Discussion
Using the place-temporality method developed by Wunderlich (2013) it was possible to perform a rhythmanalysis in 3 neighbouring sites in Helsingborg, Sweden. Previously, this method has been applied to a quite small and distinctly-defined public space in London (Fitzroy Square). Until we performed this study it was not clear whether place-temporality could be applied to the Swedish context or to less defined and larger spaces like Gröningen. In this study we demonstrated a wider applicability for rhythmanalysis and place-temporality in particular.
Place-rhythms were recorded using observation and photography but in order to understand how these interact it was necessary to use time-lapse photography, proprioception and sound recordings. Because of this, the use of senses other than visual were both very useful and inherent to the place-temporality method itself (Wunderlich, 2013). By using these other senses we had to develop our own data visualization forms (e.g. the results tables), which can be seen as a further development and application of the place-temporality method in a new context. A positive aspect of using this method related directly to the use of several senses since each sense raised a new level of awareness and led to a different experience of the space. Proprioception greatly increased our understanding of the spaces and since this was not used by Wunderlich we would like to highlight this novelty and suggest its further use. However, analysis based on the personal experience felt by the researcher could be considered subjective and we would like to discuss some of the challenges of this approach.
Place-temporality is an iterative research method which can be very time-consuming. Rhythmanalysis in the Lefebvrian form can be criticized as a method to identify social activities but not actually understand them (Brighenti & Kärrholm, 2018). Place-temporality takes a step further since analysis of place-tonality requires an assessment of the interaction between place-rhythms (Wunderlich, 2013) and performing this may lead to an understanding of the social activities. The problem is that performing a single iteration of the place-temporality triad, as we did in this project, gives only a snapshot of a single point in time and may not really explain a space. We noticed this limitation particularly in the analysis of Gröningen, the site visited most often during this project. The speed of the place-rhythms differed depending on where the observations were made and all types of place-rhythms could co-exist in different subareas in Gröningen because of the large area of the park. Capturing all these rhythms in a series of place-temporality analyses would take a considerable amount of time, and this was actually necessary as place-rhythms differed also on weekdays vs weekends. This method is comparable to ethnography or the participant observer role, two approaches that also take a considerable amount of time. One difference is that the place-temporality method provides a structure to the analysis since one is replicating the same procedure over and over.
The key to the place-temporality analysis is the triad, but this also raised questions that are important to discuss. While defining rhythm, Lefebvre discusses the limitations of using dichotomies (or oppositions) since this would force a classification of things as either one or another (Lefebvre 2004, pg 11-13). He continues to suggest using triads of terms that are connected but not synthesized into a new term. In terms of the production of space, the social triad is an example of an appropriate theoretical framework (Lefebvre, 1991). Wunderlich uses the term triad to describe the analysis of place-temporality using temporal performance, place-tonality and sense of time. However, we argue that this is not actually a triad. Once place-rhythms are identified, temporal performance objectively measures the frequency of these place-rhythms and when they occur. In order to assess how place-rhythms interact in place-tonality, there has to be an overlap in place-rhythms. Therefore, place-tonality depends on temporal performance. Similarly, our assessment of the sense of time depended on place-tonality. The three measures are not independent and the whole analysis falls if temporal performance cannot find overlapping place-rhythms. We also found problems with the subjectivity of assessing distortion in the sense of time. Working as a team of two, it was possible to discuss and come to agreement. But each individual could potentially experience this space differently, leading to problems in making an overall conclusion for place-temporality.
Despite these issues, the place-temporality form of rhythmanalysis did contribute to a better understanding of the social life in the three chosen public spaces of Helsingborg. At first it might seem counterintuitive to attribute place-rhythm status to physical materialities in the space. Elements like repeated street lamps or pavement lines are not included in Gehl’s division of spaces into necessary, optional and social. But their inclusion can help explain behaviour, in this case why so many people seemed to pass across Henry Dunkers Plats to enter the path in Kungsparken. It is possible to think of these physical / static place-rhythms as an assemblage together with one or more societal place-rhythms (e.g people walking). Actor-Network Theory suggests a constant reformation of urban practices at places where assemblages occur (McFarlane, 2011). Place-temporality may provide a practical method for capturing and understanding these assemblages.
