Public Spaces/playful Interaction - Report

Public Spaces

promoting

Playful Interactions Jody Dickerson - Malmö Högskola - Simon Fraser University - Spring 2009

Introduction My goal in this project was to explore, through research and observations, the conditions which create positive public spaces for pedestrian activity within urban areas. The areas in northern Europe that I have been able to observe directly during the course of this project helped to develop a theory of the specific elements and conditions which encourage spontaneous and playful interactions with the space itself and between individuals within it. These are resultant interactions and thus highly affected by the quality of space. I have chosen to focus on play because it has been shown to be a positive activity for individuals, encouraging interpersonal interactions between strangers, strengthening relationships between friends, promoting creative and flexible behaviors and also creating a positive experience which increases the sense of connection to and investment in the space in which in happens. These positives feeling towards a space then discourages acts of vandalism and encourages individuals to protect the safety and usability of a space. My goal has been to develop a theory on the conditions for interaction, as well as to identify elements which inhibit playful behaviors. Also to not have directly interfered with the activity within a space beyond my own presence. One of my first observations was that any form of surveillance inhibits playful, casual and spontaneous behaviors and so I avoided directly or obviously photographing most observed behaviors. Additionally, because of the large scale and complexity of urban spaces I have chosen not to attempt any direct experimentation as the results of this would only be superficially relevant, and have instead relied on the research and experiment of professional urban designers who have been able to fully design urban spaces on a large scale and then observe directly the results of their design decisions.

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Methods Research

My process for this project involved first doing in depth research into written theories of urban and pedestrian centered design through the works of Jan Gehl, Christopher Alexander and Weismann/Freddi. To this I added both previous knowledge of human behavior, past observations, and research through multiple sociological/social science blogs and the work of Jane Fulton Suri.

Observations The next stage in my process was to observe firsthand the way people behave in many different urban spaces and situations, and to add my own conclusions to those of the authors listed above. I looked first at local squares which I had been able to observe over a longer period of time but now came back to with a more critical and focused eye, then I expanded and began traveling to different locations to observe public streets and squares which have been approached in different ways, and how climate and culture affect the functioning of a space. My travels included trips to Helsingborg and Lund which were easy to reach, then later to Stockholm, across the ocean to Helsinki, and a flight to the UK where I was able to explore urban spaces in London, Bath, Bristol and Oxford.

Precedent Studies

Through prior studies, online research and daily readings throughout this project I have searched for examples of projects from the field of interaction design that directly act upon or affect the urban elements I have focused on in my study. I have found that many projects employ a tactile sensory experience and a sense of agency and play to engage users, but that many of the most effective applications of technology in a space are passive, involving only lighting or sound that improves the perception of a space.

Compilation Throughout this process I continually modified and expanded my theories, noted specific applications, and also paid careful attention to the element that acted negatively, to discourage playful behaviors. The final stage of this project was to compile all my notes and photos as well as mental observations and to present these in a way that I hope will be useful to future interaction designers.

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Relation to Interaction Design This research could have a number of applications for the field of interaction design; many interaction design projects take place in public squares within urban centers, and knowing which elements are required for a specific type of interaction. In this case playful interactions, is key to siting an interactive project. Even a very well designed project, if placed in a space that is not conducive to the type of behavior required or simply a space where the pedestrian density is too high, will not work as intended by the designer. In some cases interactive technologies, such as light and sound, have been used to improve the conditions of a space in the ways I will mention, and these have sometimes been quite successful. The most common and successful applications of interactive technologies to the design of public spaces have been in replacing or enhancing other sensory experiences of a space, such as grass and water, and encouraging the same sort of visual or tactile play.

SMS Activated Lighting A small town in Germany saves energy by turning out lights in streets and parks at night, and if residents need the area lit they text a special number on a lamp pole and the lights turn on, gradually fading back to dark behind them. This improves safety for those moving about at night and helps to condense nighttime activity.

Text Rain An interactive installation where people use their bodies, projected on a screen, to interact with letters falling from the top of the projector forming digital rain - encourages kinesthetic play and also interaction between participants. Would be difficult to implement in less controlled conditions though.

