When the city of Toronto forcibly cleared a homeless encampment beneath a downtown section of Gardiner Expressway only to turn it over to a luxury outdoor restaurant pop-up, people paying $545 per party got prime views of unappetizing protests. “Dinner with a View” set up heated glass domes near the site of the former camp, offering a three-course meal prepared by Top Chef Canada winner René Rodriguez “in a highly unexpected setting.” Critics called it tone deaf at best, “obscene” and “dystopian” at worst. Why didn’t planners see this reaction coming?

This is revolting.

Emergency shelters are bursting at the seams and homeless people get evicted even from the OUTDOORS, all so the people who whine most about high taxes can eat *ONE* meal that costs more than a single month's rent. #topoli #raisetaxes
https://t.co/rB1uCH66wN

— Kelly Thomas (@kelwinds) April 2, 2019

In a statement, Dinner with a View stressed that their installation is located about a mile east of the dismantled homeless camp, saying “we are sympathetic to those impacted by the City’s actions and were in no way involved with the decision making process [to evict the camp.] No encampments were removed to make way for Dinner With A View.”

That didn’t stop organizers with the Ontario Coalition Against Poverty (OCAP) from planning their own three-course meals right next to the installation, in full view of the domes, which were prepared by volunteers and served for free. Noting the “brazenness” of the city’s decision to house a luxury dining pop-up under the very same highway as the evicted camp, they called it “Dinner With a View – of the Rich.”

The conflict plays into a larger conversation around urban renewal, gentrification and the social and economic inequality that leads to homelessness in the first place. When we talk about “reclaiming public spaces,” particularly underpasses and other areas that are often occupied by people who have nowhere else to go, are we thinking enough about who’s being displaced by these projects, or what kind of domino effect they might have on the affordability of the neighborhood? When we say these areas are “disused,” what do we mean by that?

Historically, “urban renewal” has often been code for racist practices like redlining, the discriminatory displacement of black people from certain neighborhoods. Displaced people weren’t always compensated, and entire communities were razed as cities used federal money to make way for wealthier (and whiter) developments, often worsening poverty and overcrowding. The impacts of these practices are documented by the Digital Scholarship Lab at the University of Richmond on a website called Renewing Inequality. Today, the neighborhoods those displaced people moved into back in the ‘50s and ‘60s are frequent targets of new “urban renewal” projects, continuing the cycle.

The “reclamation” of urban spaces is often a euphemism for “cleaning up” areas where the full impact of poverty is on display, making something many of us would rather not think about impossible to ignore. In cities like San Francisco and Seattle, where the sky high cost of living and lack of adequate public services produces higher than average rates of homelessness, encampments are everywhere because people simply have nowhere else to go.

City policies that criminalize homelessness (like panhandling bans and laws against urban camping) jail people for minor offenses, making it even harder for unhoused people to gain access to affordable housing, employment and health care. Plus, public restrooms are often intentionally hard to find in cities thanks to fears that unhoused people will use them, while those same people are vilified for fulfilling a basic human need in the streets.

This is often where “hostile urbanism” comes in. Benches are designed to prevent people from getting comfortable, spikes are set into concrete beneath overpasses and sidewalks are broken up by posts and planters to disallow tents. It’s as if the people who demand and design these features think they can humiliate and terrorize unhoused people, poor people and addicts out of existence. A humane solution that wouldn’t “litter” our public spaces or force us to confront evidence of extreme inequality is actually a lot more simple: ensure that people’s basic human needs are met. Those of us who create, use and enjoy urban spaces can start by making sure new projects popping up in our neighborhoods are inclusive to every member of society.

Just as design can produce objects and structures that are intentionally hostile, it can be a powerful tool for good. It’s one thing to rehabilitate a polluted industrial site or push a city to open up urban areas that have been fenced off to prevent “undesirable activity,” and then create something the entire population of the city can enjoy. Vacant lots that developers hold hostage and liminal spaces that perhaps shouldn’t exist in the first place – like the spaces beneath noisy, polluting elevated highways – can and arguably should be subverted, whether via official or guerrilla means. But when we plan and support such projects, we should consider who might be negatively affected and how we can mitigate that harm. That might require confronting our own discomfort with poverty and inequality, and the ways in which we dehumanize other people without even realizing it. It also requires taking action.

