Other public visualisations

In recent years a number of projects, including by researchers, artists, and community organ- isations, have examined the use of public visualisations in urban settings. Their overarching

aim is to encourage people in the urban environment to interpret the visualisation data – which is typically data related to that same environment. Furthermore, these projects of- ten aim to evoke social interactions, such as public discourse about the visualised data. An overview of some of the key projects is shown in Table 2.3. Early work primarily consisted of art projects, such as Heijden’s Tree (Heijdens, 2004) and Nuage Vert (Evans et al., 2009). From 2009, an increase in research projects can be noticed — primarily around the topic of energy consumption.

Below, descriptions of the concept, design, evaluation and results (if any) of this previous work will be discussed. Projects will be covered in chronological order. The level of detail of these discussions highly depends on the information available about the urban visualisations; while research projects tend to have extensive reports on the deployments, a number of art projects lack such descriptions.

2.3.2.1 Tree

Tree is an art installation by Heijdens (2004). The installation consists of an 8-meter tall white silhouette of a tree, which is projected onto the façade of a building in a city. The tree moves depending on the speed of the wind passing the façade. Furthermore, when a person walks past the installation, a projected leaf falls from the tree. Fallen leaves are displayed on the pavement and street, and when people walk through them they fly around — in the same way real leaves do. The tree is designed to communicate information about how busy a specific part of the street is. It has been deployed around the world, including in the US, Russia, Japan, UK and The Netherlands. Due to the artistic nature of the project, no evaluation appears to be reported of the effect of the public visualisation of the movement of a city’s residents.

Objective: art

Evaluation of impact: none

Types of engagement installation was designed to evoke: unknown Engagement evoked by installation: unknown

Name Topic Representation Visual mapping Tree (Heijdens, 2004) Passers-by Animated tree projected

onto wall with leaves falling onto pavement

Leaves represent people

Nuage Vert (Evans et al., 2009)

Energy con- sumption

Green cloud projected onto vapour cloud

Size of clouds represents con- sumption

Climate on the Wall (Dalsgaard and Hal- skov, 2010)

Climate Words in speech bubbles projected onto wall

Positioning is de- termined by par- ticipants Neighbourhood Scoreboards (Vande Moere et al., 2011) Energy con- sumption

Set of smileys and line graphs drawn on façade

Smileys represent low consumption Emotional Cities

(Bernardin et al., 2008)

Emotion Colour projected onto buildings

Projected colour represents most popular mood Tidy Street (Bird and

Rogers, 2010)

Energy con- sumption

Line graph drawn onto street Fluctuation of line represents street’s consumption Reveal-it! (Valka- nova et al., 2013) Energy con- sumption

Polar diagram projected onto wall

Size of slices repre- sents consumption MyPosition (Valka-

nova et al., 2014)

Opinions Bar graph-inspired visu- alisation projected onto façade

Size of bars rep- resents number of votes

Street Infographics (Claes and Vande Moere, 2013)

Demographics Isotype chart displayed underneath street signs

Colour of icons represents de- mographics of people

Smart Citizen Sen- timent Dashboard (Behrens et al., 2014)

Opinions Polar diagram projected onto building

Size of slices rep- resents number of votes

Table 2.3: Overview of public visualisation projects in urban settings

2.3.2.2 Nuage Vert

Nuage Vert (“Green Cloud”) (Evans et al., 2009) was an art project conducted in 2009, where a green laser projected a visual representation of the electricity consumption of Helsinki (Finland) onto the vapour cloud emitted by the city’s power plant. This projection showed the outline of a cloud. Changes in consumption were depicted in real time, by adjusting the cloud’s size and shape. The artists chose to develop a large public installation to create

awareness about energy consumption and to encourage behaviour change. The green cloud grew whenever there was less energy consumption. From the analysis of the archive of all public and private communication regarding the project, conducted by Marres (2013), it emerged that this ambiguity was not appreciated by all who were involved. When the artists wanted to deploy the installation in Paris (France), they were met by resistance. The owner of the incinerator the artists hoped to use noted: “...a laser projection onto the vapour

cloud of the incineration plant would risk eliciting misunderstandings, or even worry from members of the public, if they are not fully informed beforehand as to the meaning of this event...” (Marres, 2013, p.

