The accessibility of the space is what determines whether a space is private or public. The accessibility of a private space is determined and limited by one person or a small group of people. A public space; however, should be accessible to all people at all times, cost nothing and allow freedom of expression. [Shekhar, 2005]
It is access and control of spaces that has brought about the concept of a pseudo-public space. A pseudo-public space resembles a public space through its diversity of people; however, would be privatized to a certain extent in that particular elements would be controlled, limiting freedom of expression, essentially stripping away the key elements of a public space.
Examples of pseudo-public spaces would include sport stadiums, theme parks and shopping malls; all spaces that appear to be public; however, are controlled in order to try achieve particular outcomes. [Besser, 2001]
With the shopping center as the main focus, including underlying themes, the architectural design, planning, and overall objectives, the term pseudo-public space and its assistance to the blurred distinction of public and private spaces will be explored. The shopping centers in question are the V & A Waterfront, which is a well renowned shopping and tourist attraction, and Constantia Village, a localized shopping and leisure complex aimed to provide for the residents of the southern suburbs.
The use of an underlying theme has been popular for many shopping mall developers as it attracts consumers and tourists to the mall and adds a sense of fantasy and magic to the shopping experience. This will assist in lengthening the amount of time a consumer spends in the mall and therefore their propensity to consume. Popular themes that have been employed in shopping center design include, period themes and places or countries. By using a period theme, consumers can experience a 
sense of nostalgia and feel somewhat involved with the historical period being portrayed through the theme. The same sense of involvement also applies to shopping malls using country or place based themes. Consumers can experience or ‘visit’ new places without ever having to actually go there. (Timothy, 2005)
In both The V & A Waterfront and Constantia Village underlying themes are employed. Inevitably, the intensity of the themes employed in both malls vary in relation to the magnitude of the mall itself. The themes chosen; however, are well suited and appropriate for each mall and assist in adding to the customer experience and, in turn, promoting consumption.
The theme employed in the V & A Waterfront is purposefully aimed towards tourists. With its ideal quayside location, The V & A Waterfront portrays the theme of a nautical shopping environment. With reference to particular design aspects, such as the windows, which look like portholes from a ship; the extensive use of wrought iron, varnished wooden staircases and big arched glass windows, the Waterfront can be seen to resemble a layout to that of a ship. [Figure 1 and 2] The logo of the V & A Waterfront [Figure 3] also promotes this theme quite prominently as it makes use of an illustration of a yacht and the logo itself is blue and white, both colours that have been commonly associated with the sea and aquatic, maritime life.
Goss (1993, 28) claims that: “…monster malls that contrive to combine with retailing the experiences of carnival, festival and tourism in a single, total environment.” And that “Liminality is thus experienced in the nostalgic mode, without the inherent danger of the real thing”
These concepts can be seen through another underlying theme that is portrayed through the location, design, shops, activities and overall atmosphere of the V & A Waterfront. It is that of an iconic, token, African experience. With the curio shops and ‘tribal’ dance performers, tourists feel that what they are experiencing is truly African. This attracts tourists to the Waterfront as they can experience African culture in the safety of a shopping center, not having to go into rural Africa and be exposed to the dangers it may possess. [Figure 4]
Constantia Village, on the other hand, employs a more rustic traditional theme, based on the idea that Constantia used to be an area known for farming and especially the harvesting of grapes for wine. The theme could be classified as a period theme as it takes consumers or visitors back to the days of Simon van der Stel, Hendrik Cloette and other colonizers of the Constantia Valley.
Certain architectural and design features assist in adding to the theme of a rustic, traditional market place. The fact that there are no underground parking facilities is the first noticeable suggestion toward the idea of a traditional shopping experience. The extensive use of natural flora through out the shopping complex amongst other outdoor aesthetics, such as manicured pathways and grass verges, also emphasizes the theme of rusticity. [Figure 5 and 6]
According to Goss (1993, 36): “[Plants] apparently soothe tired shoppers, enhance the sense of a natural outdoor setting, create exotic contexts for the commodity, imply freshness and cleanliness, and promote a sense of establishment”
The design of the main shopping centre itself can be seen to resemble that of a typical Cape Dutch house, which is distinguished by a pitched roof, a typical H-shape and a front gable. [Figure 7] help illustrate the resemblance.
