Introduction:A space’s atmosphere is an important factor in how that space is experienced. In fact, festival visitors consider the atmosphere as the most important factor in how they experience a festival (Van Vliet 2012). Atmosphere is also what distinguishes physical shops from online web shops (Van Vliet, Moes & Schrandt 2015). Much research underlines the influence of atmosphere on cognitive and emotional processes. As early as 1956, research showed that an assessment of facial expressions in photographs depended on the atmosphere of the space in which the photos were viewed (Maslow & Mintz 1956). The importance of atmosphere inspired the search for ways to influence visitors and allowing them to react to, and even (co-)design, a space’s atmosphere – from museum spaces (Noordegraaf 2012) to urban spaces, from consciously-manipulated spaces to the now inevitable layer of digital information that has entered the public sphere (Mitchell 2005). Researchers have been studying the influence of atmosphere for decades, particularly through the lens of environmental psychology, which focuses on the interplay between humans and their environment (Mehrabian & Russell 1974; Steg, Van den Berg & De Groot 2012). A milestone in atmosphere research was the introduction of the concept of ‘atmospherics’ by Kotler (1973). From here, research into atmosphere mainly took place in the context of marketing research into consumer behaviour in shops and service environments such as restaurants, hotels, museums and festivals (Van Vliet 2014). The question here is whether these gathered insights contribute to understanding how atmosphere works in open public spaces.
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Lighting in video games is used to set moods and atmosphere, or can serve as a gameplay tool. This paper examines the effects lighting concepts can have on a virtual game environment on the players’ navigation within the game. Previously known lighting concepts were tested in a virtual environment to determine if they have a similar effect on the perception of the presented virtual space as they do in real life, as well as the effect they have on the navigational behavior of players. In a game-experiment with 50 male participants we show that the previously known lighting concepts apply to the virtual environment in a similar manner as they do in real life, although the effects on the navigational behavior of the participants remain inconclusive.
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The World Rowing Championships (WRC) took place at Amsterdam’s Bosbaan from 24 to 31 August 2014. In organising this event, the World Rowing Federation (FISA) raised the bar for world class rowing events. Athletes, spectators, sponsors and rowing fans around the world followed the event on different media platforms. Those who were able to attend in person enjoyed an exciting sporting competition, as well as Amsterdam’s scenic sites and festive atmosphere. Behind the scenes, hundreds of volunteers worked to make this event possible.
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We explore the role of restaurants and food events in promoting local and regional gastronomy in the Minho region in Northern Portugal. Interviews with restaurant owners and event organizers in this mainly rural region reveal that innovation is driven mainly by changing consumer tastes, but also con-strained by consumer expectations of low prices. Restaurants maintain a family-run structure, also due to a lack of human resources. The main thrust of innovation lies in creating a convivial atmosphere, but there is less emphasis on locally produced food ingredients. In the long run this may undermine the regional food culture and its authenticity, despite the perceived importance of tradition.
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In their attempts to offer visitors meaningful experiences in historical churches, museums are increasingly experimenting with augmented reality. Arguing that an augmented reality experience should be counted as a material event in its own right, I focus on the aesthetic strategies employed in two augmented reality experiences. The first is an augmented virtuality installation that was presented in the Old Church in Amsterdam (Netherlands). The second concerns a HoloLens experience hosted by St. Peter’s Church in Leuven (Belgium). Drawing on the work of Gernot Böhme (2017) and undertaking a sensory auto-ethnography, I demonstrate how bodily sensations in these augmented reality experiences altered my affective involvement with the church spaces. I found that strategies of defamiliarisation and fragmentation affected my disposition, effectively personalising the perceptional relationship between the church as an authoritative institution and myself in the role as the visitor. Building on recent discussions on museums’ function in society, I also discuss the potential of augmented reality experiences to play on a multitude of meanings, and particularly, in staging dispositions that move away from universal truths.
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The establishment of new housing initiatives for older people begins with the participation of (future) residents. This study explored how participation is experienced by both facilitators and (future) residents and what lessons are learned regarding the facilitation of meaningful participation. Participation was studied through semi-structured interviews and focus group sessions from the perspective of 34 (future) residents and facilitators involved in participation processes in a diverse set of four housing projects from the Netherlands. The results focused on three phases: the initiation phase, the concepting and development phase, and the transition towards an established form of group housing. From the outset of such processes, it was important to involve all relevant stakeholders and to create a shared vision about the participation process. Discussions in small groups, the use of references, creative elements, and the creation of the right atmosphere were experienced as valuable during the concepting and design phase. In the third phase, the role of the organisation and residents needed to be discussed again. Participation should be a continuous process, during which trust, communication and having an open attitude are key. This study showed how innovative approaches can contribute to the creation of an environment in which older people can impact the actual design of housing, and make it more inclusive. Original article at: https://doi.org/10.3390/buildings12030367 © 2022 by the authors. Licensee MDPI.