Fiber Optic Wall A wall in the Danish Design Center of loose fiber optic cables hanging in a simulated waterfall encourages visual and tactile exploration. Similar to the combination light/water wall at Solbjerg Square in Copenhagen.

Flow 5.0 A wall of motion activated fans blow air only around a person standing in front of the wall, providing a playful and exploratory sensory experience.

Bion A network of light and sound emitting nodes which react intelligently to the presence of people within the room, first acting shy but then growing curious and including the visitor within their conversation. This is not a project which could be effectively implemented in a public space now, but presents a future possibility.

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Relation to Past Projects This project relates directly, in some way, to both of my previous projects this semester. My place specific computing project, Take Me Somewhere, involved a certain sense of play but was not otherwise related; but one of our concepts for that project which was rejected was the concept of a bomb shelter door being used as a trigger for sending media files, which involved a definite sense of exploration for users as well as a sensory reward for discovery, which is one of the prominent features of this project. My critical design project, which was first an observation on public behaviors and their motivations, is relevant to this project in that many of my observations have expanded on what I learned during that course. My concept for critical design was overall unsuccessful as a critical project, but its goal was to encourage people to play, or at least think playfully, about the signals surrounding a crosswalk. Though not acutely critical design, it was a somewhat successful project for its own goals. Both of these projects influenced my choice of topics for this project in that I was expanding on research I had previously done. However, I mainly chose those projects to begin with because I am interested in human behavior, emphasis on play and in public pedestrian spaces in general.

Results As a result of the research and observations I did over the course of this project I have found a number of elements which, in my opinion, are necessary to create a positive public space. I have also found that culture, climate and urban context play a large role in the functioning of a space, and that the activities both in and around a space effect the feeling of being in it as much as the physical layout of the itself.

Positive Spaces Positive public spaces are those which attract people to visit them through location and climate, generally provide a purpose for being there and comfortable places to pause as well as either activities to watch or an overview of a pleasant space, such as an ocean view or park space, while resting. This element of something to watch is important as it gives people a valid public reason to be in the square and something to occupy themselves with while staying.

Inclusion One of the measurable signifiers of a positive public space is that it will welcome and be accessible to people of all ages, but especially to those most vulnerable to poor conditions of climate, sound, location, safety or comfort. Children have greater needs for space, safety and comfort than adults, especially protection from traffic, and will be present most often when a space

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accommodates their need for exploration, play and learning as well as the needs of parents for adult stimulation and activity while watching children. The elderly have similar needs as children in terms of comfort and climate, and also require a low enough pedestrian density to be able to move at their own pace, with our without assistance. Additionally, elderly are often the most aware of the safety or lack thereof within a space, and are the most vulnerable due to limited physical strength and mobility combined with a high level of independence.

Context The context of a square is vital to its health, being critical to both density and demographics. A square or pedestrian space works best when it is near or between destination points in a city, such as popular bars, restaurants, shopping areas and parks, as well as being edged by buildings of interest. Pedestrian spaces need to be accessible on foot, either by being walking distance from residential or work places or accessible through transit. Solbjerg Square, in Fredriksberg, Copenhagen, is located between a high school, shopping mall, and school of business, and is situated along a very well designed walking path a few minutes from the underground station.

Climate In addition to context urban squares need to have a pleasant climate for as much of the year as possible in order to attract people to them from the city around. In northern Europe spaces which are south facing draw in as much sunlight as possible; spaces need good air flow but also need protection from strong winds and the noise of the surrounding city. Nyhaven, Copenhagen, is lined by buildings on the north side, providing wind protection, and opens to the south providing maximum light and sun.

Comfort A comfortable square will have many places for staying; to stand, sit or even sleep. A comfortable place to stand will be out of the wind, with something to lean back against and looking out into the space without being too visible. A place to sit can be a bench or chair, the edge of a wall, or simply a raised edge like a planter box or statue. Places to lie down, to really rest, need to be comfortable and not too open, protected from wind and hot sun, without being in the way of activity. Lilla Torg, in the center of Malmö, is small in scale with plenty of protection from sun, cold and rain, and has plenty of grounded places to pause. In summer when the sun is high the square is bright and warm, and in winter it is heated by the nearby cafes.

