The Invention of Public Space: Designing for Inclusion in Lindsay’s New York

2021 ◽  
Vol 40 (1) ◽  
pp. 71-72
Author(s):  
Richard S. Hawks
Keyword(s):  
New York ◽  
Public Space

Co-production of public space: policy translations from New York City to the Netherlands

2016 ◽  
Vol 87 (2) ◽  
pp. 139-158 ◽  
Author(s):  
Rianne van Melik ◽  
Erwin van der Krabben
Keyword(s):  
New York ◽  
New York City ◽  
The Netherlands ◽  
Public Space ◽  
York City ◽  
Space Policy

scholarly journals Public space: an exhibition of photography and video

2021 ◽  
Author(s):  
Martin Franchi
Keyword(s):  
New York ◽  
Public Space ◽  
General Public ◽  
Private Property ◽  
Urban Environments ◽  
First Century ◽  
The Public ◽  
Unrestricted Access ◽  
Private Corporations ◽  
The Public Sphere

Public Space is a photographic and video project examining the relationship between the public sphere and private corporations. The project explores various sites throughout Toronto and New York that are on private property but have been built with the intention of allowing the general public to have unrestricted access to these areas. These spaces are referred to as Privately Owned Public Space or “POPS”. The goal of the project is to question and document, through photographic and video practice, these spaces within the urban environment and to challenge others to consider whether these spaces are effective in achieving their intended use and if they are truly accessible to the general public. Loss of the public space is an ongoing issue that faces cities and developers often receive concessions to bylaw zoning requirements in exchange for incorporating POPS. This thesis project is a personal exploration of how these spaces are changing the urban environments of North American cities in the twenty first century.

scholarly journals NYC POPS: Exploring Human Agency of the Public Sphere

2021 ◽  
Author(s):  
◽  
Anna Constable
Keyword(s):  
New York ◽  
Public Space ◽  
Social Life ◽  
Social Space ◽  
Public Spaces ◽  
Test Case ◽  
Late 20Th Century ◽  
The Public ◽  
The Public Sphere ◽  
Privately Owned

<p>This thesis aims to investigate, through design, spatial agency within the realm of New York City’s Privately Owned Public Spaces. The notion of agency in architecture is directly linked to social and political power. Starting in 1961, New York’s city planners introduced an incentive zoning scheme (POPS) which encouraged private builders to include public spaces in their developments. Many are in active public use, but others are hard to find, under surveillance, or essentially inaccessible. Within the existing POPS sites, tension is current between the ideals of public space - completely open, accessible - and the limitations imposed by those who create and control it. Designed to be singular, contained, and mono-functional, POPS do not yet allow for newer ideas of public space as multi-functional, not contained/bounded but extending and overlapping outward.  As public-private partnerships become the model for catalyzing urban (re)development in the late 20th century, bonus space is an increasingly common land use type in major cities across the world. The quality and nature of bonus spaces created in exchange for floor area bonuses varies greatly. In many cases, tensions in privately owned space produce a severely constricted definition of the public and public life. Incentive zoning programmes continue to serve as a model for numerous urban zoning regulations, so changing ideas of public space and its design need to be tested in such spaces.  These urban plazas offer a test case through which to examine agency, exploring how social space is also political space, charged with the dynamics of power/ empowerment, interaction/ isolation, control/ freedom. This thesis looks at one such site, the connecting plaza sites along Sixth Avenue between West 47th St and West 51st St. This is an extreme example of concentrated POPS sites in New York City. Here one’s perception and occupation of space is profoundly affected by the underlying design of that space which reflects its private ownership. Privately Owned Public Space can be designed that is capable of/ challenging the notion of the public in public space, and modifying the structure of the city and its social life.</p>

Analysis on Building Readable Image of Urban Public Spaces

2013 ◽  
Vol 409-410 ◽  
pp. 883-886
Author(s):  
Bo Xuan Zhao ◽  
Cong Ling Meng
Keyword(s):  
New York ◽  
Public Space ◽  
Urban Space ◽  
Public Spaces ◽  
Urban Life ◽  
Space Images ◽  
Urban Public Space ◽  
Good Image ◽  
The Public ◽  
The City

City, is consisting of a series continuous or intermittent public space images, and every image for each of our people living in the city is varied: may be as awesome as forbidden city Meridian Gate, like Piazza San Marco as a cordial and pleasant space and might also be like Manhattan district of New York, which makes people excited and enthusiastic. To see why, people have different feelings because the public urban space ultimately belongs to democratic public space, people live and have emotions in it. In such domain, people can not only be liberated, free to enjoy the pleasures of urban public space, but also enjoy urban life which is brought by the city's charm through highlighting the vitality of the city with humanism atmosphere. To a conclusion, no matter how ordinary the city is, a good image of urban space can also bring people pleasure.

Union Square and the Paradox of Public Space

Naked City ◽  
2010 ◽  
Author(s):  
Sharon Zukin
Keyword(s):  
New York ◽  
Public Space ◽  
Police Officers ◽  
Text Message ◽  
George Washington ◽  
Men And Women ◽  
Northern Edge ◽  
Union Square ◽  
Main Entrance ◽  
The U.S

At 6 o’clock on a weekday evening in early July, Union Square is most alive. The small, oval park at its center, three acres of green nestled between four broad streets, throbs with music and conversation, with voices rising and swelling to join the steady drone of traffic on all sides. You see children swinging under their parents’ eye in small playgrounds on the park’s northern edge; at the southern end you pick your way carefully through a swarm of a couple hundred young men and women who are milling around the wide, shallow stone steps leading up to the park’s main entrance. Tourists browse the T-shirt and art vendors’ tables while other shoppers stop at the Greenmarket on their way home, and every fifth person in the crowd is making a call or reading a text message on their cell phone. The crowd skews young, mostly under thirty-five, their faces are mainly white but also black and brown and several shades of tan, and you hear a girl ask, “Where are you? Are you in front?” in Japanese on her phone. Next to the subway entrance a lone political demonstrator uses a portable loudspeaker to make a speech against the U.S. president; nearby, under a statue of George Washington on horseback, two New York City police officers, also on horseback, interrupt their early evening patrol to chat with a park cleaner in a bright red uniform and a private security guard in navy pants and a matching cap. So many people are sitting on green wooden benches under the trees that you can hardly find two seats together. Most of the occupants are watching the parade of passersby; some are listening through earbuds to portable music players, others read a book, and one or two doze. In the fenced-in dog run, pets frisk about while their owners laugh and talk. A trio of young musicians sits on benches in the middle of the park, setting up a cello and two violins for an informal outdoor rehearsal.

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