Waterfront Public Space as “A Great Good Place”
by Shantanu Biwas Linkon, published 2024-07-11
This specific competition is, indeed, a great opportunity to reflect on the notion of ‘Great place’, a frequently used language in public discourse, although it may possess specific dimensions in architectural theory. Comprising a large amount of natural waterfront to offer as public space, the competition for The New Art Gallery of Nova Scotia was launched in early 2020. The provincial focus was to create ‘Great places’ that will foster inclusive economic growth as well as contribute to developing a compelling and differentiating value proposition not only important to drive population growth but also to attract tourism (Design Brief, 2020). According to Ray Oldenburg’s celebrated book from 1989, a ‘Great Good Place’ provides various activities to encourage conversation among its users. These conversations, which are the raison d'être of any great place, are most likely to flourish in places where people can talk without constraint, except for the constraints imposed by the art of conversation itself. Great good places are ‘third places’ that often possess and produce social value.
This competition called for a new art gallery and outdoor spaces as a part of an arts district on the Halifax waterfront that as public spaces would act like a platform for the whole community. Having a purpose to offer the opportunity for integration with diverse communities (artists, health care, educators) by being inclusive and welcoming for all, this platform would engage people by eliminating physical, cultural, and social barriers to participation (Design Brief, 2020). Creating something unique for a Nova Scotian representation was another major aim. Achieving sustainability by using creative design, technology, and materials; Accomplishing design excellence by providing spaces that are flexible, adaptable for change, and efficient; and Ensuring museological professional standards were other objectives. Overall the motto was to create a public space and special event venues, where ‘Art is Everywhere’ (Design Brief, 2020) would be prominent.
The eight highest-scoring proponents were selected after the evaluation of the Request for Proposals (RFP) submissions and invited for an interview. Unexpectedly, COVID-19 forced to shift the whole competition to a virtual format, where both the jury and the teams were provided with additional video and digital materials to have a proper impression of the site and the neighboring context. Three finalist teams were selected on July 7, 2020: (1) Architecture49 with Diller Scofidio + Renfro and Hargreaves Jones; (2) DIALOG + Acre Architects, (3) KPMB Architects with Omar Gandhi Architect - Jordan Bennett Studio - Elder Lorraine Whitman (NWAC) - Public Work and Transsolar.
‘Architecture49 with Diller Scofidio + Renfro and Hargreaves Jones’ envisioned a ‘Soft Icon’ for the New Art Gallery with a commanding presence on the waterfront working as an accessible hub for the community while eradicating barriers to reach the broadest audience. To achieve the building’s ‘Light Touch’, they proposed a ‘Tree Structure’ by lifting the Galleries on a thin platform supposed to act as a leveler and neutral ground for ‘third place’. Moreover, ‘DIALOG + Acre Architects’, took inspiration from the ‘First Light’ that guides us and provides opportunities for transformation. They imagined an Art Gallery as the ‘First Light’ inviting and reconnecting to the earth’s rhythm, which may be the metaphor for the leveler and the regulars of the ‘third place’. Besides, as a means to discover dawn within ourselves and one another, the provided spaces were meant accessible and playful, in nature, as light and art.
The winning team, ‘KPMB Architects with Omar Gandhi Architect - Jordan Bennett Studio - Elder Lorraine Whitman (NWAC) - Public Work and Transsolar’, perhaps proposed the most unique three-dimensional built-form. They conceptualized this organic shape as ‘Kat (Katew) & Tail’, where the (Katew), or Eel, motivated the design. Besides, their design features ‘A Striking Peaked Hat’ shape at the entrance as a symbol of the strength, wisdom, love, and power that women hold within Mi’kmaw communities. Additionally, the design offers an array of accessible experiences for all senses and embodies a place that thrives throughout all seasons. The landscape and outdoor gathering spaces expand as a neutral ground in a regulated manner, in a human-scaled and playful environment. The provided public spaces, combinedly, are envisioned as a leveling place within the society. Overall, spaces are designed to offer raison d'être, conversations both formally and informally, for the diverse community of Nova Scotia. All this sensitivity to people, public space, and context was said to not only turn the Art Gallery into ‘A Great Good Place’ but also to produce social value. And, incorporation of this social value in architecture is important for the social sustainability of the project.