Within the shopping center there is vast use of natural lighting and materials, which also illustrates the rural style being employed.[Figure 8 and 9]
The windows and doors are also similar to that of old farmstead dwellings and in the Old Village center, a smaller shopping center within the Constantia Village complex, the use of traditional name boards is used to direct customers to their desired shop. [Figure 10, 11 and 12]
All of these features add to Constantia Village’s theme of a rustic, rural market. It is an appropriate theme as it pays homage to the original settlers of the Constantia Valley, and when consumers enter the center, whether it is to shop or enjoy other leisure activities the complex provides, they too will also feel that they are paying respect and feel involved as they embrace in the history of their suburb, whilst in a seemingly natural environment. This in all will add to their overall shopping experience and therefore encourage future visits.
Architectural design traits are another area of interest when considering the concept of a pseudo-public space. The way a shopping center is laid out can influence the length of a consumer’s stay, the amount they purchase and their inclination to return to the shopping center. “Adopting a relatively vulgar psychogeography, designers seek to environmentally condition emotional and behavioral response from those whom they see as their malleable customers” [Goss 1993, 30] Within both The V & A Waterfront and Constantia Village, certain architectural traits which influence consumer behavior can be recognized and explored further to reveal the magnitude of their impact. These include, floor plan and general layout, progress and movement through the mall, security and the overall atmosphere.
A well thought out floor plan is vital to the success of a shopping center as it ultimately determines the route which consumers will take whilst progressing through the shopping mall and inturn effect the length of their stay. [Goss 1993, 32] They must also be strategic to encourage the consumer to walk the extra steps for the promise of another reward. [Fitting a Shopping Center to Downtown, 1991]
The floor plan and other design aspects relating to the layout of the Waterfront and Constantia Village are vastly different, as firstly, they cater to different markets and secondly the size and amount of shops in the Waterfront is much larger than that of Constantia Village.
The Waterfront’s floor plan is somewhat irregular as a whole, but in most sections Victor Gruen’s dumbbell design, which “channels consumers along a corridor between two anchors” [Goss 1993, 33], can be seen. As most of the corridors of the waterfront are particularly lengthily, the space is broken up by strong focal points and attractions, mostly being large pot plants and pop out shop displays. This assists is deceiving the consumer about the real length that they are walking. [Figure 13 and 14]
The floor pattern design used in the center can also help distract the consumer from the length they are walking and encourage them to venture further through and carry along the pathway of the mall. [Goss 1993, 34] [Figure 15] illustrates how the Waterfront has employed this technique.
Seeing as the Waterfront is a multistory shopping center, the use of glass elevators, overhanging walkways and escalators, assists vertical movement as “persuades” or “invites” people to move upwards, as suggested by Maitland (1985) [Figure 16 and 17]
In Constantia Village the overall floor plan of the main center could be described as the shape of a capital “E”, with a main entrance in the middle and two subordinate entrances on either side. It is then made up of one long, wide corridor, which is divided by two central areas. The center also makes use of large pot plants and pop out shop designs to break up the spaces and make the distance traveled feel shorter for the consumer.
There is no distinct floor pattern used in Constantia Village as the floor plan is for the most part linear and luring people by the use of a pathway design, to see what is around a corner is not necessary.
Constantia Village is not a multistory shopping center and therefore there are no elevators, escalators or staircases attracting people to venture to other levels of the shopping center. However, upon exiting from the subordinate exits on either side of the main center, the consumer is attracted by the other two subsidiary centers within the complex.