One example of what this can look like is Montreal’s plan to address homelessness, which includes a philosophy of “social inclusion” along with housing and job assistance. The plan points out that homeless people are members of the larger community, and includes strategies and activities that invite participation in the fabric of the city. It’s not perfect, and some critics say it’s still undermined by criminalization and racism, but it’s a step in the right direction. “Community-first” projects that provide housing, support and social inclusion go a long way as well.

Not every misguided “urban revitalization” project carries such overt symbols of wealth and privilege displacing the poor as Toronto’s Dinner with a View, but that doesn’t mean they don’t have a similar impact.

Top image via Dinner with a View

As cities grow and change, complex networks of elevated concrete highways and railways sprout up like vines, twist around each other and radically transform the space beneath them. Formerly vibrant urban districts are shrouded in darkness, and the potential to use that space is often wasted as officials fence it off or incorporate hostile features into the infrastructure to ward off loiterers and people lacking housing. Over time, some of those elevated roads might become obsolete, making the whole area feel like an urban wasteland.

But the need to make use of every available square foot of land is intensifying – and city planners working on the viaducts and overpasses of the future should probably take note of how that land is currently being reclaimed and rehabilitated to enhance its value to surrounding communities.

After the success of the High Line in New York City, an elevated linear park running along a former New York Central Railroad spur, many cities have begun transforming their own underpasses, viaducts, abandoned highway sections and even the tops of tunnels into verdant public spaces.

Atlanta’s BeltLine, Detroit’s Dequindre Cut and Washington D.C.’s planned 11th Street Bridge Park all demonstrate the how valuable the land can be to residents living nearby once it’s reactivated. These underpass parks can be surprisingly vibrant, like the 8-acre Underground at Ink Block park in Boston, Houston’s Sabine Promenade (top) or Toronto’s Bentway, which includes a 720-foot ice skate trail. Skate parks, like Portland’s Burnside ramps, are a natural fit.

Art installations brighten up cavernous underpass spaces, whether with colorful lights like San Antonio’s temporary Ballroom Luminoso installation by JB Public Art or with oversized sculptural elements like the flowers of Glasgow’s Phoenix Park. Some underpass spaces draw regular crowds as venues for movies or events, like Folly for a Flyover by Assemble in Hackney Wick, England.

In Yokohama, Japan, a notorious red light district flourished beneath an overpass for decades before authorities wiped out it, turning a bustling (if crime-ridden) area into a ghost town virtually overnight. A recent redevelopment project called the Koganecho Centre tucks a complex of new buildings into this underutilized space to make it functional for residents in a new way, adding an art gallery, a cafe, a meeting space, an artist’s atelier and an open-air piazza to a 328-foot stretch under the concrete arches.

Housing can take shape around and beneath viaducts, too. In 2005, Zaha Hadid completed the Spittelau Viaducts Housing Project as part of a waterside revitalization scheme in Vienna, Austria. A three-part structure of apartments, offices and artist studios winds through, around and beneath a disused railway viaduct, playfully interacting with it while creating a contrast between old and new. Even tiny slivers of land beside viaducts can avoid feeling dwarfed, darkened and constrained by the infrastructure when cleverly designed, like the narrow Archway Studios live-work space by Undercurrent Architects or the Koops Mill mixed-use development occupying a former brownfield (both in London.)

Unfortunately, even when they become magnets for pedestrians, cyclists, families and tourists, these urban revitalization projects aren’t all sunshine and rainbow bike racks. Some of them perpetuate cycles of displacement, pushing low-income and other marginalized populations further away from amenities instead of serving them. Urban infrastructure projects are often built in poorer areas of town in the first place.

Transforming empty space into parks and venues might improve them, but it might attract deeper-pocketed buyers to the area, too. The High Line, for example, is currently struggling to make up for the imbalances it has created in once-affordable areas of Manhattan’s Chelsea neighborhood. Incentivizing affordable housing developments along with all the other elements of an underpass or viaduct makeover could help build equity into these projects from the beginning phases.

In Long Island City, nearly 11 acres of continuous waterfront park have bloomed along a formerly abandoned industrial landscape, offering a buffet of recreational opportunities while protecting the shoreline from floodwaters. The second phase of Hunter’s Point South Waterfront Park, which begins south of 54th avenue and wraps around Newton Creek, is officially open to the public, adding to the features completed in 2013. Architects Weiss/Manfredi call it “a new model for waterfront resilience,” an oasis of green that can act as a buffer in extreme weather conditions.

