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Ambiguously public space, consensual appropriation and partnered publicisation

Excerpted from a forthcoming article (currently under peer review) for a special issue of the Journal of Public Space on Parklets, Temporary Uses and Co-creation of Public Space. The article is titled: Ambiguously public space, consensual appropriation and partnered publicisation: co-producing privately-owned public space in Toronto’s multicultural strip malls.

Ambiguously public spaces and Toronto’s inner suburban stripmalls

Ambiguously public space (APS) refers to a variety of spaces that are technically private but that are public facing or are available to the public in some way (Horgan et al 2022),  with many as transitional or liminal spaces between private and public realms. These spaces are publicly accessible, but not fully public. Ambiguously public spaces challenge merely technical definitions of public spaces. For many users it matters little whether a particular space meets a technical, legal definition of public or private (Biggar 2015)—what matters more is how it is and/or might be used. 

For us, strip malls are an example of ambiguously public spaces whose potential as usable and accessible public space is overlooked. In inner suburban communities with underused public spaces or a lack of usable public spaces, strip malls are essential to neighbourhood social and economic life. 

While technically private, strip malls abut public sidewalks, so are instantly accessible to both cars and pedestrians. While often overlooked or denigrated (Linovski 2012), they offer low-hanging fruit for those interested in expanding available public spaces in densely populated areas of cities lacking usable and accessible public space. In this section, we emphasize how the very ambiguity of strip malls and the absence of other public realm options facilitates improvised uses (Horgan and Liinamaa 2023), and provides opportunities for reimagination and intervention.

There are countless, vivid examples of how people use privately-owned strip mall parking lots in Toronto as essential parts of the public realm. Here we include an example from our fieldwork. A group of recently-immigrated Somali men that meets (almost) every night at the Colony Plaza (one of the sites of our 2023 and 2024 projects) demonstrates how critical these spaces are to the social life of the city. The group initially met at Sahan Restaurant, one of the only Somali eateries in Scarborough and as such, a critical gathering place for Toronto’s East African community.

With no formal infrastructure to host their nightly gatherings of talking politics, catching up, and smoking, they took things into their own hands and began to bring their own chairs – camping chairs, folding chairs, dining room chairs, anything they could easily find – to the strip mall’s parking lot. They would set up in the late afternoon shade of the strip mall’s pylon sign to create a comfortable DIY outdoor living room. Their ritual is so consistent that they were captured on google street view, and their presence has become a beloved entity in the neighbourhood, familiarly known as “the Somali uncles”. 

In sum, Toronto’s suburban stripmall parking lots have untapped potential as  public space and social infrastructure in neighbourboods that require more street-level public spaces. The uncertainty of how these spaces fit into the public realm supports informal and creative uses. In the case of the Somali Uncles, they may have asked for permission, or simply started hanging out and encountered no pushback from ownership, but either way, the zone adjacent to the pylon sign demonstrates the strip mall parking lot’s fertile potential as public space, where conditions conspired to create a context for improvisation, creativity and innovation.

Another critical precondition of these informal patterns of public space usage in the parking lot, though, is the adjacency of businesses and services, private and public, and their social role as third places. Strip malls that lack these vibrant uses, charge the adjacent parking lots with a lower voltage of public space potential. The ambiguous nature of the parking lot is critical, but so is having bars, restaurants, barbershops and hookah bars that draw people to the parking lot, and help set the stage for sociability.

Consensual appropriation 
  
The ambiguously public nature of strip mall parking lots and the presence of adjacent establishments that function as third places set the stage for informal public space uses, but formalising and enhancing these uses through a proactive intervention like a plazaPOPS installation is complicated by the private ownership of the sites. To formally enhance the public nature of these sites, a process of what we term consensual appropriation is required.

We define consensual appropriation as negotiations and ongoing relationship management with private property owners to broker the co-creation and stewardship of new free-to-use publicly accessible amenities. While in the case of plazaPOPS, this amenity is a new temporary public space, we do envisage the concept as having wider possible applications.

