And within the roar of urban noise, even quiet spaces can deliver a much-needed sensory experience in the form of reduced sensory input. Engaging multiple senses creates memorable and enjoyable public spaces that people want to return to time and again.
With a title so intriguing, can you resist adding this book to your reading list? ‘The Eyes of the Skin: Architecture and the Senses’ by Juhani Pallasmaa
And here’s one that’s specific to sound design of urban spaces.
We’ve long studied the effect of colour on our mood. We intuitively understand that they can significantly influence the way individuals feel and have an impact on behaviour in public spaces, even if the literature is occasionally conflicting on the specifics. Warm colours might create energy in a bustling square, while cool tones could promote relaxation in a park. And let’s not forget the timeless sophistication of neutral hues.
Here’s an interesting piece that seems to highlight the need for even more study in the area.
They tell a story, evoke emotions, and connect us to our environment. Natural materials like wood and stone often bring warmth and a connection to nature. Metal and glass can speak of modernity and progress. Concrete can impart an oddly natural feeling for what is inherently an artificial material. It’s all about choosing the right material for the right story. Sometimes it’s possible to ‘trick’ the senses by using biomimetic materials, where we imitate natural materials – ceramic tiles with a faux wood finish are an example – to gain the durability of ceramic with the warmth of a natural finish.
‘The Eyes of the Skin’, referenced above, covers this subject in depth.
Size matters, but proportion is key. Human-scale design – elements sized in relation to the human body – tends to create comfort. But sometimes, a touch of the monumental can evoke awe and create a sense of place. It’s a delicate balance, this game of scale and proportion, and appropriate proportions give us city dwellers a sense of harmony with our surroundings. Sometimes, all it takes is careful planning, such as in the case of the famously octagonal blocks in Barcelona, with chamfered edges giving a sense of open space within the confines of tall city structures.
Lighting is more than just functional – it’s mood, it’s atmosphere, it’s safety. Natural light can lift spirits, while thoughtful artificial lighting can transform a space from night to day. Creating a lighting scheme that’s as dynamic as the space itself is part of the practice of light design. Sometimes we want light in one area, such as a popular walking route, but not in another – think of the people on the first floor who want light when they’re walking but not inside their bedroom as they sleep.
From lighting for the safety of marginalised people to the architectural lighting of heritage sites, there’s a wealth of literature to explore. “Cities of Light: Two Centuries of Urban Illumination” is an expansive text on the subject.
For a more contemporary approach to responsive and adaptive lighting, dip into the research of Henrika Pihlajaniemi.
The best public spaces don’t exist in a vacuum. They reflect and respect the local culture and history. It might be through incorporating local art, preserving historical features, or using traditional patterns in modern ways. It is also about allowing room for emerging art to start to make its mark. And through this blend of nostalgia and optimism, we’re creating spaces that feel like they will always belong.
Designing public spaces is a bit like conducting an orchestra. Each element plays a crucial role. When they all work in harmony, the result is a public space that sings. A space that invites, that comforts, that delights, and that works for all its inhabitants. A space that transforms the ordinary into the extraordinary.
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