In Constantia Village, even though it varies in size and the number of shops on offer, the objective behind the floor plan, pattern and other relative design aspects is similar to that of the V & A Waterfront, in that they both attempt to retain consumers in the mall for longer and encourage consumption.
Other design aspects that affect the progress and movement of the consumer in the shopping mall are aspects such as seating and food outlets or the idea of a food court.
Shoppers need to be allowed an opportunity to rest within the shopping mall; however, the seating provided should not be too comfortable or lavish as it may distract the shopper from further movement around the mall, and therefore decrease their spending. [Beddington 1982, p.36]
The seating in both Constantia Village and the V & A Waterfront is scarce and the wooden benches look fairly uncomfortable. [Figure 18] and [Figure 19] show the respective benches in both malls. The lack of benches and seating suggests that if the consumer wants to rest, they will have to go to a restaurant of some sort and therefore spend more money.
This leads to restaurants or food courts as the second source of distraction for the consumer. A food court is essential for any shopping mall as it allows the consumer a resting period and vantage point whereby they can observe others exhibit their commodity led lifestyles. [Goss 1992, 174]
In Constantia Village the food court could be said to exist in the Old Village center, with Mug ‘n Bean, Primi Piatti, Wasabi and The Cattle Baron all placed strategically next to or opposite one another. [Figure 20] illustrates part of this arrangement of restaurants.
In the Waterfront, which is of course larger than Constantia Village and caters to a greater variety of consumers, two food courts can be defined. The first cluster of restaurants is placed along the quayside and has majestic views of the harbor and table mountain. These restaurants serve high quality meals and some are renowned for certain cuisine. The seating is comfortable and luxurious and the area outside is well shaded. [Figure 21 and 22]
The second cluster of restaurants; however, is based mainly inside and around the entrance. The restaurants mostly serve fast food and the seating provided is basic and of little comfort. [Figure 23 and 24]
This shows a clear segregation of consumers into high-income and low-income brackets. With this example of a segregated food court, illustrates the fact people who spend more at the Waterfront will be looked after better than people who are willing to spend less.
The general atmosphere of a shopping center, which encompasses lighting, temperature and security amongst other features, has a definite effect on shoppers. If the conditions are optimal shoppers will be more comfortable spending more time in the shopping center and in turn more comfortable spending money. [Goss 1993, 32]
The general atmosphere in both the V & A Waterfront and Constantia Village provide a comfortable shopping environment for their consumers. The choice of lighting for both malls can be considered fairly natural and soft. [Figure 25 and 26] show the similar use of rooftop illuminators, which could be seen to “highlight the natural colours of the commodities on display”. [Goss 1993, 32]
The temperature is also kept at an optimum, depending on the season, to keep levels of human comfort high. There is also a strong presence of security at both shopping malls, reassuring the consumer that they are shopping in a safe environment, free of any danger. One will also notice that in both shopping centers there is an extensive use of mirrors and reflective surfaces. This is strategic device that penetrates the consumer’s self esteem and forces the consumer to compare him or herself to that of the perfectly displayed manikins, which exhibit a life filled with fulfilling commodities. [Goss 1993, 32] [Figure 27 and 28]
With the previous conditions being met and the fact that both malls are kept incredibly clean, adds to the utopian environment of the shopping mall and makes it a place where consumers wish to spend their extra time.
With the enlightenment that comes from exploring the themes, architecture, design and control factors of the mall we can conclude that shopping centers, and in this case the V & A Waterfront and Constantia Village, can be classified as pseudo-public spaces. This can be said as both shopping centers employ a variety of strategic architectural and design techniques that manipulate and potentially influence consumers and their purchasing decisions, fitting the definition of a pseudo-public space being a place which is controlled to a certain extent to achieve certain objectives.
REFERENCES:
American Planning Association. (2010). Characteristics and Guidelines of Great Public Space. Available: http://www.planning.org/greatplaces/spaces/characteristics.htm. Last accessed 01 April 2010.