21). The concerns from several organisations involved eventually meant the artists were not able to show Nuage Vert in Paris. The installation was, however, deployed in Helsinki for one week, during a broader energy campaign in which the residents and business of Helsinki were asked to consume less energy. Every night, between 7pm and 8pm, they were asked to unplug their devices and look at Nuage Vert. This campaign resulted in a decrease of energy consumption, as measured from the consumption of around 35,000 residents and 5 large companies. The artists’ conclusion is: “The results of the unplug event — realised on a tiny budget

and with limited resources — shows that making collective information available to a community in a public form can make a difference.”. Whether the aforementioned ‘misunderstandings’ occurred

in Helsinki is not reported.

Objective: art

Evaluation of impact: none, only analysis of archive of communication between artists and third parties

Types of engagement installation was designed to evoke: noticing, understanding, changing behaviour

Engagement evoked by installation: unknown, but it reportedly evoked changes in be- haviour – energy consumption decreased

2.3.2.3 Climate on the Wall

Dalsgaard and Halskov (2010) created a temporary installation to raise awareness and create discussion around the topic of climate. The installation, dubbed Climate on the Wall, was deployed in Aarhus (Denmark) for four evenings (from 6pm until 11pm), during a climate conference. The city’s council initiated the project, with the aim of connecting the local

residents to the large, internationally well-known conference. The researchers used this opportunity to allow the locals to express their views via this installations — and thereby actively engage with the conference.

Climate on the Wall consisted of projected words on 30 meters of wall of the council build- ing. These automatically generated words all related to the climate change debate. Passers- by were then able to form short sentences with these words by walking past the wall. All movements were mapped using four webcams placed along the wall, and then projected onto the wall using two projectors. This type of full body interaction was chosen to make the installation accessible to all, without the need for extra devices. Multiple people were able to interact with the installation at the same time. The concept for Climate on the Wall was inspired by the commonly used refrigerator magnets (magnetic poetry), that also allow people to create sentences using a random set of words.

To evaluate the engagement with the installation, Ryan Bengtsson (2012) spent time observ- ing passers-by. While several passing cars and pedestrians in a nearby park stopped to have a look, it was noted that few passed the busy road along the wall to interact with the installa- tion personally. From interviews with a focus groups it emerged that it took many people time to understand the full body interaction. Even those informed about the workings of the installation beforehand had difficulty interacting with the words. As selecting a word required standing still for a period of time and carefully moving it, people expressed finding the process frustrating and slow. The difficult navigation of words, combined with the types of words projected led people to giving up on forming sentences related to climate change. This was primarily because they believed others would not realise it was addressing the cli- mate topic. Instead, they created short sentences and statements on other topics, as they believed these would be more meaningful to others. Whether passers-by were indeed able to interpret these sentences is not reported. However, while the sentences were no longer climate-related, the people interacting with the wall were observed having climate-related discussions.

Objective: research

Evaluation of impact: observations and interviews

ticipating, discussing

Engagement evoked by installation: noticing, understanding, some participating, dis- cussing

2.3.2.4 Neighbourhood Scoreboards

Similar to the Nuage Vert project, Vande Moere et al. (2011) developed persuasive visual- isations to encourage inhabitants of a neighbourhood in Sydney (Australia) to reduce their energy consumption. They created private real-time displays as well as public feedback. Chalkboards were attached to the house façade, showing information on the energy usage of the respective household. The boards were manually updated by the researchers every day.

The design of the ‘neighbourhood scoreboards’ was informed by eight design constraints around the development of feedback displays that encourage sustainable behaviour change. These constraints include the sustainability of the display itself, that it should be affordable and robust, respectful to privacy, the feedback intuitive, updatable, aesthetic and persuasive (Vande Moere et al., 2011). Via an iterative design approach, chalkboards were eventually chosen as medium, as they are typically cheap, weather-resistant and recyclable. All visual information was drawn on the boards by hand, including smileys, the daily ranking (competition between households) and a line graph (historical data of usage).

