w5-6 - 4th, 5th and 6th draft annotations

ARDN808 // 02/04/26

Annotation 1: Tangible Interaction Framework

Hornecker, E., & Buur, J. (2006). Getting a grip on tangible interaction: A framework on physical space and social interaction. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 437–446. https://doi.org/10.1145/1124772.1124838

Keywords (2-5): tangible interaction, spatial interaction, social interaction, design framework, design analysis

This paper presents a framework for analysing designs (products, installations, etc.) in the context of tangible interaction, particularly how such interactions influence users’ social experience. The framework draws on phenomenology and encompasses four main themes: Tangible Manipulation, Spatial Interaction, Embodied Facilitation and Expressive Representation. Additionally, three case studies are analysed through the lens of this framework to illustrate how it might be applied to evaluate the strengths, weaknesses and potential design directions of different systems.

The framework presented in this paper provides a comprehensive lens through which to analyse interactive installations, including my own and others’ works, that have goals of employing tangible interaction in social situations. An aspect of the framework encompasses spatial interaction, proving particularly relevant for my research direction and helping me to understand how tangible interaction is inherently connected to our interactions in space. One such insight along this vein was considering the configurability of tangible interaction: objects themselves occupy multidimensional space, and their re-arrangement requires consideration of how they are located relative to each other in such space. The source also suggests that some configurations could be purposefully “out of bounds,” providing an interesting angle for me to consider when designing physically and digitally coupled systems in 3D space – must all physical interactions be digitally accounted for to provide a seamless experience for users? Can unaccounted-for interactions contribute to the overall user experience, or do they consistently break the immersion needed for tangibly interactive systems? From this line of questioning, I surmise that a balance must be struck between allowing unaccounted-for interactions to take place and preserving perceived coupling, a balance that could be achieved through strategically employing embodied constraints. This insight will influence my design approach when considering user experience in my work.

Another notable insight from this source is that tangibility with no obvious relevance to the interaction taking place may not be readily appreciated by users: the tangibility must add to the overall experience through taking advantage of the unique traits that tangibility can offer for interaction. For example, employing the multidimensionality of an object or its material qualities to facilitate the interaction can provide a unique experience as opposed to using a touchscreen, computer mouse or objects whose tangible qualities offer no relevance to the interaction experience. This insight will help guide my design decisions as I consider the materials and forms I employ in my tangible interfaces and whether those qualities are directly relevant to the digital interactions they are coupled with.

Annotation 2: Waimahara (Public Art Installation)

Studio Local. (2024). Waimahara [Public art installation]. Myers Park underpass, Auckland, New Zealand. Auckland Council.

Figure 1

Waimahara Public Art Installation

Note. From Waimahara, by Studio Local, 2025, Best Design Awards.

Keywords (2-5): interactive digital technology, performativity, residual urban space, cultural

narrative, environmental narrative

Waimahara is a public art installation created by Studio Local and lead artist Graham Tipene situated in the Myers Park underpass in Auckland, previously a residual space in the form of a parking lot and thoroughfare. The installation employs interactive digital technology and two specially composed waiata that users can sing to activate the lights and sounds embedded in sculptures on the ceiling, connecting users with a cultural and environmental narrative centred around Te Waihorotiu, the now-buried stream that flows beneath Myers Park to Waitematā.

This installation is a key creative precedent for my practice, demonstrating a possible avenue for utilising digital technology in a spatial design context to transform a residual 3 urban space such that it promotes engagement with the site. The way in which Waimahara places itself in its local context through incorporating an environmental and cultural narrative is particularly insightful for me and has influenced my considerations for how I might conduct site analysis, guiding me to investigate the historical, material, environmental, cultural and/or socio-political contexts of a particular space. Such research might even help with recognising how spaces become residual in the first place, and how they can subsequently be restored.