The process of consensual appropriation can be fraught and fragile. It requires the creation of novel tools, making do with sometimes less than optimal conditions, and continual attention and care. Finalising land access agreements and insurance policies has required simplifying the risk averse, professional and institutional norms required by plazaPOPS’ funders to meet the ‘handshake’ business culture of the land and business owner hosts.

In an article about plazaPOPS’ 2019 pilot project, Stewart (2022) discusses the difficulty of securing a site, and the reality that the sites that landowners are willing to make available may not be the most optimal. The article also shares a story about “a hiccup at the eleventh hour”, where the land access and license agreement that the team had prepared was perceived by the land owner as overly legalistic. The agreement was rejected mere weeks before the site installation was scheduled, calling into question the viability of the project after significant time, energy and money had been invested, requiring a last minute simplification of the agreement that was thankfully accepted. 

Operationally, the team learned an important lesson about understanding and adapting to the local, trust-based ‘hand shake’ business culture, and needing to ensure an agreement is in place early on in the process, but the experience was also like a small tremor; a reminder of the inherent fault-line running under the land plazaPOPS works on and the perpetual risk that the land can be taken away if the land-owner changes their mind about the project because it is privately owned land.

Once signed, land access agreements remove some of this risk, but if land and business owners become frustrated with the project, they may not invite the return of a plazaPOPS installation the following year. There is an overarching need to keep land and business owners happy, and to have them view the project in a positive light throughout the process. 

This example demonstrates how plazaPOPS’ act of consensual appropriation of private land is underpinned by an imbalance of power between the project initiator and the landowner, resulting in a project that must be choreographed and managed very carefully, with very little margin for error. Consensual appropriation is not limited to an initial sales pitch and a negotiated legal agreement; to be sustainable over time, it is better conceptualised as an ongoing process of relationship management, requiring an elevated level of care and attention that needs to be practiced by all members of the team throughout the duration of the project.

Partnered publicisation

Consensual appropriation is an ongoing process, a means to an end, and that end is what we term partnered publicisation: the co-creation of public space through meaningful, diverse partnerships. To develop the concept of partnered publicisation, we need to distinguish it from two related but distinct kinds of partnership. First, the plazaPOPS model differs substantially from public private partnerships (PPP), an approach that emerged as part of ‘new public management’ (NPM) in the public sector, awarding public funds to private actors for the provision of public goods. Here, private companies take on publicly-funded contracts to provide some kind of public amenity or service, most often capital-intensive large-scale building projects, like schools, hospitals, or highways. Unlike PPPs which usually involve large for-profits, the plazaPOPS model of partnered publicisation engages directly with small businesses deeply embedded in local communities to develop and enhance publicly available spaces.
 
Second, we distinguish the plazaPOPS model from arrangements that allow for the temporary, for-profit, use of public space. For example, as the pandemic sensitised many to the centrality of outdoor spaces to everyday urban life (Horgan et al 2024), in July 2020 the City of Toronto, responding to the need for outdoor spaces during the pandemic, initiated the CaféTO program permitting cafés and restaurants to expand their outdoor dining space onto public sidewalks and curbside parking spaces, mostly in the downtown core. plazaPOPS inverts the caféTO model in two ways, first by focussing on the relatively less well invested ‘inner suburbs’, and second, where Café TO involved ​​private encroachment onto publicly owned spaces, plazaPOPS repurposes private land to create publicly accessible community gathering places.

In the absence of existing terms for describing this kind of phenomena at the local or community scale, we locate ‘publicisation’ as a neighbourhood-level equivalent of nationalisation–even if, in the case of plazaPOPS, a temporary, small-scale, locally-bounded one. Given the collaborative co-creative way that plazaPOPS’ engages private landowners in negotiating space for installations, we suggest that partnered publicisation is a useful strategy in expanding access to public goods through a gentle or friendly form of appropriation of private resources. This strategy is especially important because there are few alternatives; the publicly owned ROW is extremely limited and the only opportunity for expansion is the stripmall parking lot. 