The study compared three conditions: private and public displays, only private displays and no visible displays. Interviews revealed that participants were already fairly active in think- ing about their own impact on the environment. The private displays were perceived as

“more influential” than the public display, though the latter did generate a great feeling of

competition between households. Vande Moere et al. conclude this approach can success- fully encourage behaviour change. They conclude that though the visualisations were ap- preciated for their playfulness, a more participatory design approach might have led to a more appropriate design. The ranking based on percentage of reduction, instead of rank- ing based on overall usage, was, for example, perceived as counter-intuitive — though the overall visualisation was appreciated for its design and playfulness.

Objective: research

Evaluation of impact: observations, interviews, energy consumption measurements Types of engagement installation was designed to evoke: noticing, understanding, changing behaviour

Types of engagement evoked by installation: noticing, understanding, changing be- haviour

2.3.2.5 Emotional Cities

Emotional Cities (Krikortz, 2008) combined online data gathering with a situated visualisa- tion. Artist Erik Krikortz created an online form via which residents of Stockholm (Sweden) could answer the question “How are you feeling today?”. Visitors of the website were able to choose between different seven colours to indicate their mood, where purple depicted the most negative feeling and red the most positive. While people from all over the world could submit their current mood, only answers from people within Stockholm were used to create a public, situated visualisation. These answers were aggregated, and the median emotion of the last hour was visualised using a light installation on five tall buildings in the city (Bernardin et al., 2008). The installation was deployed for several months. After the initial deployment, the art project travelled to a range of other cities, including Seoul. Ryan Bengtsson (2012) describes some of the design considerations made by Krikortz: the installation was meant to a) create interest and spark discussion and b) reach a large audience. Participation was key to the success of the installation, as the light installation depended on mood entries on the website. With the intention of reaching a large audience, Krikortz made use of an online form as the input method. Tall, highly visible buildings with pre-installed lights were chosen, as these could be viewed by a large number of people.

Ryan Bengtsson (2012) also conducted several interviews to establish how people came across and engaged with Emotional Cities. From these interviews it emerged that the build- ings were indeed visible from different parts of the city, and that people enjoyed seeing the colourful visual representations. One aspect that was particularly appreciated is the slow pace of the display’s updates, with one participant noting “Everything is all about turning as

quickly as possible, advertisements spinning and changing. And then you are presented with something that breaks from this everyday stress and that is not easily done. But here it was still or slow, and I think

this effect made it so unusual.” (Ryan Bengtsson, 2012, p. 134). People were also found to

frequently submit their moods, and several participants mentioned that they enjoyed being able to view the moods across different cities. It also emerged several people made attempts at coming up with explanations of why certain moods were dominant in different cities at different times (e.g. “they have lost a soccer game”; “bad weather”). No data is reported on the number of mood entries during the deployment in Stockholm, or how residents of the city were informed about the meaning of the different colours and the existence of the website.

Objective: art

Evaluation of impact: interviews

Types of engagement installation was designed to evoke: noticing, understanding, par- ticipating

Types of engagement evoked by installation: noticing, understanding, participating

2.3.2.6 Tidy Street

The Tidy Street Project (Bird and Rogers, 2010) visualised the energy consumption of a street in Brighton (United Kingdom) on the street itself. All households were able to enter their energy usage online, and the average of the collected data was then painted on the street using chalk spray. In addition, the average usage of the city of Brighton was added to the visualisation, to allow people to compare consumption.

The design of the public visualisation consisted of a line graph filling up the whole length and width of the street, showing the average energy usage in Brighton as well as the average energy usage of Tidy Street. The project lasted for three weeks, and during this period the average electricity usage was reduced by 15%. In addition, observations and interviews along the street revealed that the project encouraged people to consider their energy consumption, and encouraged them to discuss the project with neighbours and passers-by.