As indicated by Jan Gehl (2011) the three categories of outdoor activities (necessary, optional, social) place different demands on the physical environment. The ‘necessary’ activities can be considered as having regulated (more predictable) rhythms, as they tend to take place under any condition and are less dependent on the external environment (e.g. taking a dog for walking, people walking, people running). These activities usually happen in the background of the place and contribute soft rhythms to place-tonality.
On the other hand, ‘optional activities’ are more dependent on the external environment, as most of these activities occur when the place is inviting and providing opportunities. The more opportunities the place provides, the more people there are involved in optional activities. These activities can be having circumstance or occasional rhythms, according to their temporal performance. They mostly come to the foreground of the place, producing outstanding, hard rhythms and some times activities such as riding an e-scooter produce an atonal, disruptive rhythm.
It is worthwhile noting that only necessary activities take place at a poor quality outdoor space. However, if the place is of high quality, necessary activities take place, with people taking more time to complete the activity. A wide range of optional activities will also occur because the place invites people to slow down, sit, eat, play etc. This can be considered as an important aspect in planning public spaces because most of the recreational activities that are especially pleasant to pursue outdoors are found precisely in this category of activities (Gehl, 2010).
Social activities in a public space depend on the presence of other people in the place and most often overlap with optional activities. For example, children playing together and people playing basketball at Gröningen can be considered under both optional as well as social activities. Gehl (2010) terms these activities as ‘resultant activities’ as they occur in connection with other 2 activity categories. They can be considered as either collective rhythms or public rhythms. If they occur spontaneously, as Gehl (2010) points out, as a direct consequence of people being in the same space at the same time, they can be considered as circumstance rhythms. However, social activities can also have regulated or occasional rhythms, based on their temporal performance. Depending on the activity, they can be producing both tonal and atonal/disruptive rhythms.
Protection against traffic and accidents gives the feeling of safety in accessing public spaces and use of them. This could be observed with regard to regular rhythms of traffic (cars and buses controlled by traffic signals) in Henry Dunkers Plats. Protection against crime and violence makes people secure in a place and motivates them to use that place more frequently and to linger. This aspect could be fulfilled up to a certain extent by creating visible, open public spaces and with regular (rhythms of) lamp posts that provide good lighting conditions during the night.
Protection against unpleasant sensory experiences such as wind, rain, heat and cold, as well as pollution, dust and noise is an important aspect to be considered in planning and managing public spaces. Wind creates a circumstance rhythm at both Kungsparken and Gröningen and is activated in the foreground giving a hard tonality to the place. Although wind is a circumstance rhythm at Henry Dunkers Plats, it creates an atonal, disruptive rhythm in the place. The majority of people just use this place as an avenue to reach another destination without lingering in the place.
Protection against pollution (mainly keeping a tidy place) is achieved in all three places through regular maintenance and service rhythms. No measures were observed in these places to provide protection against noise and dust. May be the trees in Kungsparken absorb polluted air and prevent dust particles reaching people who use the spaces.
When the aspects of comfort are considered, these places have created opportunities for walking, with good surfaces and without barriers, that make these places accessible to everyone. Kungsparken, especially due to its curved path creates an interesting rhythm in the place that makes people slow down and spend more time there, even if they just pass through the space.
Opportunities to stand is an aspect that motivates people lingering in public spaces. Therefore, creating the edge effect or providing supports for standing are important aspects in planning public spaces. Physical static rhythms such as pillars at Henry Dunkers Plats can be considered as providing the edge effect for the place.
Opportunities to sit is an attribute that is expected in all public spaces. There is no doubt that sitting should be physically comfortable to make people stay longer, but most importantly it should be socially comfortable too. Gröningen provides many options for sitting with flexible social distances. This gives rise to both collective and individual rhythms in the place. For example, if people come as a group to Gröningen, they can sit in a close circle of benches or even the cement ramp, while those who like to sit by themself can easily find an isolated bench to sit and enjoy the place. It also has many secondary seats that people can sit in any pose they prefer as well as lie down.
Any interesting public space should give people the opportunities to see, i.e. something interesting to look at or unhindered view to the distance. Both Henry Dunkers Plats and Gröningen creates physical dynamic rhythms with a clear view to the distance. They have many interesting things to look at too. For example, people are attracted to artworks at Henry Dunkers Plats and some were seen taking photographs of artworks and some even playing on them. At Gröningen, the view of the sea and the view of the border of Denmark, as well as the view of other people engaged in various activities, creates interest.
