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Changing public space

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classified as a secured <strong>public</strong> <strong>space</strong>; the fuller the coverage in the lower half (dimensions 4 to<br />

6), the more it can be classified as a themed <strong>public</strong> <strong>space</strong>. Figure 5.6 is an example of a sixdimensional<br />

diagram. It depicts the Grote Markt in Almere, which served as a test case for this<br />

method. The central square was constructed in 1983. Originally, it served as a parking lot and<br />

market place. The surrounding buildings were primarily occupied by service establishments such<br />

as banks and shops. In 1998, the municipality decided to redesign the Grote Markt and turn it<br />

into an entertainment district. The new policy included subsidies for installing sidewalk cafés,<br />

thereby favouring the development of restaurants and cafés at the expense of the service sector.<br />

However, the most important entertainment-related change was the creation of a permanent<br />

city stage (Figure 5.7). It is used for concerts, enlivens the city centre, and serves as a landmark.<br />

Figure 5.6 shows that the Grote Markt can be considered a themed <strong>public</strong> <strong>space</strong>, as the coverage<br />

is more complete in the lower part of the circle than in the upper part. This is mainly due to the<br />

permanent facilities for events (the city stage) and the increased number of cafés and restaurants.<br />

In light of this test case, similar diagrams have been constructed to illustrate the research objects<br />

(see Chapter 7).<br />

Visualisation of research results by means of multidimensional diagrams is not new. For<br />

instance, this technique has been applied by Taşan-Kok (2004) to compare the entrepreneurial<br />

capacity of municipal governments systems in three cities. And Van der Wusten (2005) has used<br />

it to depict the competitiveness of the European Union compared to that of the United States.<br />

Our application of this analytical tool is unique in some respects. First, the profiles are derived<br />

from our own observations. Thus, the position of the dimensions in the diagram reflects the<br />

order in which they are described in Chapter 3. Furthermore, the dimensions on opposite sides<br />

of the diagram are not at opposite ends of a single continuum. Like most other methodologies,<br />

there are pros and cons to this kind of scaling technique. The main advantage is that it allows<br />

for dimensions of both fear and fantasy at a given place. Previous research has shown that these<br />

concepts often go hand in hand (Zukin, 1995; De Cauter, 1998). That is, a <strong>public</strong> <strong>space</strong> with a<br />

high rating on themed dimensions could also be rated high on secured dimensions (Section 3.4).<br />

Besides depicting multiplicity, this technique allows for quick comparison of different <strong>public</strong><br />

<strong>space</strong>s by visual inspection. By applying a scaling technique, the characteristics of <strong>public</strong> <strong>space</strong>s<br />

can be illustrated in a more quantified manner than generally found in <strong>public</strong>-<strong>space</strong> research,<br />

which tends to be descriptive (Section 1.6). However, some prudence is recommended when<br />

Grote Markt<br />

1<br />

2<br />

3<br />

Secured <strong>public</strong> <strong>space</strong><br />

1. Surveillance<br />

2. Restraints on loitering<br />

3. Regulation<br />

Themed <strong>public</strong> <strong>space</strong><br />

4. Events<br />

5. Funshopping<br />

6. Sidewalk cafés<br />

6<br />

4<br />

5<br />

7092<br />

Figure 5.6 Six-dimensional profiles of the Grote Markt in Almere<br />

96

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