by Selina Allerstorfer -

#10 Designing for Engagement: How to Make Interactive Installations Truly Come Alive + Case Studies

Interactive installations can transform public spaces into hubs of creativity and connection. Yet, designing interactive installations that do more than capture attention — that genuinely engage people — requires more than just technical expertise. It takes a deep understanding of human behavior, user experience, and the dynamics of engagement. Designing for engagement means creating experiences that are intuitive, immersive, and meaningful; it means creating work that users will interact with and connect to on a deep level. 

Only when people are truly engaged, can we as designers create an environment that allows for lasting memories to be made, shared with others, and revisited. As I’ve described in my previous blog posts, fostering engagement in public spaces can reduce social isolation and strengthen the sense of belonging. The goal is not just to capture attention but to transform fleeting moments into moments of connection.

User Experience in Interactive Installations

User experience is fundamental to the success of any interactive installation. It includes emotional, physical, intellectual, and social aspects, making each experience distinct and significant. UX is informed by various fields, as noted by several experts like Nathan Shedroff and Don Norman, who emphasize the need to design for emotions, enjoyment, and meaningful interactions. UX cannot be simplified to separate components; rather, it arises from the interaction among people, technologies, activities, and the broader social and cultural environments. 1

Understanding Engagement

Building on the foundation of a solid user experience, engagement takes it a step further by ensuring that users aren’t just interacting but becoming fully immersed in the experience. Engagement is not just participation – it is about ensuring that the interaction flows. Shedroff identifies five key features of engagement: identity, adaptivity, narrative, immersion and flow.

  • Identity: “Identity is needed for authenticity in the experience and expression of the self. The authenticity of an experience is about ensuring experiences are real, or realistic, and consistent.”
  • Adaptivity: “Adaptivity is to do with change and personalization and with changing levels of difficulty, pace and movement.”
  • Narrative: “Narrative is to do with telling a good story, with convincing characters, plot and suspense. Narrative is not just about fiction, however. […]” 
  • Immersion: “Immersion is the feeling of being wholly involved within something, with being taken over and transported somewhere else. You can get immersed in all manner of things (such as reading a book) so immersion is not about the medium; it is a quality of the design.”
  • Flow: “[…] flow is the sense of smooth movement, the gradual change from one state to another.” 1

How to Design for Engagement

Know your Audience
Knowing and understanding the target audience is crucial to creating engaging and interactive installations. It makes a big difference whether the audience consists of children, tech-savvy individuals, or a broad general public, as each group requires a specific and tailored approach. The better the installation is adapted to the needs and abilities of the audience; the more likely people are to actively engage with it.

Prioritize Intuitive Interactions
It is important that interactive installations are designed to be intuitive and straightforward. Research on intuitive interactions in public spaces shows that overly complex and confusing interfaces and interactions can hinder user engagement. 3 Affordances play a crucial role here, as they define the relationship between the design of an installation and the user’s capabilities. According to Norman in “The Design of Everyday Things”, perceived affordances are particularly important — these are the action possibilities that are made obvious through design. 4When an installation’s affordances are clear and aligned with users’ expectations and abilities, it enhances ease of use and promotes more meaningful interaction, ultimately improving user engagement.

Accessibility and Inclusivity
To truly engage diverse audiences, designers must ensure installations are accessible to everyone. This includes providing physical access, sensory accommodations, and possibly language-neutral designs. 5

Storytelling
Good storytelling engages the user by creating an emotional connection and leaving lasting impressions. Through experiences that evoke strong emotions — such as awe, joy, sadness, or curiosity — strong engagement can be fostered. A compelling story, whether abstract or real, gives people the feeling of purpose and discovery. Through emotional resonance, the experience becomes not only memorable but also increases the likelihood that people will share it, thereby amplifying its impact. 6 7

Incorporating Multisensory Experiences
Incorporating multisensory experiences into interactive installations enhances user engagement by appealing to multiple senses, such as sight, sound, touch, and even smell or taste. This approach creates more immersive and memorable experiences. 8

Personalization
Personalization in interactive installations significantly enhances engagement by allowing participants to shape the experience through their actions. It could be visual feedback, sound, or even changing environmental elements. Customizing the experience empowers users, making them feel more connected and involved, as their choices directly influence the outcome. 9