Opportunities to talk and listen creates a conducive public space for people to socialize. Low noise levels motivate people to stay longer in the place. Noise of vehicles from the closeby road at Henry Dunkers Plats and Kungsparken creates soft field rhythm in the background while the wind creates a disruptive atonal rhythm, depending on the circumstance. However, it is difficult to consider this factor as a barrier to talk and listen.
Opportunities to play and exercise can be considered as the major attractive element of Gröningen in comparison to the other two places studied under this project. The place has an open gym, a basketball court, a volleyball court, a mini-golf course and a separate children's play area. All these aspects contribute to collective rhythms such as children playing and public rhythms such as playing basketball and watching children play.
The quality criteria under ‘enjoyment’ category consist of designing spaces consistent with a human scale, providing opportunities to enjoy the positive aspects of climate, and providing positive sensory experience and designing the space using aesthetic qualities. Gröningen can be considered as a place that makes maximum use of positive aspects of climate by providing opportunities for people to enjoy the water (sea), sun as well as shade, if needed. It creates physical dynamic rhythms such as water waves, as well as individual rhythms such as watching the sunset. Henry Dunkers Plats can be considered as an example of using aesthetic qualities at a higher level in designing the place. The lines on the floor create static physical rhythms and come to the foreground, giving outstanding hard tonality to the place. To a certain extent, these lines tend to influence some of the other rhythms of the place such as people's movements. Kungsparken, on the other hand, has taken advantage of natural elements such as trees in designing the place. The trees in the park come to the foreground as the outstanding tonal rhythm of the space.
The Charter of Public Space (2013) that contributes to the United Nations programme on human settlements (UN-Habitat) aims at promoting the values of hospitality, solidarity/unity, conviviality (friendly environment) and sharing in the city, and calls for giving life to these values through public space. The charter highlights important aspects in relation to creation, management and enjoyment of public spaces. Accordingly, every public space should be created with full consideration to the diversity. This gives rise to various societal and cultural rhythms in the space.
The management aspects highlight the prevalent responsibility of local authorities, however with the active collaboration of citizens, civil society and the private sector. Although the service and maintenance rhythms are expected to be in the background of the space without disturbing the enjoyment of the space, the construction work observed throughout this study period at Henry Dunkers Plats created an atonal rhythm which is disruptive and restricts the use of this place to a certain extent.
The Charter emphasizes that, all citizens, regardless of their role in the society have the right to access and enjoy public spaces in complete freedom, within the rules of coexistence. This was observed in all three places under this study where people created diverse collective and individual rhythms, as well as cultural rhythms (dressage, and rituals) at certain circumstances.
The UN public space toolkit is ‘a practical reference for local governments to frame and implement principles, policy recommendations and development initiatives on public spaces’. After conducting an evaluation of public spaces around the world, which included thousands of such spaces, the UN project for public spaces has found that successful ones have four key qualities: i) they are accessible, ii) the space is comfortable and has a good image,iii) people have the opportunity to engage in various activities, and iv) it is a sociable place where people meet each other and take back memories when they come to visit (UN Public Space Toolkit). One can observe that these qualities give rise to various rhythms in public spaces. Accessible and comfortable spaces promotes the use of space by people of diverse social groups, makes them linger, and creates various individual and collective social rhythms. Opportunities for various activities creates collective and public rhythms, in addition to individual rhythms. Dynamic physical rhythms of the space contributes to the image of the place and give some memories for the users, while service and maintenance rhythms directly or indirectly contribute to creating a sociable place.
The Helsingborg Urban Environment Programme (Stadsmiljöprogram) of Stadsbyggnadsförvaltningen focuses on several aspects such as: investments in squares, preserve and develop green cultural heritage, thriving trade, and developing a beautiful city. The need for this environment programme had been identified in the context of: growing population in Helsingborg which creates a demand for expanding the city, and the city centre and public spaces becoming important as meeting places. This programme seeks to contribute towards sustainable development from social, environmental and economic perspectives and work towards Helsingborg 2035 vision.
One of the important focus areas in the drive towards Helsingborg 2035 is meeting places and living environment. The ‘living environment’ emphasizes the room for outdoor activities, recreation and meetings, both spontaneous and planned. As indicated in the planning document, these aspects contribute to promoting human health and well-being. This planning document has given quite an emphasis on public spaces, and one of the targets is to expand the city centre to the north of Helsingborg, with Gröningen as a meeting place for the city inhabitants and visitors. The planned and spontaneous meetings create both regulated and circumstance rhythms in the place.
