Article
Change
Community
Eating
Friendship
6 min read

It’s in Third Places we can be our most human

Gathering in-person fights against the fragmentation

Alex Noel is a writer and digital marketer.

A group of friends sit arouns a large table eating together.
Priscilla Du Preez on Unsplash.

In my favourite local cafe, I pause mid-step to take a sip of the coffee I’ve just ordered. Setting it down on a table, I slide into my seat and turn my attention to the music playing over the speakers. It’s always good in here. It’s one of the reasons I like this place; they sell records and coffee here. Music is their ‘thing’, and it’s been my ‘thing’ too, ever since I was a young teenager. I’ll often chat about it with the baristas. And in the time it takes them to make me a flat white, we have exchanged news of recent and upcoming gigs, favourite artists, plus recommendations for new (and old) music we’re listening to. I don’t just enjoy coming here, I somehow feel that I belong. 

Today though, the young barista on duty is engaged in a conversation about football with an older customer seated across the counter. The former is in his early 20s, and the latter - I guess - is in his late forties. They animatedly discuss their favourite soccer team. This includes the ins-and-outs of ownership and management, the players’ highs and lows this season, and reliving moments of impressive skill. I tune in and out, much like I do with the music in the background. 

And so it is that this West London cafe is a Third Place. Of the three Places in society (identified by urban sociologist, Ray Oldenburg in his 1989 book The Great Good Place), it is Third Places that hold unique potential for finding connection, and even belonging. Removed from the first and second places of Home and Work; Third Places relieve us of the agendas that come with domestic and professional responsibilities. They separate us - for a while at least - from the concerns of daily life. In local parks, theatres, cafes, gyms, comedy clubs, music venues, book bars, volunteer groups, churches, pubs and more, we can find common ground with one another. A corner of our city or town where we can forge social connections, meet people and have meaningful conversations which cut across generations and other demographies. Here we can often find the connection and belonging that might otherwise elude us.  

The internet, and social media, held out this promise too - of being a genuine Third Place. But despite our reliance on it, it hasn’t delivered. A Financial Times report published in early October revealed that social media use peaked in 2022, and has since declined globally by 10%. In an instagram video, Jordan Schwartzenberger, a 27-year-old business influencer and Forbes 30 Under 30, commented that: “it tracks with what we’re all feeling”. He lamented that social media was always meant to be about social connection, but instead it has shifted towards hyper-personalisation and content. We are subject to its algorithms which not only silo us but confine us to our individual feeds. Platforms are now geared to keeping us blinkered and scrolling, as they monetise our attention through advertising. Add to that their ‘enshittification’ thanks to the ubiquity of AI, and you have a recipe which has “nuked the authenticity of the internet”.  

Nowhere more has this lack of authenticity been felt than by Generation Z. For those aged 13-28, our digital world is the only world they know, and they’re already tiring of it. As a result, more and more are logging off - craving in-person experiences instead of digital ones. And choosing to swap the dopamine hit of endless scrolling for the oxytocin of real social connection.  

The rising cost of living, general retreat into online spaces and COVID closures means that there are fewer Third Places to go. But Gen Z is re-pioneering them. As a result, Third Places are evolving - there’s been a proliferation of in-person experiences as Gen Z head offline to seek out meaningful interactions ‘IRL’. The barrier to entry might not be as low as traditional Third Places, but the principle is the same, to foster socially organic connections in real life.  

For example, twenty-somethings in London can take credit for the rebirth of supper clubs as communal dining takes on new meaning, and Sunday mornings are now for curated coffee meet-ups where groups are ‘matched’ according to their interests. Both of these are providing a welcome alternative to dating apps too. Specific offline events favour crafting, book-reading and conversation with attendees putting away their devices for the duration. Meanwhile run-clubs and street-skating groups take to the roads - Third Places in motion. Social media is still used to advertise and bring people together, but the emphasis is on logging off and being present. This search for social connection might explain too, beyond the spiritual enquiry cited by ‘The Quiet Revival’, why so many from Gen Z have been turning up to church. Because we cannot ignore the importance of Place, nor of Presence (whether our own or others’) in creating the meaningful experiences we are seeking. And without this sense of incarnation there is no Christian faith. 