Enjoyment
Designers are increasingly focusing on integrating pleasure into their designs alongside usability, enhancing both emotional and hedonistic appeal. The focus is on creating enjoyable experiences by addressing physical, social, and psychological aspects in design. Don Norman also emphasizes these factors in improving user experience. Additionally, gamification principles explore how different types of fun — such as challenging, relaxing, meaningful, and social—drive engagement, enjoyment, and learning, highlighting the emotional impact of well-designed interactive experiences.1

Aesthetics
Aesthetics is rooted in the appreciation of beauty, how things are sensed, felt and judged. It plays a significant role in interactive installations. Experiences can be divided into pragmatic attributes (effectiveness and efficiency) and hedonic attributes (emotion and enjoyment). Emotions are the core of experiences, as they are closely intertwined with cognition, motivation and action. 1

Social Interactions
Social interactions play a crucial role in increasing engagement in interactive installations, particularly through collaboration. These social dynamics shape how participants connect with the installation and each other, enhancing their overall experience. Installations become more engaging when they allow people to share the experience, leading to deeper emotional connections. 10

As designers, our task is beyond creating eye-catching installations — we are shaping the future of public spaces. So, as we move forward, let’s ask ourselves: how can we continue to break barriers and design experiences that invite people to engage not just with the technology, but with each other, building a more connected and inclusive world?

Case Studies

Musical Swing by Daily tous les jours

Source: https://musicalswings.com

Inspired by the acclaimed 21 Balançoires (21 Swings) installation, The Swings: An Exercise in Musical Cooperation is a standalone, touring musical installation designed for international audiences. This interactive artwork features a series of musical swings that create harmonized melodies when used collectively. Certain musical patterns emerge only through cooperation, encouraging participants to synchronize their movements with others. It’s a playful experience that fosters connection and collaboration from the very first swing. With The Swings, participants engage their entire bodies to make music, fostering a sense of togetherness and shared ownership of public space. The result is a large-scale, collective instrument that unites people of all ages and backgrounds. Designed to transform urban environments, festivals, and special events, this installation offers a unique approach to communal music-making. Since its debut in 2011, the original 21 Swings installation has drawn millions of visitors to Montréal’s Quartier des Spectacles, where each swing moves an average of 8.500 times per day. 11

It draws the public in positive ways.
It made our city feel like a genuine urban destination.

CLOUD by Caitlind r.c. Brown & Wayne Garrett

Source: https://incandescentcloud.com/aboutcloud/

CLOUD is an interactive light sculpture, composed of 6.000 repurposed incandescent bulbs. Using pull-chain switches, participants work together to animate bursts of light, creating a shifting display reminiscent of lightning.

Blending playfulness with collaboration, CLOUD transforms viewers into performers, illustrating how individual actions contribute to a greater whole. The artwork offers both participation and contemplation, as those beneath the sculpture shape its movement while others observe the evolving patterns. Drawing on the universal imagery of rain clouds, CLOUD transcends cultural and language barriers, inviting shared wonder and connection. 12

Impulse by CS Design & Lateral Office

Source: https://qdsinternational.com/en/installations/impulse/

Impulse invites you into a playful, multisensory experience centered around a childhood classic: the seesaw. This interactive installation features a series of seesaws that respond to movement with shifting lights and sounds, transforming public space into an ever-evolving spectacle. More than just a playful ride, Impulse is designed with intentionality. Inspired by serialism — a structured musical composition technique — the installation creates dynamic zones of energy and tranquility, ensuring a harmonious blend of motion and sound. 

Encouraging play, laughter, and connection, Impulse fosters a shared experience that brings people together, turning a simple act of movement into a joyful expression of community. 13

Sources

[1] D. Benyon, Spaces of Interaction, Places for Experience. 2014. doi: 10.2200/S00595ED1V01Y201409HCI022.

[2] N. Shedroff, Experience Design, a Manifesto for the Creation of Experiences. New Riders, 2009, pp. 9–10.

[3] L. Hespanhol and M. Tomitsch, “Strategies for intuitive interaction in public urban spaces,” Interacting with Computers, vol. 27, no. 3, pp. 311–326, May 2015, doi: 10.1093/iwc/iwu051.