The Vision 2035 for Helsingborg highlights five basic principles:
i) Open, instead of closing - create an inviting, safe environment for people (safe public spaces)
ii) Gather, instead of separating - create accessible neighbourhoods with increased mobility, while ensuring security
iii) Create - create public spaces where people have a desire to stay (use the features of sun and water positively, and not let people be distracted by wind, traffic and other disturbances). This is to be achieved by carefully planning to link functions and locations, that gives the choice for people to extend the time spent in public spaces. These aspects have been considered to a certain extent in planning Gröningen, a place that has opportunities for many optional activities that motivate people to use that space more and stay longer.
iv) Inviting, instead of rejecting - create a network of different public spaces that gives the opportunity for people to stay together. This indicates planning to promote social activities, providing places that give rise for collective rhythms in public spaces. According to Gehl (2010), social activities are more dependent on the quality of the external environment, therefore, it calls for creating places of high quality that invite people. If the three places considered under this project are compared, it is obvious that Gröningen gives more opportunities to socialize, therefore has more tendency for creating collective rhythms.
v) Maximize, optimize and balance - calls for creating a well-functioning transport system, by maximizing conditions for pedestrian and bicycle traffic, optimizing the conditions for public transport and balancing the car traffic.
The Stadsbyggnadsförvaltningen (city building administration) works with the city’s strategic planning and is responsible for city’s public spaces. However, these responsibilities are divided between two departments; Stadsmiljöavdelningen (Urban environment) is responsible for designing the city’s public spaces, while the Drift och Underhåll (operations and maintenance) department is responsible for maintenance of squares, parks, green areas and the beach areas.
Artworks in public spaces is another aspect that contributes to the identity of the city. Usually, it is expected that artworks in public spaces would reveal city’s history and citizens would be proud and inspired by them. This was observed at Henry Dunkers Plats, where we witnessed people closely observing and playing with artworks installed there.
Creating healthy and clean public spaces is one of the main aspects indicated in the planning document. This is expected to be achieved through maintenance and service rhythms that were observed in all three spaces studied under this project. This contributes to a livable and attractive city, where people want to be.
Place-rhythms were recorded using observation and photography but in order to understand how these interact it was necessary to use time-lapse photography, proprioception and sound recordings. Because of this, the use of senses other than visual were both very useful and inherent to the place-temporality method itself (Wunderlich, 2013). By using these other senses we had to develop our own data visualization forms (e.g. the results tables), which can be seen as a further development and application of the place-temporality method in a new context. A positive aspect of using this method related directly to the use of several senses since each sense raised a new level of awareness and led to a different experience of the space. Proprioception greatly increased our understanding of the spaces and since this was not used by Wunderlich we would like to highlight this novelty and suggest its further use. However, analysis based on the personal experience felt by the researcher could be considered subjective and we would like to discuss some of the challenges of this approach.
Critical assessment of place-temporality and rhythmanalysis
Place-temporality is an iterative research method which can be very time-consuming. Rhythmanalysis in the Lefebvrian form can be criticized as a method to identify social activities but not actually understand them (Brighenti & Kärrholm, 2018). Place-temporality takes a step further since analysis of place-tonality requires an assessment of the interaction between place-rhythms (Wunderlich, 2013) and performing this may lead to an understanding of the social activities. The problem is that performing a single iteration of the place-temporality triad, as we did in this project, gives only a snapshot of a single point in time and may not really explain a space. We noticed this limitation particularly in the analysis of Gröningen, the site visited most often during this project. The speed of the place-rhythms differed depending on where the observations were made and all types of place-rhythms could co-exist in different subareas in Gröningen because of the large area of the park. Capturing all these rhythms in a series of place-temporality analyses would take a considerable amount of time, and this was actually necessary as place-rhythms differed also on weekdays vs weekends. This method is comparable to ethnography or the participant observer role, two approaches that also take a considerable amount of time. One difference is that the place-temporality method provides a structure to the analysis since one is replicating the same procedure over and over.
