The Thrill of “Risky Play” in Public Art and Design

Public art and designed spaces often aim to engage visitors, but many fall short of delivering a truly thrilling experience. The author argues that the most impactful designs are those that invite genuine physical interaction and a sense of “risky play”—environments where visitors must assess their own limits and navigate uncertainty, rather than follow pre-determined paths.

A Colossal Inflatable Maze

The author recounts an experience in a Brooklyn warehouse with Cj Hendry’s “Keff Joons,” a colossal inflatable maze. Participants were given grippy socks and invited to climb the 20-foot-tall structure, which lacked railings or nets. The dynamic nature of the maze, with unexpected reverberations from other climbers, created a visceral sense of height and potential for a fall, even though the landing mats were designed to be forgiving. This “split” between logical safety and felt unease is identified as the core of thrilling experiences.

Risky Play and Its Benefits

This sensation aligns with the concept of “risky play,” defined in a 2024 study in Planning Theory & Practice as thrilling physical play involving uncertainty and the possibility of injury. The study suggests that decades of risk reduction have limited opportunities for adventurous play, yet research associates physically challenging play with stronger risk-assessment skills and greater self-confidence, particularly in children, but applicable to all ages.

Examples of Engaging Installations

Similar experiences are drawn from Tomás Saraceno’s “Free the Air: How to hear the universe in a spider/web” at The Shed, where visitors walked on suspended nets with wide enough openings to create a sense of precariousness. The interdependence of visitors on the shifting net created a shared sense of nervousness and bonding. Even a hike on Maui’s Waihe’e Ridge Trail, known for its muddy and uncertain upper sections, provided a similar thrill through manageable risks and shared experience with fellow hikers.

The Limitation of Scripted Interaction

In contrast, many “interactive” installations that simply enlarge nostalgic toys or offer limited engagement fail to capture this essence. These often serve as mere photo opportunities, providing little room for visitors to test routes, alter conditions, or influence others’ experiences. The author distinguishes between interaction and agency, noting that oversized swings or ball pits may offer visual cues of play but often result in hollow, repeatable experiences.

Designing for Agency and Uncertainty

Designs that demand more from the body, such as Sven Pfeiffer’s “Risky Playground” which could be rotated, or Numen/For Use’s tape and net environments that shift under collective weight, offer deeper engagement. These installations challenge visitors to actively participate and adapt, fostering a more dynamic and memorable experience. The key lies in creating environments that present solvable problems through movement and assessment, rather than dictating the interaction entirely.

Key facts

The principle of “risky play” offers a valuable framework for architects and designers looking to create more compelling public art and spaces. By incorporating elements of controlled uncertainty and encouraging active physical and mental engagement, designers can move beyond passive observation to foster genuine thrills and deeper connections between people and their environment.

Source: https://www.designboom.com/design/public-art-keeps-inviting-us-to-play-so-why-is-so-little-of-it-actually-thrilling/