After a critical review of all three designs, the jury stated, “Each excelled in embracing the multitude of challenges and desires for the Project to be welcoming, sustainable, accommodate a wide spectrum of programming...” (Jury Report, 2020, p.4). Moreover, regarding the stimulation of these solutions, the jury appreciated drawing inspiration, “…from the place, and the history and the culture of the first people of this place, the Mi’kmaq.” (Jury Report, 2020, p.4). The ambitious indoor and welcoming, lively, as well as inclusive outdoor spaces for the New Art Gallery of Nova Scotia were seen as a way to anchor this new arts district.
However, it would be immoral to conclude without a comment on the attitude to the design procedure of all finalists. It is appreciable that they took inspiration from the Mi’kmaq, who are Indigenous and primarily represent Nova Scotia. There are, probably, very few things in context from which architects could get stimulus to design this Art gallery whose two main objectives were to ‘Strengthen our Identity’ and ‘Programming with and for the Community’ (Jury Report, 2020). But while doing so, unfortunately, but not unconventionally, all three teams did not consider or I would say systemically ignored, any direct contribution from Mi’kmaw leadership. The jury also questioned the appropriateness of this by wondering “How the process allowed a design and program to encompass Mi’kmaw culture without the direct involvement of Mi’kmaw leadership” (Jury Report, 2020, p.4). They recommended further collaboration, “It is important that moving forward from the competition, the team engages with Mi’kmaw leadership.” This approach to design, however, raises a question considering ‘a great place’- Can a great place disregard its Indigenous origins throughout most of its design process?
Simply the answer is obviously No. ‘Third places’ should feature, as mentioned by Oldenburg, ‘Accessibility and Accommodation’, by providing meaning for the occupants and giving the feeling that their needs have been fulfilled. Moreover, these places should also be ‘A Home Away from Home’ which ensures belongingness as if a piece of themselves is rooted in the space. Therefore, to create a ‘third place,’ inclusion of meaning, social value, and belongingness of all stakeholders through a truly collaborative approach is a must.
Such a situation is not so surprising and it still reveals the most current popular deceiving approaches to design in which users and most stakeholders are kept at a distance. Instead of being collaborative for only namesake, perhaps it is high time, to focus on the actual essence of the participatory approach. And, to extend this comment, why not introduce various methods in the curriculum to indeed train upcoming architects to include ‘the voice of the people’ and ‘people’s positive lived experiences’ in design solutions? This inclusion of people’s lived experiences in the design process will foster social value in architecture and ensure social sustainability.
Design Brief. (2020). New Art Gallery of Nova Scotia as part of a Waterfront Arts District Design Competition.
Jury Report. (2020). New Art Gallery of Nova Scotia as part of a Waterfront Arts District Design Competition.
Oldenburg, R. (1989). The great good place: Cafés, coffee shops, community centers, beauty parlors, general stores, bars, hangouts, and how they get you through the day (1st ed). Paragon House.
This competition called for a new art gallery and outdoor spaces as a part of an arts district on the Halifax waterfront that as public spaces would act like a platform for the whole community. Having a purpose to offer the opportunity for integration with diverse communities (artists, health care, educators) by being inclusive and welcoming for all, this platform would engage people by eliminating physical, cultural, and social barriers to participation (Design Brief, 2020). Creating something unique for a Nova Scotian representation was another major aim. Achieving sustainability by using creative design, technology, and materials; Accomplishing design excellence by providing spaces that are flexible, adaptable for change, and efficient; and Ensuring museological professional standards were other objectives. Overall the motto was to create a public space and special event venues, where ‘Art is Everywhere’ (Design Brief, 2020) would be prominent.
The eight highest-scoring proponents were selected after the evaluation of the Request for Proposals (RFP) submissions and invited for an interview. Unexpectedly, COVID-19 forced to shift the whole competition to a virtual format, where both the jury and the teams were provided with additional video and digital materials to have a proper impression of the site and the neighboring context. Three finalist teams were selected on July 7, 2020: (1) Architecture49 with Diller Scofidio + Renfro and Hargreaves Jones; (2) DIALOG + Acre Architects, (3) KPMB Architects with Omar Gandhi Architect - Jordan Bennett Studio - Elder Lorraine Whitman (NWAC) - Public Work and Transsolar.
