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Interactive Spaces Workshop Eva Eriksson Chalmers University of Technology Chalmers University of Technology Jan 2011
Interactive Spaces
Workshop
Eva ErikssonChalmers University of TechnologyChalmers University of Technology
Jan 2011
“It might be suicidal to mention this on an exam but even at this moment it still feels like I am learning and grasping more of the course subject ”the course subject.
NN student at IDM 2010
Workshop AimWorkshop Aim
To use the characteristics of the space in relation to humans as design resource to create interactive spaces
Less theory, more practical work
“Designing is not something that you can read and then understand, it has to be tested…”
NN t d t t IDM 2010NN student at IDM 2010
Workshop contentWorkshop content
• Why spatial aspects matter in ID
• Context
• Four space model
• Go out, observe, analyse, come back and discuss
• Design for public space
• Materials and inspiration
• Design an interactive space
• Make a model
• Analyse and present
”It is difficult to design a space that will not attract people. What is remarkable is how often this has been accomplished.”
Wh t 1917 1999Whyte 1917‐1999
TuesdayTuesday
Working with information technology as a material for design means working with software, hardware, traditional physical materials and social aspectsmaterials and social aspects.
The traditional computer form change and become part of our physical space, the number of spatial IT‐artefacts increases.
Understanding of space in relation to computer mediated activities is pertinent for interaction designersactivities is pertinent for interaction designers
Physical space has not been a major topic in traditional HCIPhysical space has not been a major topic in traditional HCI.
Physical space grounds the most basic experiences upon which we create understanding.
Spatial literacy, i.e. understandings of humans’ relation to their physico spatial surroundings and one of our 7 intelligences isphysico‐spatial surroundings, and one of our 7 intelligences, is more or less highly developed in different people.
Human reasoning is based on our perception of the physical space and its objects .
We understand and navigate in physical space more quickly than anything elseanything else.
We communicate through physical space position and gesturesWe communicate through physical space, position and gestures provide meaning and is a part of our language.
Space is an unavoidable aspect that needs to be designed and not just as a natural consequence of being situated and embodied in the physical world [Lykke Olesen]embodied in the physical world. [Lykke‐Olesen]
To add spatial aspects to interaction brings the interface out into the room and expands the role of the interaction designer to develop structures and form as well as composing situationsdevelop structures and form as well as composing situations for its users.
Architects are faced with problems of creating meaningful situations beyond stones and windows.
Interaction designers are faced with creating meaningful situations in both physical and digital space using IT as thesituations in both physical and digital space using IT as the primary design material.
“We design interspaces; assemblages of interfaces, actors and environments, where the challenge is to design spaces forenvironments, where the challenge is to design spaces for human communication and interaction”. [Winograd]
So how do you define or even talk about space and spatial perspectives in relation to interaction design?
Brunelleschi ,1425
Linear perspective: a geometrical technique to illustrate depth
Linear perspectives create a space through a “window” where the centre of attention is pre‐decided for the viewer.
Relies heavily on strict laws, reason and hierarchy, and illustrate how we perceive the world around ushow we perceive the world around us.
In contrast to this is abstract space.
One or multi‐dimensional and is more a representation on how we experience the world rather than seeing it.
The Cubist art movement 1907‐1920
Rejecting the single viewpoint, three‐dimensional subjects are f t d d d fi d f l diff t i i tfragmented and redefined from several different viewpoints.
Show objects as the mind, not the eye, perceives them
Traditional work based HCI and WIMP (window, icon, menu, pointing device) interfaces are leaning more towards the representational space with strict hierarchies and where therepresentational space, with strict hierarchies and where the shortest path between point A and point B is the goal.
ID is moving away from this efficiency focus , like cubists tried to move away from strict perspectives and coherent depth.
In cubism, the objects are broken up and re‐assembled in abstract forms from several viewpoints to represent theabstract forms, from several viewpoints, to represent the subject in a greater context
Just like cubism, the goal for ID is not to represent the world as we see it with our eyes, but as we perceive it with all ourwe see it with our eyes, but as we perceive it with all our senses and from different angles and perspectives, to provide a more multi‐facetted experience.
How to separate space and place in design, Yi‐Fu Tuan 1977
“Space is the opportunity; place is the understood reality” (Harrison et al., 1996)
A physical space becomes a place when it is filled and invested with meaning, e.g. a house becomes a home for a family through lived experiencethrough lived experience.