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Pedestrian Density Pedestrian Density plays a large factor in the feel of a space, as well as how accessible and flexible it is for various activities. A street or square with too high a density limits movement to the direction and speed of the majority, with no flexibility, whereas a space with too few people feels uncomfortable and any activity in it feels on display. At night spaces with low density and poor lighting feel very unsafe and discourage visitors. Density at night can be maintained by limiting all activity to a few streets which condenses nighttime activities. Leicester Square in SoHo, London, is a large square surrounding by pedestrian streets; during the day the whole square is open and people are present on the grassy center but at night the center is dark with no people in it, and lighting around the edges guides people to the outside near the open shops, increasing the density of people in these areas.

Flexibility One of the positive elements in any urban space is flexibility; of paths, of seating, of use and of experience. The more flexibility people have the more spontaneous behaviors emerge and the more conscious people will be of their choices. Flexible seating allows the space to accommodate a large crowd or a few people without every feeling too full or empty, and flexibility of use encourages many functions to happen within the square, making it more interesting to those in it and also more used at all times of the day and the year. Trafalgar Square, in London, provides primary seating in the form of a number of benches, but also provides flexible seating and activity spaces on a wide stone staircase, around a pair of large fountains and on a large obelisk monument.

Height Variations of height within a space provide interest and opportunities to explore as well as natural boundaries for activities. Human vision is predominantly horizontal and limited in range; activities happening above or below the viewer are disconnected, and even small differences in height provide a comfortable distance between the viewer and any activity going on. Raised spaces provide natural boundaries for rest or play, providing a natural boundary from other movement within the square. Gustav Adolfs Torg, in Malmö, has a two level design, providing seating with a view of the walkway, but also an edge that people walk along, children play on and which encourages people to lay back on the grass. Benches placed further back on this ledge provide a view looking over the heads of people instead of directly at them.

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Playful Spaces In addition to requiring the elements of all positive public spaces, spaces which encourage playful behaviors do so more effectively when they also include sensual elements which invite informal behaviors; heights and ledges, water, grass, children playing or animals to watch and feed.

Water Accessible Water is a large factor in encouraging playful behaviors through tactile exploration and unpredictability as well as the opportunity to interact with others, even strangers, through splashing. I found water to be the most influential element within a space in encouraging spontaneous playful interactions in people of all ages, in different ways depending on the structure of the feature and the form the water took in the space. Cotton Centre, on Queenswalk, London, had a couple of water jets shooting out of a depression in the ground. These jets had a steady stream of children playing, dogs drinking, people getting sprinkled and bikes riding through them.

Grass Grass, like water, encourages tactile exploration and play, but also lends itself to resting, both sitting and laying down through a connection to natural spaces as well as city parks. While movement on pavement is controlled and often linear, grass encourages people to move more slowly and consciously, resting anywhere that is out of the direct route. At Stonehenge monument people move linearly and only walk on the paved path, but when the path turns to grass people sit or lay down and children run and play, moving through in a much less organized way. Additionally, the raised grass section at Gustav Adolfs Torg has a number of adults resting on it as well as pets laying around and children running and playing.

Climbing Places A space which is not normally accessible has appeal to certain visitors in a space; for adults it’s a place to look over everything, or to be on display, or sometimes to be hidden from view, and for children climbing up a rock or a statue is a sign of strength, of being big enough and old enough to make it up. The appeal for both groups is in being in a place that not everybody can get to. An obelisk statue in Trafalgar Square provides seating and a space both on display and providing a view of the square for those able to climb it, restricting access by requiring a non-standard form of movement, encouraging those who do climb to then play on the large lion statues positioned around the monument.

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Negative Spaces Overscale Spaces which are too large for the number of people occupying them feel empty, exposed and sometimes echoing, and this discourages any activities even remotely culturally unacceptable or abnormal. Large open spaces, especially those surrounded by shadows, feel especially vulnerable at night when visibility is low. An example of this is Sergelstorg in Stockholm, which has a fair number of people passing through it, but not enough to effectively fill out the space, and the middle is left feeling empty with no reason to be so large and open.