The internet, however, is not a place. Something observed by American artist Eleanor Antin, who likened it to “a great void, a black hole”. Since the 1960s, her work has explored history, contemporary culture and identity. Through her multiple ‘selves’ realised in mixed media, she has challenged the idea of having a single, unified ‘self’. For its part - the internet, and especially social media, all too easily enables a fracturing of ‘selfhood’. We are split, divided between our (sometimes multiple) online, and offline selves; both in our attention, and in how we show up. It compromises both our Presence, and the Places we’re in. Who hasn’t sat in a cafe surrounded by people, but been completely absent from it? With fields of vision as narrow as our screens, our loneliness and isolation just increases. This fracturing of self ripples out, into our relationships and society. Our polarisation amplified by what promised to connect us, translating into real world consequences. The death of Charlie Kirk was a case in point. Amongst the diatribe that followed was Utah Governor, Spencer Cox's plea to “log off, turn off, touch grass…”. ‘Touch Grass’ is now, somewhat ironically, an internet meme. 

So, if the internet isn’t a place, what is it? Definitions are of a system of interconnected computer networks; endless pathways for the data conjured up and configured onto our screens. But a better definition, existentially at least, is that of being a ‘Non-Place’. French anthropologist Marc Augé invented this idea to explain the systems and conduits which mediate our lives - indivisible from what he termed ‘super-modernity’, part and parcel of our late-stage capitalism. These Non-places - motorways, shopping malls, faceless hotels, force us to conform to their overriding function and purpose. Like products on conveyor belts, we comply. Any interactions we have are mere contractual exchanges. We’re dehumanised. They are everything that Third Places are not. 

Third Places, by contrast, are where we can be our most human. Here, we can put our fractured selves back together and be wholly present in them - incarnate - once more. Relating without digital interfaces means we can fully perceive each other and our environments too - using all five of our senses. We were always better at connecting in-person. That is what Gen Z is realising. While Third Places old and new, facilitate this, they really boil down to ‘wherever two or three are gathered’. Any place can become a Third Place if we will be present, turn towards each other, and spark up a conversation. And so it is that our first ever generation of digital natives, might well be the ones to lead us back to places of connection, and belonging, and ultimately back to ourselves. 

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Review
Change
Film & TV
Sustainability
5 min read

Why is the The Repair Shop so cherished?

Memory lane and the makers work magic on tired treasures.

Sarah Basemera is a circular economy enthusiast and a founder of Canopi, a boutique for recrafted furniture.

A restorer rest on his elbows while painting a wooden rocking horse.
@therepairshoptv.

In the beginning, before the plethora of streaming platforms, was Antiques Roadshow, Cash in the Attic and Bargain Hunt. I recall rainy summer days as a tweenager, stuck indoors tuning into uplifting afternoon TV, forced by my older sister to watch these wholesome shows... all because there was only one TV screen in our home. I dreamt of finds across our green and pleasant land, all the while safely seated in a gritty Camberwell (long before our newsagent sold Vogue Italia and ID magazine). 

Fast forward to 2017 and along came The Repair Shop. It swooped onto our screens almost a decade ago and has since become a family TV gem. During lockdown, its audience boomed. It became a soothing staple for many homes to open their doors into The Repair Shop barn and see makers work their magic on tired treasures. After almost a decade, why are we still captivated with seeing tired treasures and hope restored despite its recent troubles? Now The Repair Shop crew is embarking on their first live show tour called ‘Secrets from the Barn’. Instead of the Barn, they'll be traveling by bus to share their favourite repair stories and tackle problems in a Q&A session. 