Space can be both physical and digital and is formable by theSpace can be both physical and digital, and is formable by the designer, while place is created by humans investing memories and feelings into it.g
Tuan divides the notion of place into four dimensions; physical (materials), personal (emotions), social (communication) and cultural (convention and rules)cultural (convention and rules).
• Tangible interfaces: the physical world• Tangible interfaces: the physical world
• Aesthetic interfaces: feelings and emotions
• CSCW: social and cultural aspects of collaborating people• CSCW: social and cultural aspects of collaborating people
• Embodied interaction: not dedicated to solving specific tasks
Even though only the physical dimension is possible for the designer to form, all four has to be supported, analyzed and exist in the design process as well as the final outcome withexist in the design process as well as the final outcome with its intended use.
In practice it is hard to keep a distinction between space and place because understanding space implicitly gives you the tools to influence placetools to influence place.
You do not connect the sleeping room and the garage without having a purpose and intention towards users’ appropriationhaving a purpose and intention towards users appropriation of space.
In practice it is hard to keep a distinction between space and place because understanding space implicitly gives you the tools to influence placetools to influence place.
You do not connect the sleeping room and the garage without having a purpose and intention towards users’ appropriationhaving a purpose and intention towards users appropriation of space.
On the other hand if you do not understand the concept of connecting spaces you would not see the potential of driving directly to bed.
Before the Bauhaus period (1919‐1933) space was understood and defined as a container that could contain other containers
During Bauhaus space was seen as a continuum where spaces dynamically would intertwine and flow among each otherdynamically would intertwine and flow among each other, changed by the observer moving in space.
With the dynamic nature of digital systems and interfaces the perception of space is not only changed by the observers moving point of view but the space itself is dynamic bothmoving point of view, but the space itself is dynamic, both regarding appearance and functionality.
There is a need for understandings of how both the augmented and the physical spatial layout effects the users’ experience and the users’ behavior and social relationsand the users behavior and social relations.
Design experiments are key to gaining insights into physicoDesign experiments are key to gaining insights into physico‐spatial design issues.
Architectural models are spatial representations, where the design process, alternative designs and design decisions are represented in different formsrepresented in different forms.
Architectural models provide visual overviews andArchitectural models provide visual overviews and understandings of the entire space in which spatial forms and users will co‐exist.
Prototypes in ID traditionally focus on functionality.
Architectural models may expand and supplement the functional focus of traditional prototypes and scenarios, and increase communication exploration and understandingcommunication, exploration, and understanding.
…and that is what you are going to do.
Sum up: SpaceSpace becomes defined by the potential functionalities afforded by areas or spaces within a continuous space, and not only as a container defined by a three dimen
Sum up: Space
Space becomes defined by the potential functionalities afforded by spaces within a continuous space, and not only as a container defined by a three dimensional set of physical andcontainer defined by a three dimensional set of physical and virtual boundaries.
Physical space is a design resource open to interactive augmentationg
We have to accept and play with the properties of physical spaceWe have to accept and play with the properties of physical space and their influences on different types of interaction.
Understanding ContextUnderstanding Context
In ID the physical world is used as part of the system or interaction, both directly or indirectly.
The challenge is both to make the system aware of the real world state and what users wants to do AND to make the contextstate and what users wants to do, AND to make the context aware of the system and the implications of one’s actions
The real world context is very complex ‐> focus design on simple measures such as temperature, location and time , while interpreting for instance the social domain is more difficultinterpreting for instance the social domain is more difficult.
Context is vital to understand and use in the design process toContext is vital to understand and use in the design process, to avoid systems to become superficial and insensitive to reality.
“the situation of the user” (Franklin, Flaschbart,1998)
“the application’s setting” (Rodden et al, 1998)
“aspects of the current situation” (Hull et al, 1997)See Dey et al 2001 for these and more references on context.
“ h b f h l f b d h h l l“the combination of the social fabric and the physical location where the object will be placed” [Missing link, 2004]
“the total situation” (Jones 1992)
Why context in interaction design?Why context in interaction design?
Mediaspaces at PARC , 1986
Ubiquitous computing, 1991
Small devices that exploit context to provide ambient awareness
Our design objects are a part of a system they must relate to.
Our devices are dependent on other users and infrastructures interacting at the same level and with the same tools.