[4] D. Norman, The Design of Everyday Things: Revised and Expanded Edition. Hachette UK, 2013.

[5] „What is inclusive design?“ https://www.inclusivedesigntoolkit.com/whatis/whatis.html

[6] „What is Storytelling?“, The Interaction Design Foundation, 30. November 2024. https://www.interaction-design.org/literature/topics/storytelling?srsltid=AfmBOooli8H26zn96VkuoNycaHkmn_oTQgdY-NcWh1BKTjmWxgABHoDz#how_storytelling_works_in_design-1

[7] M. L. H. M. Hanapiah und S. M. Nasir, „A Systematic Review towards Evolution of Interactive Storytelling and Audience Engagement in Films“, International Journal Of Creative Multimedia, Bd. 5, Nr. 1, S. 55–73, Apr. 2024, doi: 10.33093/ijcm.2024.5.1.4.

[8] L. Lin and L. Lu, “Research on the Design of Multisensory Interactive Experiences in Museums Based on Embodied Cognition,” in HCI International 2024 Posters, C. Stephanidis, M. Antona, S. Ntoa, and G. Salvendy, Eds., vol. 2119, Cham, Switzerland: Springer, 2024, pp. 1-10. [Online]. Available: https://doi.org/10.1007/978-3-031-61966-3_23.

[9] B. Moggridge, Designing Interactions. The MIT Press, 2006.

[10] J. Schell, The Art of Game Design. 2008. [Online]. Verfügbar unter: https://dx.doi.org/10.1201/9780080919171

[11] „Musical swings“, Musical Swings. https://musicalswings.com/

[12] „CLOUD“, Caitlind r.c. Brown & Wayne Garrett, 9. November 2023. https://incandescentcloud.com/aboutcloud/

[13] „IMPULSE | QDSInternational“, QDSinternational, 16. Oktober 2024. https://qdsinternational.com/en/installations/impulse/

by Selina Allerstorfer -

#09 Creating Interactive Installations

In this post, I want to explore the process of designing and creating interactive installations.

Process of designing an interactive installation

Creating an interactive art installation involves several steps, from defining the concept and technology to the final implementation.

Defining the concept
The first step is to brainstorm and define the core idea of the installation. Interactive Art flourishes from storytelling and creating memorable experiences. These questions can help defining the concept.

  • What is the main theme or message of the installation?
  • How will the audience engage with the artwork?
  • What emotions or experiences should be evoked?

The focus of the concept should always be on the emotions and the story that is to be conveyed. Immersive and interactive art aims to create connections and often uses human behavior as a narrative element. The theme can be a personal interest, an abstract idea or social problems. The more meaningful and moving the topic, the greater the likelihood that it will appeal to people. 

Additionally, identifying and understanding the target audience is crucial for interactive installations. It helps to tailor the experience to their preferences, needs and behaviors. While designing, accessibility should always be a priority, to ensure that the installation is inclusive and engaging for everyone – regardless of background, ability or familiarity with digital art.

Choose the right setting
The physical environment where the installation should be is crucial for the planning, since it influences technical as well as artistic decisions. Whether the installation is in a museum or in a public place, the size and location of the space, accessibility, light and sound and general infrastructure are important factors that need to be considered. 

Public spaces are particularly suitable for interactive installations as they enable a high level of participation and reach many people in urban areas. Placing art in public spaces not only makes it more accessible but also allows it to be seamlessly integrated into people’s everyday lives. However, designing for public spaces requires careful consideration of any necessary permits and insurance.

Choose Technology and Medium
As soon as the concept is done, the next step is to decide which sensory elements like light, sound and touch will transport the theme the best. If the goal is to create dynamic visuals that transform a space – projection mapping might be the right choice. If there should be different layers of interaction and the viewer should fully immerse with the installation AR or VR might be the right technology. The selection of the right sensor (e.g., motion, touch, proximity) and output devices (e.g., displays, projectors, speakers, actuators) is essential to bring the vision to life. It is also important to determine whether the installation will be physical, digital, or both. Each element and technology should smoothly integrate with each other to enhance the overall experience, creating a seamless and immersive environment for the audience. 1 2 3