To the uninitiated, I perhaps lost you at Bargain Hunt. The Repair Shop is a gentle show about tired treasures restored back to life by a myriad of craftspeople set in a picturesque barn in West Sussex. The list of these restorers reads as a fitting extension to the butcher, the baker, and the candlestick maker. Depending on its core material, each object, is matched with one of them. There is a carpenter, a goldsmith, a hatter, an upholsterer, a horologist and a leathersmith. A cobbler, a luthier, a seamstress, a ceramicist and a metalsmith appear too. Then a vintage electrician, a book conservator, a silversmith, a percussionist restorer, an organ builder and a painting conservator.  Finally, in a league of their own – the teddy-bear repairers! 

Suspense is weaved into the show as we want to see the object ‘before’ and ‘after’. During the repair, we eavesdrop on the challenges faced by the restorer trying to fix the object. The reveal moment is the show’s climax - seeing the object restored to full glory and reunited with its custodians.  

When the object is associated with loss or hardship, the stories will quiver the stiffest upper lip. I never imagined I could be tearful about the restoration of a teddy bear, a toy plane or a tractor.  Clearly it is not the objects that are important, but the treasured memory of those whom they belonged to and the enduring love of the family members who brought the objects into the barn. 

Our fondness for The Repair Shop is a quiet longing for things to be fixed both within and without. 

One day in the future, reality TV shows, like The Repair Shop, will be relics themselves. Pored over by generations to come, eager to learn what we were like. But not all such shows are made equal. I hope The Repair Shop is treasured just like those teddy-bears. Why? Because it says so much about us today. 

We are tiring with our throwaway culture – click, scroll and repeat. Things built to pass, made of materials that we cannot pronounce, and that nature cannot digest. Unforgettable one season later. Crafted often in upsetting conditions for workers, without fair pay, lunchbreaks or daylight. Our fondness for The Repair Shop is a quiet longing for things to be fixed both within and without. It is affection for those who are not with us now, an appreciation for craftsmanship and the resourcefulness in the face of waste. We are charmed by the craft of repair but why? 

Suffice it to say the Millennial, Zillenial, Gen Z, Alpha, and Beta generations did not grow up in a ‘make do and mend culture’. I know my mother is sad I wear red and white snowflake Scandinavian handmade mittens with holes in them. I cannot line a curtain. We kind of all know that the repair culture that Boomers and beyond practiced has been lost. But we long for it to be revived again. 

‘Humpty dumpty sat on the wall . . . all the king’s horses and all the king’s men couldn’t put humpty together again’. As children we know instinctively this is tragedy, a broken toy or person that cannot be fixed. Our preference for mending as a virtue, is instilled in us from a young age.  

Mending things is satisfying and makes a positive contribution because the object can be used or admired in its full glory once again. It reduces waste by preventing us from buying new things and is therefore resourceful. Many of us ‘click and collect’ not just because of price but also convenience. There is deep satisfaction in salvaging something that you own or in having it restored with expert help when its beyond your ability. 

Many of the things we buy now couldn’t make it to The Repair Shop because they wouldn’t survive being passed down. Things manufactured by machine, out of synthetic materials are not strong contenders for heirlooms of tomorrow. Visitors to The Repair Shop own something precious but durable and worthy of being restored by an expert.   

Craftmanship is beautiful.  Revealing what it takes to repair gives us deeper appreciation for it and the hands that made it. When we see what it took to ‘remake’ we foster respect for the skilfulness of the craft.  

The intergenerational quality strikes a chord in a culture preoccupied with youthfulness and anti-aging. Often families come into the barn together and recall a fond memory of a loved one from another generation. The story behind the piece and the person it belonged to, is fascinating. Our affection and love for our grandparents and beyond is endearing and it is uplifting to see this fondness on screen. 

Then there is the big reveal, the dust sheet is lifted and the artisan reveals the repaired masterpiece. If you make it to the end of the story the reward is to see the dramatic change. It can be emotional, at the end when the custodian sees the object restored. Emotions run high; there is joy, gratitude and a sense of satisfaction that the broken object is revived and the memory of the loved one lives on.  

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