The key to the place-temporality analysis is the triad, but this also raised questions that are important to discuss. While defining rhythm, Lefebvre discusses the limitations of using dichotomies (or oppositions) since this would force a classification of things as either one or another (Lefebvre 2004, pg 11-13). He continues to suggest using triads of terms that are connected but not synthesized into a new term. In terms of the production of space, the social triad is an example of an appropriate theoretical framework (Lefebvre, 1991). Wunderlich uses the term triad to describe the analysis of place-temporality using temporal performance, place-tonality and sense of time. However, we argue that this is not actually a triad. Once place-rhythms are identified, temporal performance objectively measures the frequency of these place-rhythms and when they occur. In order to assess how place-rhythms interact in place-tonality, there has to be an overlap in place-rhythms. Therefore, place-tonality depends on temporal performance. Similarly, our assessment of the sense of time depended on place-tonality. The three measures are not independent and the whole analysis falls if temporal performance cannot find overlapping place-rhythms. We also found problems with the subjectivity of assessing distortion in the sense of time. Working as a team of two, it was possible to discuss and come to agreement. But each individual could potentially experience this space differently, leading to problems in making an overall conclusion for place-temporality.
Despite these issues, the place-temporality form of rhythmanalysis did contribute to a better understanding of the social life in the three chosen public spaces of Helsingborg. At first it might seem counterintuitive to attribute place-rhythm status to physical materialities in the space. Elements like repeated street lamps or pavement lines are not included in Gehl’s division of spaces into necessary, optional and social. But their inclusion can help explain behaviour, in this case why so many people seemed to pass across Henry Dunkers Plats to enter the path in Kungsparken. It is possible to think of these physical / static place-rhythms as an assemblage together with one or more societal place-rhythms (e.g people walking). Actor-Network Theory suggests a constant reformation of urban practices at places where assemblages occur (McFarlane, 2011). Place-temporality may provide a practical method for capturing and understanding these assemblages.
Rhythmanalysis in comparison to Gehl’s three categories of activities
As indicated by Jan Gehl (2011) the three categories of outdoor activities (necessary, optional, social) place different demands on the physical environment. The ‘necessary’ activities can be considered as having regulated (more predictable) rhythms, as they tend to take place under any condition and are less dependent on the external environment (e.g. taking a dog for walking, people walking, people running). These activities usually happen in the background of the place and contribute soft rhythms to place-tonality.
On the other hand, ‘optional activities’ are more dependent on the external environment, as most of these activities occur when the place is inviting and providing opportunities. The more opportunities the place provides, the more people there are involved in optional activities. These activities can be having circumstance or occasional rhythms, according to their temporal performance. They mostly come to the foreground of the place, producing outstanding, hard rhythms and some times activities such as riding an e-scooter produce an atonal, disruptive rhythm.
It is worthwhile noting that only necessary activities take place at a poor quality outdoor space. However, if the place is of high quality, necessary activities take place, with people taking more time to complete the activity. A wide range of optional activities will also occur because the place invites people to slow down, sit, eat, play etc. This can be considered as an important aspect in planning public spaces because most of the recreational activities that are especially pleasant to pursue outdoors are found precisely in this category of activities (Gehl, 2010).
Social activities in a public space depend on the presence of other people in the place and most often overlap with optional activities. For example, children playing together and people playing basketball at Gröningen can be considered under both optional as well as social activities. Gehl (2010) terms these activities as ‘resultant activities’ as they occur in connection with other 2 activity categories. They can be considered as either collective rhythms or public rhythms. If they occur spontaneously, as Gehl (2010) points out, as a direct consequence of people being in the same space at the same time, they can be considered as circumstance rhythms. However, social activities can also have regulated or occasional rhythms, based on their temporal performance. Depending on the activity, they can be producing both tonal and atonal/disruptive rhythms.
Rhythms in comparison with the 12 quality criteria
The 12 quality criteria proposed by Gehl (2010) for evaluation of public spaces can be considered under three main categories: protection, comfort and environment.Protection against traffic and accidents gives the feeling of safety in accessing public spaces and use of them. This could be observed with regard to regular rhythms of traffic (cars and buses controlled by traffic signals) in Henry Dunkers Plats. Protection against crime and violence makes people secure in a place and motivates them to use that place more frequently and to linger. This aspect could be fulfilled up to a certain extent by creating visible, open public spaces and with regular (rhythms of) lamp posts that provide good lighting conditions during the night.
Protection against unpleasant sensory experiences such as wind, rain, heat and cold, as well as pollution, dust and noise is an important aspect to be considered in planning and managing public spaces. Wind creates a circumstance rhythm at both Kungsparken and Gröningen and is activated in the foreground giving a hard tonality to the place. Although wind is a circumstance rhythm at Henry Dunkers Plats, it creates an atonal, disruptive rhythm in the place. The majority of people just use this place as an avenue to reach another destination without lingering in the place.