This installation also aids in my understanding of how such works are analysed in the context of tangible interaction, especially in public space: when evaluating this installation within the lens of Hornecker and Buur’s (2006) tangible interaction framework, I observed how the work imposes certain roles on audience members, exemplifying the concept of performativity. Users might become a singer, a learner (using the QR codes or a nearby speaker to learn the waiata before singing it), or even an audience member, listening to others perform the waiata and observing the installation’s lights and sounds that change as a result. This work revealed to me that the performative nature of a work, and therefore users’ engagement with it, doesn’t have to be embodied solely by active participants but can be embodied by an “audience” role on the sidelines as well. Additionally, this work has influenced my design decisions through encouraging me to consider designing for the different roles users might play in a public installation or even considering how users could subvert such expectations.

Finally, viewing this installation with a more critical lens, I observed how the work fails to provide multiple access points to users: although users can still participate through learning or listening on the side, the direct interaction that takes place through singing at the speaker is only afforded to one individual or group at a time. This observation connects to feedback I received from a classmate on my own work: having multiple access points may help lower the social barrier for interaction for shy people and could even be dispersed throughout a space to encourage exploring it further.

Annotation 3: Space, Place and Atmosphere

Pallasmaa, J. (2014). Space, place, and atmosphere: Peripheral perception in existential experience. In C. Borch (Ed.), Architectural atmospheres (pp. 18–41). Birkhäuser.

Keywords (2-5): atmosphere, architecture, peripheral perception, sense of place, phenomenology

In this chapter of Architectural Atmospheres, Juhani Pallasmaa discusses the relationship between peripheral perception, atmosphere, and their place in “haptic architecture”, especially in opposition to “retinally biased architecture.” His discussion ties in multisensory experiences, materiality, and temporality to explain how we assess and characterise spaces, almost instantly and instinctually, through this idea of atmosphere.

I connected Pallasmaa’s discussion of our judgement of atmosphere to the concept of sense of place, specifically the identification of what activities might occur in a place and how they would be perceived. This concept is particularly relevant to my research as identifying whether the action of lingering is permissible and encouraged in a space is key to enticing engagement from passersby. In this source, Pallasmaa details the time-sensitive nature of how we characterise the atmosphere of a place: through use of the “entire embodied and existential self,” specifically our peripheral perception and subconscious memory, emotion and imagination, we are very quick to judge a place’s character and often remain rooted in this judgement. Similarly, I realised that our immediate sense of place (which encompasses this identification of atmosphere) is just as quick to form, meaning that passersby might identify the possible actions of a place based on immediate and subconscious observations and connections, and may not receive any further stimuli to change this initial judgement. Additionally, Pallasmaa notes that the non-directionality of senses such as hearing, smell, and touch (as used to identify temperature or air movement) are paramount to the judgement of atmosphere, connecting to multisensory qualities that are emphasised in tangible and embodied interaction. This insight has caused me to question how I might establish an atmosphere in my work that promotes lingering, especially through appealing to peripheral perception and the existential self (such as memory, emotion and imagination) and considering the time-sensitive nature of judgements of place.

Pallasmaa also discusses the concept of “haptic architecture” that employs materiality and tactility to create a particular atmosphere. This emphasis on “material presence” connects to my research focus on tangible interaction and provides insight into how the materiality of an environment could be employed to establish an atmosphere that promotes lingering beyond simply using it for direct interaction. My creative practice so far has focused solely on materiality employed in such direct interaction, but this source has encouraged me to broaden my considerations to the peripherally perceived environment. Reflecting on Waimahara also reveals the importance of this consideration: audience members not actively interacting with the installation are still encouraged to linger due to the atmosphere created by the sound, lights and materially diverse sculptures embedded throughout the space.

References

Hornecker, E., & Buur, J. (2006). Getting a grip on tangible interaction: A framework on physical space and social interaction. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 437–446. https://doi.org/10.1145/1124772.1124838

Pallasmaa, J. (2014). Space, place, and atmosphere: Peripheral perception in existential experience. In C. Borch (Ed.), Architectural atmospheres (pp. 18–41). Birkhäuser.

Studio Local. (2024). Waimahara [Public art installation]. Myers Park underpass, Auckland, New Zealand. Auckland Council.

Studio Local. (2025). Waimahara. [Photograph]. Best Design Awards. https://bestawards.co.nz/spatial/private-public-and-institutional-spaces/studio-local/waimahara-1/