They are dependent on their context.
The final design is larger than each component, both within the object as well as in its context, and dependant that the single parts work together in parallelparts work together in parallel.
The objects have inputs from the users and outputs to the worldThe objects have inputs from the users and outputs to the world, inputs from other systems and outputs to those.
Framing the context is about exploring and discussing what there is now and the importance of it.
Context can trigger new ideas, or improve existing products, but the context also affects the designthe context also affects the design.
“everything that a design affects or that the design is affectedeverything that a design affects, or that the design is affected by, forms the relevant context” [Ylirisku, Buur]
Sum up: ContextSum up: Context
Context is continually renegotiated and defined in action.
Context is dynamic and space and place is distributed and depends of the perspective of the viewer.
Important to involve context in all parts of the design process.
“Gathering information is really the core of a design process, if you have information of good quality you can extract anything and make your system even better”and make your system even better.
NN student at IDM 2010NN student at IDM 2010
How to ?How to…?
The Four Space ModelThe Four Space Model
Four Space ModelFour Space Model
The model can be used as a tool in the data collection phase, in the design phase, for definitions and in discussions.
The model is a try to mark out that all the four design spaces are equally important when designing computational thingsequally important when designing computational things
Ref: Eriksson 2006
The interaction space
Spanned between the technology and the human abilities
Defined as the sensor reading space where movement, fix points d i b dand inputs can be sensed.
h d d d d b hOn the user side, inputs are inspired and constrained by the multiple intelligences and functions of the human body.
O th t h l id di bOn the technology side, a sensor reading space can be a microphones ability to take up sound
The social space
This is the space where people meet; the social design space includes technology but spans between people.
This is where space gets meaning and transforms into places.
The social space is defined as where humans act, live their d li d t it i l d tt ti ti iteveryday lives and co‐operate; it includes attention, activity,
intention, understanding, communication and place.
The physical space
This is where the system meets the user, and the physical context in which the computational thing will live.
Spanned by physical constraints, and contains all types of visible things such as humans and computersthings such as humans and computers.
Defined as things, personal gadgets, appearance, location, physical interaction physical time/space or just everythingphysical interaction, physical time/space, or just everything you see in the environment.
The digital space
This is the design space where different computational things communicate with each other and with the users.
Spans by the communication of the different computational things and their outputthings and their output.
Defined as projections, communication protocols, computer model infrastructure relative time/space augmented spacemodel, infrastructure, relative time/space, augmented space, and machine communication.
What?What?
Use the Four space model to create a deeper and common understanding of the context .
Where?Where?
Location NordstanLocation Nordstan
h // d /http://www.nordstan.se/
Why?Why?
Design an interactive space in Nordstan
NordstanNordstan
Shopping center
Public space
Bounded by semi‐public spaces (shops)
Filled with private spaces
Permanent | Temporary
Limits | Paths
Public | Private
Place | Space
Open | Closed
Global | Local
Functionality: hang out, transit, inform, experience, consume…
Climate: light, temperature, season
Scale: system, building, human
Materials: glass, steel, concrete, IT
11.30 – 14.00
• Four space model observation at Nordstan
14.00‐16.00
• Presentation and analysis studios
Good hunting!
ReferencesReferences
kk l f b d h hLykke‐Olesen, A. 2007. Space as interface – bridging the gap with cameras. PhD Dissertation, Aarhus school of architecture.
Whyte W.H. Web resource: http://www.pps.org/articles/wwhyte/y p // pp g/ / y /
Eriksson E. 2006. Designing for spatial multi‐user interaction. PhD LicentiateThesis. Chalmers University of Technology.
S lb b d G 200 C l k d lki fDey A., Salber D., Abowd G. 2001. A Conceptual Framework and a Toolkit for Supporting the Rapid Prototyping of Context‐Aware Applications. In Human‐Computer Interaction (HCI) Journal, Volume 16 (2‐4).
Missing link, 2004. Web resource: http://daimi.au.dk/~alo/missing_link/
Jones J. 1992. Design methods. ISBN 9780471284963
T Y 1977 S d l Th i f i ISBNTuan, Y. 1977. Space and place: The perspective of experience. ISBN 0816608083
Harrison, S., & Dourish, P. 1996. Re‐place‐ing space: The roles of space and , , , p g p pplace in collaborative systems. Proceedings of CSCW 96. New York, NY.