Objective: research

Evaluation of impact: observations, interviews, and energy consumption measurements Types of engagement installation was designed to evoke: noticing, understanding, changing behaviour, discussing

Types of engagement evoked by installation: noticing, understanding, changing be- haviour, discussing

2.3.2.7 Reveal-it!

Valkanova et al. (2013) created Reveal-it!, “a public, interactive projection that facilitates the comparison of the energy consumptions of individuals and communities”. The visualisation was projected on walls in three different locations. Informed by seven focus group sessions, initial visualisation sketches were developed. From the focus groups it emerged people were mostly interested in how their energy consumption compared to that of others. An addi- tional 3-week workshop with data visualisation experts ultimately resulted in a Florence Nightingale-like rose chart. People were able to submit their energy consumption data via an online form. This data was then aggregated per area and presented in the visualisation in real time.

The visualisation was evaluated in three different locations, using data logs, observations, questionnaires and interviews. Similar to the Tidy Street study, Valkanova et al. conclude Reveal-it was successful in raising awareness and evoking discussion. They do, however, highlight the difficulties around visualising aggregated data, as it may result in decreased trust in the data – which can result in people entering false data.

Objective: research

Evaluation of impact: observations, questionnaires, interviews, and data logs

Types of engagement installation was designed to evoke: noticing, understanding, par- ticipating, discussing

Types of engagement evoked by installation: noticing, understanding, participating, discussing

2.3.2.8 MyPosition

Similar to Climate on the Wall, MyPosition was an installation that enabled people to inter- act with projected content using full body interaction. MyPosition allowed people to vote on local topics (Valkanova et al., 2014). The installation was aimed at allowing people to

express their opinions as well as raising awareness of people’s opinions and sparking debate. During the design phase, the researchers had several goals. These goals included creating low barrier entry for participation, encouraging participation by making the visualisation engaging, playful, and encouraging spontaneous conversation.

The MyPosition projection was 5 meters wide and 2 meters high and two Kinects were used to capture the movement of people standing in front of the installation. By standing in front of one of four options (range: strongly disagree, disagree, agree, strongly agree) people were able to select their preferred option, while raising one hand would cast the vote. This would then be shown in the visualisation on a coloured tile, added to the existing tiles. Three different tiles were explored, from anonymous to identifiable: plain coloured tiles, tiles containing an image of the contour of the voter, and tiles containing a photograph of the voter.

MyPosition was evaluated using observations, interviews, and through analysis of the log files. From this, several conclusions were drawn. The installation successfully managed to attract people to vote (217 out of 880 passers-by), though people were more reluctant to vote when the tiles showed photographs of voters. The majority of the interviewed voters placed votes that matched their actual opinions. The researchers identified several zones of engage- ment, and especially in the area slightly further away from the screen deeper discussions were held on the topics presented in the visualisation, the results, and the privacy issues of public voting. Valkanova et al. conclude that MyPosition managed to engage people, spark discus- sion, and encourage informal and playful behaviour such as nudging – similar to the Tidy Street and Reveal-it! studies.

Objective: research

Evaluation of impact: observations, interviews, and data logs

Types of engagement installation was designed to evoke: noticing, understanding, par- ticipating, discussing

Types of engagement evoked by installation: noticing, understanding, participating, discussing, championing

2.3.2.9 Street Infographics

Claes et al. (Claes and Vande Moere, 2013) deployed four non-digital street signs visualis- ing socio-demographic data. The signs were situated in an area of Leuven (Belgium) known to not be very socially connected. Furthermore, the planning of new student housing had caused commotion in the area, with permanent residents expressing concerns over the bal- ance between students and permanent residents. The design of the street signs was based on the characteristics defined by (Vande Moere and Hill, 2012). All signs were deployed for one week. During this time, the researchers took field notes, sketches, pictures and video clips. Furthermore, interviews with a number of passers-by were conducted, of which half were conducted with local residents. Reactions to the street signs varied, ranging from curios- ity to discussions between local residents. In addition, people expressed having learnt more about the local socio-demographic composition, and sometimes having changed their view- point based on this new information. Claes and Vande Moere (2013) emphasise the need for more research to establish the impact of these type of public visualisations, and to determine the effect the display has in communicating information.