Designers love intention. Architects draw immaculate plans; curators craft pristine galleries; developers imagine carefully choreographed public experiences. But once the general population shows up, those spaces tend to change. Sometimes there’s an instinct among designers to fight against it; it’s hard to let go of an aesthetic goal.
But—more often than not—the public makes spaces and designs better. It’s the people, not solely the place, who spark true imagination and inevitably shape its character. It’s the people who have the power to turn a design into something more welcoming and relevant, and push designers to think outside the box in creativity and problem-solving.
This January in New York City, at a small placemaking summit hosted by Journey, experts across art, infrastructure, food, and civic design converged around this idea: Spaces come to life once the public makes them their own.
DESIGN FOR VISITORS
At the Summit, Katherine Fleming, CEO of the J. Paul Getty Trust, for example, described how visitors reshaped the Getty Museum’s iconic steps and lawns. Even though they had been designed as merely aesthetic transitional spaces, they soon became gathering spots: places for picnics, sketching, conversation, or quiet reflection. And instead of correcting that behavior to keep the grounds’ original function, the Getty embraced it. The result was longer museum visits and more positive discourse among the broader Los Angeles community—not, it’s important to note, diminished prestige.
That same flexibility manifests in Antwaun Sargent’s work as the Gagosian director, where he curates galleries informed by the public. His Social Works exhibition highlighted artists embedded in their communities, including an installation from Linda Goode Bryant that displayed a fully functioning aeroponic farm in the gallery to demonstrate its use as a community space, challenging traditional notions of what “art” is and how it serves communities. This approach turned the gallery into a community, making it a place for the public to gather and learn instead of simply observing.
This notion goes beyond art institutions and appears in everyday spaces, like retail communities. As Claire Bernard, senior food & beverage manager for Chelsea Market and Market 57, shared, the design at New York City’s iconic Chelsea Market didn’t stay fixed for long. Shop owners regularly shifted displays, reworked lines, and pulled seating in or out depending on the crowd. What started as clearly defined footprints, where one retailer ended and another began, quickly blurred once real people entered the mix. Those small, practical adjustments weren’t part of some grand plan, but they created a truly organic market that could respond to crowd patterns in real time. In many ways, that flexibility is what made it feel authentic and alive, it is another reminder that adaptation can serve the community, the vendors, and the space itself.
Perhaps the most obvious example is public infrastructure. Tina Vaz, director of arts and design at the Metropolitan Transportation Authority (MTA), spoke about the MTA’s evolving arts and design efforts, where around 4.3 million daily riders turn transit stations into artistic interactions. Whether it’s poetry installations, live performances, permanent artworks, or occasional uncommissioned graffiti art, the MTA is continually adapting and responding to riders’ lived experiences. Meanwhile, initiatives from the Times Square Alliance embrace the constant flow of one of the world’s busiest crossroads, commissioning installations and digital art pieces designed specifically for visiting multilingual audiences. In many ways, these programs succeed precisely because they accept unpredictability and embrace the variety of the people they’re trying to reach.
4 DESIGN TIPS FOR PUBLIC SPACES
So, what should developers and designers take from this?
1. Design for participation. Spaces aren’t finished when they open. They may never be finished. So, build in flexibility, whether it’s movable seating, adaptable signage, multi-use zones or timely installations, and learn from what your communities demand.
2. Measure engagement differently. Metrics tend to prioritize aesthetic loyalty or operational efficiency. But the real signs of success are more often how long people spend in a place, how often they revisit, and how willing the community is to engage spontaneously in them.
3. Invite collaboration. Artists, residents, commuters, and visitors all bring contexts you may not anticipate. Structured programs like residencies, community groups, public feedback discussions, and community-oriented designs make those contexts productive. In turn, your spaces become more thoughtful and more engaging.
4. Let go of perfection. Some of the most beloved public spaces look “messier” and function differently than their initial designs. But that’s the beauty of designing for the public: The unforeseen transformations are signs of life. A space that can absorb that humanness, rather than resist it, allows a design to step outside itself and become truly communal. And community, by definition, is always a collaboration.
Andrew Zimmerman is the CEO at Journey.
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