Software and Tools that can be used

  • Processing: A simple programming environment to develop visually oriented applications. It is a design and prototyping tool which is used for creating large-scale installations. 4
  • TouchDesigner: A node-based visual programming environment and a great tool for interactive shows and installations. 5
  • Max/MSP: A visual programming language for creating interactive software. 6 
  • Unity: A real-time development platform often used for creating 3D interactive experiences. 7
  • Arduino: An open-source electronics platform based on easy-to-use hardware and software. It’s intended for anyone making interactive projects. 8
  • MadMapper: A reference application for Projection Mapping, LED installations and laser shows. 9
  • Resolume Avenue & Arena: It is the industry-leading software used by VJ’s. 10

Prototyping and Redefining
Prototyping is an essential step before building the full installation, allowing to test and refine the ideas. This phase provides an opportunity to experiment with various interactions and responses to identify the most effective setup. 

Implementing and Testing
Once a working prototype has been created that does justice to the concept, the next step is to build the physical environment of the installation. Whether it’s an entire room, a sculpture or digital screens, this forms the basis for the entire installation. Once the foundation is in place, the next step is to implement the technology – placing the sensors, projectors or programming a computer. After implementing the final installation, it is important to test everything again very carefully to check if all interactions such as movement, touch or other sensors work.

Observing
Interactive installations thrive on the involvement of visitors – it is therefore advisable to be present and observe how people interact with the installation. This way, any adjustments can be made. 1 2 3

Challenges in interactive Installations/art

Although interactive installations or interactive art is very captivating and modern right now, they come with some challenges – whether be technical, creative or logistical. These factors can make creating interactive installations a complex task.

Technical Challenges in Implementation
Interactive installations usually involve different technologies – sensors, software and hardware – which can be a challenge to bring all these individual elements smoothly together. Issues with the accuracy of sensors, the response time from input to output or the stability of the system can complicate the process. It is therefore even more important to test everything carefully before launch.

Balancing artistic vision and technological feasibility
One of the biggest challenges is finding the right balance between artistic creativity and the limitations of technology. It can easily happen that the creative idea is too complex and ambitious and exceeds the possibilities of the technology. It is therefore important to discuss expectations and ideally explore the technical possibilities early on in the concept in order to create a working and realistic interplay between creativity and technology to make the interactive installation a reality.

Collaborative challenges in multidisciplinary teams
In order to create an interaction that captivates people and creates a high level of engagement, it possibly requires the collaboration of different disciplines such as artists, designers, developer, engineers or even psychologists or sociologists. A large interdisciplinary team brings many advantages, and each person can contribute their own ideas and expertise. However, a large team can also quickly become a challenge. It is therefore important to have clear communication so that everyone is on the same page when it comes to the project. This is the only way to ensure good cooperation, which in turn leads to a successful interactive installation. 11

Sources

[1] S. Zafeiriou, „The Ultimate Guide to Immersive Art Installations: Creating Engaging and Interactive Art Experiences | Steve“, Steve Zafeiriou, 18. Januar 2025. https://stevezafeiriou.com/guide-to-immersive-art-installations/

[2] „Exploring Interactive Art Installations: History, Examples, and Creation“, Visual Alchemist, 29. Juni 2024. https://visualalchemist.in/2024/07/22/exploring-interactive-art-installations-history-examples-and-creation/

[3] D. Team, „Interactive Art Installation: Tips & Best Practices“, Daisie Blog, 18. Juli 2023. https://blog.daisie.com/interactive-art-installation-tips-best-practices/#concept-of-interactive-art

[4] „Processing overview“, Processing. https://processing.org/tutorials/overview

[5] Elburz, „What is TouchDesigner? A TouchDesigner FAQ“, The Interactive & Immersive HQ, 8. November 2024. https://interactiveimmersive.io/blog/touchdesigner-lessons/what-is-touchdesigner/

[6] „What is Max? | Cycling ’74“. https://cycling74.com/products/max

[7] „Echtzeit-Entwicklungsplattform von Unity | 3D, 2D, VR- und AR-Engine“, Unity. https://unity.com/de

[8] „Arduino – home“. https://www.arduino.cc/

[9] „MadMapper Home“. https://madmapper.com/

[10] „Avenue & Arena – Resolume“. https://www.resolume.com/software/avenue-arena[11] T. Emb, „The Intersection of Art and Technology in Interactive Installations“, EMB Blogs, 16. April 2024. https://blog.emb.global/art-and-technology-in-interactive-installations/#emotional-impact-of-interactive-art

by Selina Allerstorfer -

#08 Interactive Installations

There are various approaches that interaction designers can take to help combat loneliness. It is not only important to tackle loneliness itself, but also to focus on strengthen interpersonal connections and relationships. Since a large part of our lives already takes place online and we spend a lot of time in front of our phones, I would like to pursue an approach that focuses more on the real and analog world – but still does not forego a digital aspect. 