Protection against pollution (mainly keeping a tidy place) is achieved in all three places through regular maintenance and service rhythms. No measures were observed in these places to provide protection against noise and dust. May be the trees in Kungsparken absorb polluted air and prevent dust particles reaching people who use the spaces.
When the aspects of comfort are considered, these places have created opportunities for walking, with good surfaces and without barriers, that make these places accessible to everyone. Kungsparken, especially due to its curved path creates an interesting rhythm in the place that makes people slow down and spend more time there, even if they just pass through the space.
Opportunities to stand is an aspect that motivates people lingering in public spaces. Therefore, creating the edge effect or providing supports for standing are important aspects in planning public spaces. Physical static rhythms such as pillars at Henry Dunkers Plats can be considered as providing the edge effect for the place.
Opportunities to sit is an attribute that is expected in all public spaces. There is no doubt that sitting should be physically comfortable to make people stay longer, but most importantly it should be socially comfortable too. Gröningen provides many options for sitting with flexible social distances. This gives rise to both collective and individual rhythms in the place. For example, if people come as a group to Gröningen, they can sit in a close circle of benches or even the cement ramp, while those who like to sit by themself can easily find an isolated bench to sit and enjoy the place. It also has many secondary seats that people can sit in any pose they prefer as well as lie down.
Any interesting public space should give people the opportunities to see, i.e. something interesting to look at or unhindered view to the distance. Both Henry Dunkers Plats and Gröningen creates physical dynamic rhythms with a clear view to the distance. They have many interesting things to look at too. For example, people are attracted to artworks at Henry Dunkers Plats and some were seen taking photographs of artworks and some even playing on them. At Gröningen, the view of the sea and the view of the border of Denmark, as well as the view of other people engaged in various activities, creates interest.
Opportunities to talk and listen creates a conducive public space for people to socialize. Low noise levels motivate people to stay longer in the place. Noise of vehicles from the closeby road at Henry Dunkers Plats and Kungsparken creates soft field rhythm in the background while the wind creates a disruptive atonal rhythm, depending on the circumstance. However, it is difficult to consider this factor as a barrier to talk and listen.
Opportunities to play and exercise can be considered as the major attractive element of Gröningen in comparison to the other two places studied under this project. The place has an open gym, a basketball court, a volleyball court, a mini-golf course and a separate children's play area. All these aspects contribute to collective rhythms such as children playing and public rhythms such as playing basketball and watching children play.
The quality criteria under ‘enjoyment’ category consist of designing spaces consistent with a human scale, providing opportunities to enjoy the positive aspects of climate, and providing positive sensory experience and designing the space using aesthetic qualities. Gröningen can be considered as a place that makes maximum use of positive aspects of climate by providing opportunities for people to enjoy the water (sea), sun as well as shade, if needed. It creates physical dynamic rhythms such as water waves, as well as individual rhythms such as watching the sunset. Henry Dunkers Plats can be considered as an example of using aesthetic qualities at a higher level in designing the place. The lines on the floor create static physical rhythms and come to the foreground, giving outstanding hard tonality to the place. To a certain extent, these lines tend to influence some of the other rhythms of the place such as people's movements. Kungsparken, on the other hand, has taken advantage of natural elements such as trees in designing the place. The trees in the park come to the foreground as the outstanding tonal rhythm of the space.
The Charter of Public Space
The Charter of Public Space (2013) that contributes to the United Nations programme on human settlements (UN-Habitat) aims at promoting the values of hospitality, solidarity/unity, conviviality (friendly environment) and sharing in the city, and calls for giving life to these values through public space. The charter highlights important aspects in relation to creation, management and enjoyment of public spaces. Accordingly, every public space should be created with full consideration to the diversity. This gives rise to various societal and cultural rhythms in the space.
The management aspects highlight the prevalent responsibility of local authorities, however with the active collaboration of citizens, civil society and the private sector. Although the service and maintenance rhythms are expected to be in the background of the space without disturbing the enjoyment of the space, the construction work observed throughout this study period at Henry Dunkers Plats created an atonal rhythm which is disruptive and restricts the use of this place to a certain extent.
The Charter emphasizes that, all citizens, regardless of their role in the society have the right to access and enjoy public spaces in complete freedom, within the rules of coexistence. This was observed in all three places under this study where people created diverse collective and individual rhythms, as well as cultural rhythms (dressage, and rituals) at certain circumstances.