Ownership Spaces with a strong feeling of ownership, real or perceived, are undesirable to remain in and stifle any creative or spontaneous activities for most people. Towering buildings which shade a space, buildings which front too closely or private residences too open to the square all create a sense of ownership and discourage public use. In Prop de la City, a glass covered square in London which is roofed over and surrounded by towering office buildings, the only people in the square are those employed to clean it and those who work in the office buildings directly fronting on it.

Surveillance The feeling of being watched discourages many forms of behavior and decreases the activities in a space to mostly necessary activities such as passing through on the way to work. Spaces which are under heavy surveillance, either by cameras or by authority such as police or security guards stifle any abnormal, spontaneous or playful behavior through fear of being watched, judged or punished. The public square outside Buckingham Palace has a large number of royal guards, more than ten police present and many highly visible CCTV cameras.

This hole in the urban fabric of London, called Forum Magnum Square, faces northwest, contains no organic or natural elements, has no flexible or even inflexible seating and no protection from the traffic noise of the busy streets on either side. It was empty except for a few people hurrying across it, and completely devoid of any signs of activity or anything to interest someone is staying.

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Research Contribution

Through extensive documentation of my research, both review of literature and firsthand observations, I hope that I have created a guide for other designers into the kinds of public spaces to look for when siting an interactive project within the city that requires any form of casual interaction or play. The area that I have explored is a small part of the field of urban design, and possibly gaining this basic knowledge will encourage other designers to move forward, exploring the area of playful spaces further or expanding to look at many more types of interactions and different public spaces. I hope that my project has a strong basis and will remain relevant for future designers as interactive and embedded technologies move forward and more into the public realm. Through this project I have personally learned a great deal, about urban design and public spaces, about research and documentation, and about organization, presentation and critique, which I will apply to future projects and in my continuing studies.

Conclusion From my research and observations I have concluded that spontaneous playful interactions cannot be forced, but will occur more frequently when certain conditions of space, climate, sound and light are met, and creating these conditions in an effective and interactive way could be a step towards better spaces and more playful interactions within a city. The next step in this project, if it were to continue further, could be either to move into an application of these findings and develope a concept within a public space that does improve the conditions within a space. The other option, however, would be to continue this research with further depth, looking at both a greater span of time and a greater breadth of cultures, because my limited observations have shown that culture may also play a large part in what constitutes a good space or a bad one.

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References Alexander, C., Ishikawa, S., & Silverstein, M. (1977). A Pattern Language. Oxford Oxfordshire: Oxford University Press. Alexander, C., (1964). Notes on the Synthesis of Form. Cambridge: Harvard University Press. Gehl, J., (1987). Life between Buildings. New York: Van Nostrand Reinhold. Gehl, J., & Gemzøe, L. (2001). New City Spaces, Strategies and Projects. City: The Danish Architectural Press. Gehl, J., & Gemzøe, L. (2004). Public Spaces, Public Life. City: The Danish Architectural Press. Gehl, J., & Gemzøe, L. (2006). New City Life. Copenhagen: Danish Architectural Press. Suri, J., (2005). Thoughtless Acts?. San Francisco: Chronicle Books. Correa, F., & Busquets, J. (2007). Cities: X Lines. City: Actar D / Nicolodi Editore. Mccullough, M., (2004). Digital Ground. Cambridge: MIT Press. Jacobs, J., (1993). The Death and Life of Great American Cities. New York: Modern Library. http://www.youtube.com/watch?v=f_u3sSffS78 http://news.bbc.co.uk/2/hi/technology/7795492.stm http://www.ohgizmo.com/2009/02/26/control-street-lights-with-your-cell-phone/ http://www.ddc.dk/KALENDER/DDCudstillinger/se_lyset http://www.interactivearchitecture.org/flow-50-daan-roosegaarde.html http://www.interactivearchitecture.org/bion-adam-brown-and-andrew-fagg.html http://www.flickr.com/photos/bap824

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