I would like to investigate whether and how interactive installations can contribute to strengthening social interactions in public spaces. Interactive installations have established themselves as an increasingly important medium for combining technology, art and user experience. 1 Such installations not only fascinate but also create a unique experience through active participation and interaction. As noted by Edmonds “interactive art is distinguished by its dynamic behaviour in response to external stimuli, such as people moving and speaking.” Art becomes interactive when audience participation plays a central role in the work. The audience’s actions can influence and alter the artwork itself. When creating interactive art, the artist focuses not only on the visual or auditory aspects of the piece but also on how it engages and interacts with the audience, making this interaction a vital part of its nature. 2 For example, an installation could:

  • Alter the lights, sounds, or visual aspects in response to the people’s presence.
  • Support teamwork, where several users would have to physically and digitally interact with each other in order to activate particular features.
  • Change and improve according to the behavior of a whole audience, which may cause a dynamic and unpredictable outcome.

How interactive installations work

Interactive installations work through input from the audience or the environment. Interaction is achieved through a combination of sensors, software, physical elements or hardware that recognizes and processes the input. These inputs can include:

  • Movement: Motion sensors and cameras record audience movements, triggering the pre-set reactions. 
  • Touch: Pressure-sensitive surface or touchscreens allow for interaction through touch. 
  • Sound: Microphones record and / or respond to volume, pitch, or specific voice commands. 
  • Proximity: Ultrasonic or infrared detectors observe the proximity of a viewer to the installation. 
  • Input Data: Several installations incorporate data from external sources, such as weather, social network trends, or live web feeds. 4

The system takes these inputs and turns them into responses like changes in lights, visuals, sounds, or even mechanical movements. This creates a dynamic, interactive experience where the audience’s actions directly influence how they engage with the piece.

Source: https://medium.com/@steven_tbd/what-is-an-interactive-installation-6e19c98c881

Types of Immersive and Interactive Art Installations

Digital Projections
The projection of digital content is the cornerstone of immersive and interactive art. Advanced projection mapping can transform walls, floors and ceilings into interactive screens and environments and therefore bring the surrounding to life. By incorporating motion graphics and real-time visuals, these installations create multi-sensory environments that transport audiences into new and imaginative worlds.

Sensor-based Installations
The nature of sensor-based installations is that they use motion, touch, or sound sensors to react to human interaction in real-time. Thus, visual elements may change with movement, or perhaps a touch may turn on a certain light. These installations can range from pressure pads to some long-distance proximity sensors or maybe even facial recognition, which can cultivate an intimate space that reacts individually to each individual encounter. 

Sound and Lighting Installations 
Combining surround soundscapes with synchronized lighting systems, the sound and light installations attain a stunning effect. Through the interplay of contrasts, rhythms, and spatial audio, these installations evoke emotions and draw audiences into a compelling sensory world.

Virtual Reality Installations
Virtual reality installations bring interactivity to a new level by immersing participants in fully digital 3D environments. With the VR headsets viewers can navigate through this digital environment, interact with virtual object or even become part of the artwork. These experiences connect storytelling with interactivity, aggregating in deeply personalized experiences for the visitors. Those installations can be used for entertainment or even educational purposes – virtual museums or immersive stories that let people experience scenarios firsthand.

Participatory Installations
Participatory installations directly involves the audience in the creation or completion of the artwork, often through simple, intuitive interfaces that ensure broad accessibility. These installations may feature collaborative elements, where multiple participants work together to contribute to a piece. Examples include digital graffiti walls or crowd-sourced sculptures, which challenge traditional ideas of authorship and create a sense of community within the artwork. This type of interactive installation blurs the lines between artist and viewer, encouraging collective creativity. 4 5 Designing an installation that requires collaboration not only encourages interaction between people and the interface, but also the connection between people and their environment – and above all connection between the people themselves. 1

Interactive installations have the potential to ease feelings of loneliness and strengthen social ties by combining art, technology, and user participation. By combining the physical and digital worlds, these experiences offer new approaches to encouraging meaningful interactions and tackling isolation in shared public areas.