The UN public space toolkit is ‘a practical reference for local governments to frame and implement principles, policy recommendations and development initiatives on public spaces’. After conducting an evaluation of public spaces around the world, which included thousands of such spaces, the UN project for public spaces has found that successful ones have four key qualities: i) they are accessible, ii) the space is comfortable and has a good image,iii) people have the opportunity to engage in various activities, and iv) it is a sociable place where people meet each other and take back memories when they come to visit (UN Public Space Toolkit). One can observe that these qualities give rise to various rhythms in public spaces. Accessible and comfortable spaces promotes the use of space by people of diverse social groups, makes them linger, and creates various individual and collective social rhythms. Opportunities for various activities creates collective and public rhythms, in addition to individual rhythms. Dynamic physical rhythms of the space contributes to the image of the place and give some memories for the users, while service and maintenance rhythms directly or indirectly contribute to creating a sociable place.
Helsingborg 2035 vision
The Helsingborg Urban Environment Programme (Stadsmiljöprogram) of Stadsbyggnadsförvaltningen focuses on several aspects such as: investments in squares, preserve and develop green cultural heritage, thriving trade, and developing a beautiful city. The need for this environment programme had been identified in the context of: growing population in Helsingborg which creates a demand for expanding the city, and the city centre and public spaces becoming important as meeting places. This programme seeks to contribute towards sustainable development from social, environmental and economic perspectives and work towards Helsingborg 2035 vision.
One of the important focus areas in the drive towards Helsingborg 2035 is meeting places and living environment. The ‘living environment’ emphasizes the room for outdoor activities, recreation and meetings, both spontaneous and planned. As indicated in the planning document, these aspects contribute to promoting human health and well-being. This planning document has given quite an emphasis on public spaces, and one of the targets is to expand the city centre to the north of Helsingborg, with Gröningen as a meeting place for the city inhabitants and visitors. The planned and spontaneous meetings create both regulated and circumstance rhythms in the place.
The Vision 2035 for Helsingborg highlights five basic principles:
i) Open, instead of closing - create an inviting, safe environment for people (safe public spaces)
ii) Gather, instead of separating - create accessible neighbourhoods with increased mobility, while ensuring security
iii) Create - create public spaces where people have a desire to stay (use the features of sun and water positively, and not let people be distracted by wind, traffic and other disturbances). This is to be achieved by carefully planning to link functions and locations, that gives the choice for people to extend the time spent in public spaces. These aspects have been considered to a certain extent in planning Gröningen, a place that has opportunities for many optional activities that motivate people to use that space more and stay longer.
iv) Inviting, instead of rejecting - create a network of different public spaces that gives the opportunity for people to stay together. This indicates planning to promote social activities, providing places that give rise for collective rhythms in public spaces. According to Gehl (2010), social activities are more dependent on the quality of the external environment, therefore, it calls for creating places of high quality that invite people. If the three places considered under this project are compared, it is obvious that Gröningen gives more opportunities to socialize, therefore has more tendency for creating collective rhythms.
v) Maximize, optimize and balance - calls for creating a well-functioning transport system, by maximizing conditions for pedestrian and bicycle traffic, optimizing the conditions for public transport and balancing the car traffic.
The Stadsbyggnadsförvaltningen (city building administration) works with the city’s strategic planning and is responsible for city’s public spaces. However, these responsibilities are divided between two departments; Stadsmiljöavdelningen (Urban environment) is responsible for designing the city’s public spaces, while the Drift och Underhåll (operations and maintenance) department is responsible for maintenance of squares, parks, green areas and the beach areas.
Identity of Helsingborg
Being located in proximity to water gives a unique identity to Helsingborg. Gröningen, a public space which is strategically located along the beach, becomes an attractive meeting place, especially during the summer. At the same time, access to water provides an additional source of recreation.Artworks in public spaces is another aspect that contributes to the identity of the city. Usually, it is expected that artworks in public spaces would reveal city’s history and citizens would be proud and inspired by them. This was observed at Henry Dunkers Plats, where we witnessed people closely observing and playing with artworks installed there.
Creating healthy and clean public spaces is one of the main aspects indicated in the planning document. This is expected to be achieved through maintenance and service rhythms that were observed in all three spaces studied under this project. This contributes to a livable and attractive city, where people want to be.
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