Completed in collaboration with landscape architect Thomas Balsley Associates, the park is set along the main retail corridor of Hunter’s Point and offers a beautiful spot to gather, stroll, bike, picnic, walk dogs, play basketball, launch kayaks and more. The park serves as a gateway to the new Queens West waterfront development, which is working to transform the larger, formerly contaminated industrial property along the East River into a thriving community with 11 residential buildings, retail, public streets, utilities and two public schools.

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The site of the park is a former railroad ‘cut’ that divided the neighborhood, Balsley explains.

“At Vernon Boulevard, a long sweeping curve defines a generous crescent of lawn, a contemporary village green that is a social gathering place for locals and a respite for shoppers. Court games—basketball, handball and racquetball—are accommodated in the divided spaces along the park’s length.”

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“An imaginative children’s play area at the western end allows the park to effectively address the needs of a cross section of ages and activities. Functional partitioning is provided by a system of low, curving walls and architectural fences. The southern edge of the park is defined by a high wall whose character changes along its length with penetrations of colored glass block and stainless steel panels. This lively, linear backdrop serves as a strong unifying element for the park.”

The new section features wetlands, pedestrian paths and a land art installation called ‘Luminescence’ by artist Nobuho Nagasawa depicting the phases of the moon. The sculptural cantilevered platform lets visitors gaze at the bustle and glow of Manhattan across the river. If Instagram is any indication, locals are eager to make use of all these new features in their neighborhood.

A massive floating plaza juts out of the harbor in Aarhus, Denmark, creating a protected area for bathers to swim and lounge in the sun. The Aarhus Harbor Bath by Bjarke Ingels Group (BIG) can accommodate up to 650 people at a time and features a diving pool, a shallow children’s pool, two saunas and a 164-foot lap pool. Open only during the summer, the platform is part of a larger effort to revitalize the city’s harbor coastline.

Opening with a splash, literally ? This weekend, we celebrated the official opening of Aarhus Harbor Bath! https://t.co/SMHyZmjthR pic.twitter.com/nCcM3DBt9E

— BIG (@BIG_Architects) July 2, 2018

“This weekend, we celebrated the official opening of Aarhus Harbor Bath with BIG Partner Finn Nørkjær, Mayor of Aarhus Municipality Jacob Bundsgaard, Vice Chairman of Salling Fondene Karin Salling and Councilor of Aarhus Municipality Rabih Azad-Ahmad!” says BIG. “Springboard divers from AGF Udspring took the first plunge off the promenade that rises from the quayside and continues out over the water.”

The bath is five years in the making, offering a “unique oasis” in what used to be an industrial area in Denmark’s second-largest city. BIG is working with Copenhagen-based urban planning group Gehl on a larger framework for the harbor, which will eventually include a beach zone, volleyball courts, cafes and restaurants, a theater, a hotel, shops and supermarkets.

BIG previously completed the Copenhagen Harbor Bath in 2009, a significantly smaller floating platform extending an adjacent park over the water with pools and an urban landscape of cliffs, playgrounds, piers, dry docks and boat ramps.

A formerly abandoned gas station in London’s White City district may have outlived its usefulness in its original purpose, but it’s got a new, more relaxing job to do in the ‘hereafter.’ If all those pastel colors didn’t tip you off, the station is in retirement, and it will live out its golden years acting as a colorful venue for pop-up events in the midst of a decade-long urban regeneration effort aiming to create a “thriving, creative neighborhood.”

The station, located on Wood Lane, sits between the BBC’s former headquarters at the Television Centre and White City Place, the former BBC Media Village, both of which will reopen this year after redevelopment. Designer duo Craig & Karl, aka Craig Redman and Karl Maier, took inspiraiton from the bright colors of a television test card for the station’s cheerful new palette and decorated it in their signature graphic style.

“We view this project as the petrol station’s second life, or ‘wonder years,’ which led us to use the words ‘here after’ as a reference to heaven or utopia,” say the designers. “Now that the petrol station has fulfilled its duty, so to speak, it’s free to enjoy itself.”

In a jam-packed, space-challenged city where so few people even own vehicles, this is an especially fitting and fun revitalization of a disused urban space. Doesn’t it make you wish all gas stations were treated as art objects?