‘Architecture49 with Diller Scofidio + Renfro and Hargreaves Jones’ envisioned a ‘Soft Icon’ for the New Art Gallery with a commanding presence on the waterfront working as an accessible hub for the community while eradicating barriers to reach the broadest audience. To achieve the building’s ‘Light Touch’, they proposed a ‘Tree Structure’ by lifting the Galleries on a thin platform supposed to act as a leveler and neutral ground for ‘third place’. Moreover, ‘DIALOG + Acre Architects’, took inspiration from the ‘First Light’ that guides us and provides opportunities for transformation. They imagined an Art Gallery as the ‘First Light’ inviting and reconnecting to the earth’s rhythm, which may be the metaphor for the leveler and the regulars of the ‘third place’. Besides, as a means to discover dawn within ourselves and one another, the provided spaces were meant accessible and playful, in nature, as light and art.
The winning team, ‘KPMB Architects with Omar Gandhi Architect - Jordan Bennett Studio - Elder Lorraine Whitman (NWAC) - Public Work and Transsolar’, perhaps proposed the most unique three-dimensional built-form. They conceptualized this organic shape as ‘Kat (Katew) & Tail’, where the (Katew), or Eel, motivated the design. Besides, their design features ‘A Striking Peaked Hat’ shape at the entrance as a symbol of the strength, wisdom, love, and power that women hold within Mi’kmaw communities. Additionally, the design offers an array of accessible experiences for all senses and embodies a place that thrives throughout all seasons. The landscape and outdoor gathering spaces expand as a neutral ground in a regulated manner, in a human-scaled and playful environment. The provided public spaces, combinedly, are envisioned as a leveling place within the society. Overall, spaces are designed to offer raison d'être, conversations both formally and informally, for the diverse community of Nova Scotia. All this sensitivity to people, public space, and context was said to not only turn the Art Gallery into ‘A Great Good Place’ but also to produce social value. And, incorporation of this social value in architecture is important for the social sustainability of the project.
After a critical review of all three designs, the jury stated, “Each excelled in embracing the multitude of challenges and desires for the Project to be welcoming, sustainable, accommodate a wide spectrum of programming...” (Jury Report, 2020, p.4). Moreover, regarding the stimulation of these solutions, the jury appreciated drawing inspiration, “…from the place, and the history and the culture of the first people of this place, the Mi’kmaq.” (Jury Report, 2020, p.4). The ambitious indoor and welcoming, lively, as well as inclusive outdoor spaces for the New Art Gallery of Nova Scotia were seen as a way to anchor this new arts district.
However, it would be immoral to conclude without a comment on the attitude to the design procedure of all finalists. It is appreciable that they took inspiration from the Mi’kmaq, who are Indigenous and primarily represent Nova Scotia. There are, probably, very few things in context from which architects could get stimulus to design this Art gallery whose two main objectives were to ‘Strengthen our Identity’ and ‘Programming with and for the Community’ (Jury Report, 2020). But while doing so, unfortunately, but not unconventionally, all three teams did not consider or I would say systemically ignored, any direct contribution from Mi’kmaw leadership. The jury also questioned the appropriateness of this by wondering “How the process allowed a design and program to encompass Mi’kmaw culture without the direct involvement of Mi’kmaw leadership” (Jury Report, 2020, p.4). They recommended further collaboration, “It is important that moving forward from the competition, the team engages with Mi’kmaw leadership.” This approach to design, however, raises a question considering ‘a great place’- Can a great place disregard its Indigenous origins throughout most of its design process?
Simply the answer is obviously No. ‘Third places’ should feature, as mentioned by Oldenburg, ‘Accessibility and Accommodation’, by providing meaning for the occupants and giving the feeling that their needs have been fulfilled. Moreover, these places should also be ‘A Home Away from Home’ which ensures belongingness as if a piece of themselves is rooted in the space. Therefore, to create a ‘third place,’ inclusion of meaning, social value, and belongingness of all stakeholders through a truly collaborative approach is a must.
Such a situation is not so surprising and it still reveals the most current popular deceiving approaches to design in which users and most stakeholders are kept at a distance. Instead of being collaborative for only namesake, perhaps it is high time, to focus on the actual essence of the participatory approach. And, to extend this comment, why not introduce various methods in the curriculum to indeed train upcoming architects to include ‘the voice of the people’ and ‘people’s positive lived experiences’ in design solutions? This inclusion of people’s lived experiences in the design process will foster social value in architecture and ensure social sustainability.
Design Brief. (2020). New Art Gallery of Nova Scotia as part of a Waterfront Arts District Design Competition.
Jury Report. (2020). New Art Gallery of Nova Scotia as part of a Waterfront Arts District Design Competition.
Oldenburg, R. (1989). The great good place: Cafés, coffee shops, community centers, beauty parlors, general stores, bars, hangouts, and how they get you through the day (1st ed). Paragon House.
