Not every space becomes a place. Some streets are merely thoroughfares, places of passage without story or identity. But then there are those places that resist anonymity - where time is etched into the walls, where memories linger, and where the future, though not yet arrived, already begins to take shape. What separates one from the other? Perhaps it is the way we inhabit them.

A space may be nothing more than an unnamed crossroads, a building constructed for a purpose but devoid of meaning. A place, on the other hand, bears traces - it holds history and is inhabited by the lives that have passed through it and the stories that remain. It becomes the spontaneous stage for conversations, opinions, protests, chance encounters and shared memories.

And the present - how are we living this fleeting moment in which everything happens? More and more, spaces seem to be nothing but points on a map, shaped by hurried and impersonal trajectories. We pass through places without truly seeing them, reducing them to their function and forgetting their meaning. Time has shrunk, haste governs our pace, and spaces have become mere backdrops in a daily cycle of efficiency. But a place is not measured by how quickly it is crossed. It is measured by the intensity with which it is experienced.

It is necessary to break this routine, to lay new foundations, to create fresh perspectives and points of reference for a site to become a place. And in that moment, the present is no longer something we simply pass through - it becomes something we fully inhabit. In The Practice of Everyday Life (1984), Michel de Certeau explores how people “appropriate” space through their everyday actions.

Because a place only truly becomes a place when someone feels it - when they linger there and recognise it as part of themselves. Perhaps that is the greatest challenge: learning to see the spaces we inhabit, so that one day, we may become part of their story. And this is where the concept of placemaking comes in.

Although the term “placemaking” has gained prominence in recent decades - primarily linked to participatory urbanism and the regeneration of public spaces - the idea it embodies is much older. Kevin Lynch, in The Image of the City (1960), traces it back to the way communities have always transformed territories into places through use, encounter, and collective experience. Today, placemaking is understood as a collaborative process that seeks to reconnect people with the places they inhabit. It is not merely a creative trend or a tool for urban rehabilitation, but a concrete practice responding to a real problem: the loss of connection between spaces and communities. By restoring that connection, placemaking puts people at the centre, honouring their rhythms, needs, and stories.

This process is not based on imposed solutions, but rather seeks to identify the opportunities and motivations that already exist within a territory. Every space is unique, and what works in an urban neighbourhood may not have the same effect in a rural village. That is why placemaking requires proximity, attentive observation, and a strong capacity for adaptation. Interventions can take many forms: from creating community gardens to organising cultural events, from installing urban furniture to reactivating public squares as spaces for artistic performances. What matters most is that these transformations are meaningful to those who live in and visit the place.

Often, major works are not needed to generate significant impact. It is small investments that can transform a space: a bench in the shade of a tree, a garden designed to be used rather than simply admired, a street that becomes a place for gathering. These small-scale interventions not only make spaces more functional, but also foster trust, strengthen social ties, and encourage positive appropriation of the territory.

Placemaking is also an invitation to reflect on how we see and experience the spaces around us. It is not about forcing transformation, but about listening to what each place has to offer and creating experiences that deepen the relationship between people and the spaces they inhabit.

Photo: © Alexander Van Steenberge

Bruno Costa

Bruno Costa holds a PhD in Cultural Studies from the University of Aveiro and a Master’s degree in Management for Creative Industries from the Portuguese Catholic University (UCP). His research has focused on the construction of European identity, with particular emphasis on the internationalisation of artistic projects and European cultural cooperation. He is a guest lecturer at UCP, teaching the course Partnerships, Networks and Internationalisation in Creative Industries, and serves on the steering committees of both the Circostrada Network and IN-SITU - the European platform for artistic creation in public space. As co-director of Bússola, his professional career has centred on strategy, planning, financing, and management within the cultural and creative sectors.

Daniel Vilar

Daniel Vilar is a cultural and marketing manager with a strong focus on cultural, tourism, and territorial dynamics. He holds a Master’s degree in Communication Sciences from the University of Porto and a degree in Marketing Management from IPAM. As co-director of Bússola and Outdoor Arts Portugal, his professional path has centred on the planning and implementation of strategic cultural initiatives and the promotion of creative cities, both nationally and internationally. His work contributes to the shaping of public policies, cultural communication strategies, and territorial development. He frequently participates in conferences related to strategy, communication, marketing, and regional development. In his role at Bússola, he is committed to fostering the strategic growth of both cultural projects and the territories they inhabit.