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Purpose: Physical interventions during subacute rehabilitation have potential to improve functional recovery. This study explored the perspectives of children and adolescents with acquired brain injury (ABI) and their parents with respect to physical rehabilitation during the subacute phase. Methods: Thirteen children and adolescents with ABI and their parents were included and interviewed using semi-structured interviews. Interview transcripts were analysed using inductive thematic analysis approach. Results: Six themes were identified: 1) beliefs of physical rehabilitation, 2) content of physical rehabilitation, 3) tailored care, 4) impact of context, 5) communication and 6) transition. The importance of intensive physical practice was widely supported. The positive can-do mentality was emphasised to create an atmosphere of hope, meaning that every effort would be made to achieve maximum recovery. Intensive involvement of parents is considered essential during subacute rehabilitation including an open and mutual dialogue about the focus of rehabilitation, therapy goals and future participation in their own environment. Conclusions: Our findings highlight the need for an intensive rehabilitation approach, tailored to the individual’s needs. The perspectives of children and adolescents and their parents in our study contribute to a better understanding of factors that are important for optimal recovery through physical rehabilitation during the subacute phase.
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Background: The importance of clarifying goals and providing process feedback for student learning has been widely acknowledged. From a Self-Determination Theory perspective, it is suggested that motivational and learning gains will be obtained because in well-structured learning environments, when goals and process feedback are provided, students will feel more effective (need for competence), more in charge over their own learning (need for autonomy) and experience a more positive classroom atmosphere (need for relatedness). Yet, in spite of the growing theoretical interest in goal clarification and process feedback in the context of physical education (PE), little experimental research is available about this topic. Purpose: The present study quasi-experimentally investigated whether the presence of goal clarification and process feedback positively affects students’ need satisfaction and frustration. Method: Twenty classes from five schools with 492 seventh grade PE students participated in this quasi-experimental study. Within each school, four classes were randomly assigned to one of the four experimental conditions (n = 121, n = 117, n = 126 and n = 128) in a 2 × 2 factorial design, in which goal clarification (absence vs. presence) and process feedback (absence vs. presence) were experimentally manipulated. The experimental lesson consisted of a PE lesson on handstand (a relatively new skill for seventh grade students), taught by one and the same teacher who went to the school of the students to teach the lesson. Depending on the experimental condition, the teacher either started the lesson explaining the goals, or refrained from explaining the goals. Throughout the lesson the teacher either provided process feedback, or refrained from providing process feedback. All other instructions were similar across conditions, with videos of exercises of differential levels of difficulty provided to the students. All experimental lessons were observed by a research-assistant to discern whether manipulations were provided according to a condition-specific script. One week prior to participating in the experimental lesson, data on students’ need-based experiences (i.e. quantitatively) were gathered. Directly after students’ participation in the experimental lesson, data on students’ perceptions of goal clarification and process feedback, need-based experiences (i.e. quantitatively) and experiences in general (i.e. qualitatively) were gathered. Results and discussion: The questionnaire data and observations revealed that manipulations were provided according to the lesson-scripts. Rejecting our hypothesis, quantitative analyses indicated no differences in need satisfaction across conditions, as students were equally satisfied in their need for competence, autonomy and relatedness regardless of whether the teacher provided goal clarification and process feedback, only goal clarification, only process feedback or none. Similar results were found for need frustration. Qualitative analyses indicated that, in all four conditions, aspects of the experimental lesson made students feel more effective, more in charge over their own learning and experience a more positive classroom atmosphere. Our results suggest that under certain conditions, lessons can be perceived as highly need-satisfying by students, even if the teacher does not verbally and explicitly clarify the goals and/ or provides process feedback. Perhaps, students were able to self-generate goals and feedback based on the instructional videos.
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Together with ten Dutch museums and four design agencies, the Amsterdam University of Applied Sciences led the practice-based research called The Exhi- bition Designer of the 21st Century (2017-2019), which was funded by Regieor- gaan SIA. Researching the effect of intentionally designed museum experiences, the project focused on how four design strategies (participatory practices, sto- rytelling techniques, atmosphere and interactive media) affected visitors’ level of inspiration, the degree they were emotionally touched and to what extent they felt they had learned valuable information. In this article, the case study of one Dutch museum will be discussed to 1) address the methodology used in our pro- ject to research the effect of designers’ intentions and 2) present results from our research concerning six interactive media installations used in two exhibitions at this museum. The goal of the project is to develop an instrument that will allow museums to research their own expectations when developing new exhibitions.
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