Sources

[1] S. U. Ahmed, „Interaction and Interactivity: In the Context of Digital Interactive Art Installation“, in Lecture notes in computer science, 2018, S. 241–257. doi: 10.1007/978-3-319-91244-8_20.

[2] E. Edmonds, “Interactive Art,” in Interacting: Art, Research and the Creative Practitioner, L. Candy and E. Edmonds, Eds. Faringdon: Libri Publishing Ltd., 2011, pp. 18–32.

[3] T. Emb, „The Intersection of Art and Technology in Interactive Installations“, EMB Blogs, 16. April 2024. https://blog.emb.global/art-and-technology-in-interactive-installations/#:~:text=Technology%20is%20crucial%20for%20interactive,%2C%20sound%2C%20or%20other%20inputs.

[4] S. Zafeiriou, „The Role of Technology in Interactive Installations: How Sensors, Computers, and More Shape Modern Art |“, Steve Zafeiriou, 11. November 2024. https://stevezafeiriou.com/technology-in-interactive-installations/

[5] Fiveable, “Interactive Installations: Study Guide,” Fiveable, 2025. [Online]. Available: https://library.fiveable.me/installation-art/unit-6/interactive-installations/study-guide/rdqjbQtvUFtb8qto. [Accessed: Jan. 25, 2025].

by Selina Allerstorfer -

#01 Breaking social isolation in public spaces

Public spaces like parks, squares, and plazas are essential to urban life. These areas should offer opportunities for relaxation, escaping the busy city life and connection with others. But, most of the time people are for themselves, lacking meaningful interactions. This phenomenon is particularly striking in urban neighborhoods, where anonymity is growing, and the sense of community is shrinking. However, several studies have shown that belonging to a community has a positive effect on people’s mental and physical health (Cramer, Pawsey 2023), (Kitchen, Williams, Chowhan 2011). Baumeister and Leary (1995) describe belonging even as a fundamental human motivation. 

Therefore, the research investigates if interactive installations have the potential to transform the public space into an environment that breaks the social isolation by creating playful experiences that invites people to interact with the installation itself and create a space that encourage social engagement. Can such shared experiences between different people of different background and ages help to strengthen the sense of belonging, strengthen the community and connection within a neighborhood and create a space where people come together?

Source: https://dcist.com/story/18/12/07/let-there-be-light-two-interactive-art-installations-brighten-yards-park/
Source: https://www.portals.org/portal/vilnius

Personal motivation
I am living in a new neighborhood with a great nice park as the center of it, which actually could be a great place of community and interactions. However, the park is rarely used by residents of the neighborhood, primarily due to its lack of amenities. Only few weeks ago few benches were installed, but overall, the space remains largely uninviting.

Next steps
In the next step, I would like to take a closer look at urban design with a focus on public spaces. How are they defined and what must be considered when constructing a public space. I also want to focus on the social dimensions of public spaces. In the second part of research I will dive deeper into the design aspect. That includes learning about interactive installations, the different types available, tools and methods used to create them and studying best practices.

Bringing all these topics into a cohesive concept and finding a type or direction for interactive installations that can be universally used in different public spaces, can be challenges during this research.

Literature
K. M. Cramer and H. Pawsey, „Happiness and sense of community belonging in the world value survey“, Current Research in Ecological And Social Psychology, Bd. 4, S. 100101, Jan. 2023, doi: 10.1016/j.cresp.2023.100101.

P. Kitchen, A. Williams and J. Chowhan, „Sense of Community Belonging and Health in Canada: A Regional Analysis“, Social Indicators Research, Bd. 107, Nr. 1, S. 103–126, März 2011, doi: 10.1007/s11205-011-9830-9.

Baumeister, Roy F. and Leary, Mark R., “The Need to Belong: Desire for Interpersonal Attachments as a Fundamental Human Motivation”, Psychological Bulletin 1995, Vol. 117, No. 3, 497-529