To illustrate partnered publicisation as an outcome of a consensual appropriation process, we will use the example of plazaPOPS’ ‘Wexford Dhaba’s’, two events hosted during the summer of 2024 in Wexford Heights, Scarborough, and funded through a City of Toronto Dining District Grant. A dhaba is an informal roadside eatery found in many regions of South Asia, particularly India, Bangladesh and Pakistan, serving street food with a laid back ambiance and rustic furniture. Nestled alongside main highways and rural areas, dhabas are traditionally meant for travelers to sit down, refresh themselves, have a cup of chai on a charpais, and watch the traffic go by.

Through the community design process the preceding winter, a night market or food bazaar was a popular request expressed by locals, with the word ‘night market’ coming up over a dozen times in engagement sessions. Hearing the community’s desires, and inspired by a precedent from the other side of the world, the Wexford Dhaba’s intentionally responded to local Scarborough culture, and the diversity of the host strip mall, which featured many local restaurants and shops owned by immigrants from South Asia and the Middle East. The dhaba’s were meant to reflect the community in the design of the décor (including lights, a rickshaw, charpais), arts programming, and the range of street foods on offer. 

During one of the dhaba’s, one participant explained, “Whatever I see is amazing…it felt like I was back home, in the Northern part of India, just spending a late night with friends. Thank you for giving me this memory.” This might be the greatest compliment ever directed toward a stripmall parking lot in Toronto, but this sort of success and resonance with the wider neighbourhood is a product of the careful work of partnered-publication as intercultural community building. In this case, it started by listening to the community’s interests and vision, and extended to inviting local businesses and vendors to take part, developing arts programing with performers, and working with the city to secure funding for the event. This mode of publicisation underscores the importance of incorporating aesthetic experience, intercultural connections, and emotional attachments to place, such as nostalgia, for a multifaceted version of belonging-in-public. 

The ambiguous nature of some transitional spaces between public and private can and should be taken advantage of to make them more publicly accessible and useful. In this article we have shown how this does not need to be a fraught or conflictual process. This does not mean that public-private tensions do not surface. Turning something private into something public requires the consent, trust, and meaningful collaboration of private actors, a time-consuming and delicate process. Once in place, partnered publicisation serves as the invisible foundation that makes the project possible. By developing trust-based relationships with private businesses, public space advocates can generate/improve access to publicly usable space. In contexts where access to publicly owned space is limited, and/or street-level public realm is minimal or absent in a given neighbourhood, we would do well to carefully attend to sites where existing everyday practices treat some spaces as de facto public. Such spaces that operate ‘as-if’ public exist in many places, and we insist that they can and should be enhanced. The plazaPOPS model is a conscientious, locality driven means of doing so. 


Works Cited
Biggar, J. (2015) Investing in the Public Realm: Challenges, Opportunities and Lessons in Toronto. Toronto: ERA architects.

Horgan, M., Liinamaa, S., MacLeod, KK., et al. (2022) Spaces of Sociability: Enhancing Co-presence and Communal Life in Canada. Ottawa: SSHRC https://www.sociablecities.uoguelph.ca/spaces-of-sociability/.

Horgan M and Liinamaa S (2023) ‘Entanglements of Improvisation, Conviviality, and Conflict in Everyday Encounters in Public Space.’ Urban Planning 8(4): 1–5. https://www.cogitatiopress.com/urbanplanning/article/view/7580

Horgan M, Liinamaa S, Dakin A, et al. (2024) Pandemic-facilitated interaction and new affordances of sociability: how strangers improvise around masks and physical distancing in Canadian urban public spaces. In: Dianteill E and Assié-Lumumba NT (eds) Preparing for the next Pandemic: Leveraging Social and Human Sciences for Crisis Response. Paris: UNESCO, pp. 139–147. Available at: https://unesdoc.unesco.org/ark:/48223/pf0000391128.

Linovski, O. (2012) ‘Beyond Aesthetics: Assessing the Value of Strip Mall Retail in Toronto’. Journal of Urban Design 17(1),p 81-99.
Stewart, B. (2022) ‘Paradise in a parking lot: A pragmatic, partnered approach to enhance the public realm of suburban main streets’. Landscapes/Paysages, 24:3, p42-45.