Urban nature enhancement is a theme that needs to be considered across different scales. From pocket parks and façade-greening to urban green infrastructure, biodiversity thrives best through connectivity.In the SIA-project, Nature-inclusive Area Development, four universities of applied sciences - Aeres University of Applied Sciences, Avans University of Applied Sciences, Amsterdam University of Applied Sciences, and Van Hall Larenstein University of AppliedSciences- researched three levels of area development to accelerate the transition to nature-inclusive area development. The study consisted of three case studies: Waarder Railway Zone (building), Knowledge Mile Park (KMP - street - Amsterdam), and AlmereCentre-Pampus (area).
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Experience quality has been studied for many decades in various contexts. While understanding of experience quality has advanced, its context-specific and multi-dimensional nature has challenged its conceptualisation. With the rise of experiential accommodation in tourism and hospitality, luxury lodges have been increasingly recognised in the industry and by customers as the emblem of luxury experiences, albeit receiving limited scholarly attention. Through a qualitative multiple-case study methodology, utilising high-engagement research techniques, this study explores the dimensions and determinants of luxury lodge experience quality. The study presents an experience quality model grounded in empirical data, bridging various experience quality theoretical perspectives to explain the luxury lodge experience, and demonstrating generalisation capabilities for other service contexts. The study contributes to the ongoing discourse on experience quality, particularly in the context of small luxury accommodation. The study also offers important practical implications for luxury accommodation operators on designing, staging and managing quality experiences.
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Feelings of disconnectedness and social isolation among older adults are increasingly recognised as important challenges of our times. Interestingly, nature interaction can stimulate social connectedness and enhance perceived social support, indicating that nature can contribute to social wellbeing. However, nature may not always be around or accessible for older adults. In such cases, digital nature could provide an alternative means for enjoying nature's benefits. To identify limitations and restrictions that older adults experience with respect to nature interaction, and to explore preferences with respect to digital nature and their potential for influencing social wellbeing, two studies are reported: a qualitative study comprising focus groups with Dutch care centre residents (N = 26) and a subsequent quantitative study (N = 200) testing effects of digital landscapes on social wellbeing measures. Findings from the focus groups indicate that opportunities for nature interaction and preferences for digital nature vary with mobility restrictions, whereas findings from the quantitative study testify to the potential of digital nature for enhancing social wellbeing and related emotions. These findings extend research on how (digital) nature interventions can contribute to the social wellbeing of older adults and pinpoint essential nature characteristics important for doing so.
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This research concerning the experience and future of zoos was carried out from 2011-2012 and takes regional ideas concerning Zoo Emmen as well as global visions into account. The research focuses partly on Zoo Emmen, its present attractions and visitors while also comparing and contrasting visions on the future in relationship to other international zoos in the world. In this way, remarkable experiences and ideas will be identified and in the light of them, it can serve as inspiration for stakeholders of zoos at large. The main research subject is a look at the future zoos in view of: The Zoo Experience – an international experience benchmark; The Zoo of the Future – a Scenario Planning approach towards the future; The virtual zoo - zoo’s in the internet domain.
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This article focuses on the role of the artistic process in connecting to the natural environment. In my research I have explored what participants experience and learn when they engage in different types of arts-based environmental education (AEE) practices that I have facilitated. The premise of AEE is that efforts to learn about our (natural) environment can effectively take their starting point in an artistic activity, usually conducted in groups. I found that, on the whole, two major orientations can be distinguished. One starts from the point of aesthetic sensibility: the tuning in with the senses, or with ‘a new organ of perception’ (Goethe), in order to perceive ‘the more than human’ with fresh new eyes. This tradition can be traced back (but is by no means limited) to the Romantic Movement. Art in this context may help to amplify the receptivity of the senses and strengthen a sense of connectedness to the natural world. The other major orientation in seeking bridges between nature and art builds on a view of artistic process as leading to unexpected outcomes and ‘emergent properties’. The fundamentally singular experience of making a work of art may evoke an aesthetic object that becomes a ‘self-sufficient, spiritually breathing subject’ (Kandinsky). The artwork can be spontaneously generative and multilayered with meanings, some of which may even be ambiguous and paradoxical. But perhaps more importantly: it can catch the participant of an AEE activity by surprise, overwhelm him or her as ‘coming from behind one’s back’. The element of improvisation, of taking in the new and unanticipated and accommodating for it, is the core quality here. These two orientations, when practiced as part of AEE, have implications on how we relate to nature through art. In the closing of this article I address the question of whether it is possible to bridge the dualism between the two orientations.
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In recent years, numerous environmental psychology studies have demonstrated that contact with nature as opposed to urban settings can improve an individual’s mood, can lead to increased levels of vitality, and can offer an opportunity to recover from stress. According to Attention Restoration Theory (ART) the restorative potential of natural environments is situated in the fact that nature can replenish depleted attentional resources. This replenishment takes place, in part, because nature is deemed to be a source of fascination, with fascination being described as having an ‘‘attentional’’, an‘‘affective’’ and an ‘‘effort’’ dimension. However, the claim that fascination with nature involves these three dimensions is to a large extent based on intuition or derived from introspection-based measurement methods, such as self-reports. In three studies, we aimed to more objectively assess whether these three dimensions indeed applied to experiences related to natural environments, before any (attentional) depletion has taken place. The instruments that were used were: (a) the affect misattribution procedure (Study 1), (b) the dot probe paradigm (Study 2) and (c) a cognitively effortful task (Study 3).These instrument were respectively aimed at verifying the affective, attentional and effort dimension of fascination. Overall, the results provide objective evidence for the claims made within the ART framework, that natural as opposed to urban settings are affectively positive (cfr., affective dimension) and that people have an attentional bias to natural (rather than urban) environments (cfr., attentional dimension). The results regarding the effort dimension are less straightforward, and suggest that this dimension only becomes important in sufficiently difficult cognitive tasks.
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Arts-based environmental education (AEE) denotes an emerging field of pedagogy wherein facilitated art practice intersects with and informs learning about our natural and cultural environments. In it, artmaking is appreciated as a form of coming to knowledge, of making meaning, in its own right, on par with other approaches such as inquiry-based learning in the science classroom. In this article, the author, himself a practitioner, foregrounds two different orientations in learning about nature through art that he considers both as being expressive of AEE. The first one, here called “artful empiricism”, is more established and has its footings in “the Goethean approach”. Participants investigate natural phenomena through direct observation and experience of the world. This is then complemented by intuitive perception. Yet, for the most part, they are absorbed in what Dewey would call a receptive sense of “undergoing”. Aesthetic sensibility is foregrounded, encouraging participants to fine-tune their senses in order to perceive the phenomenon in nature with “fresh eyes”. The second orientation is hardly articulated as an epistemology yet. Here it is called “improvising with emerging properties” and it features an element of working with unforeseen properties that emerge in and through an artmaking process that thematises natural phenomena. It is intrinsically open-ended and an active “acting upon” the world takes centre stage. Through artmaking, participants explore the relationships between themselves and their environs. In his discussion, the author analyses these approaches as two modalities both expressive of a Deweyan cycle of alternating between a receptive undergoing of and active acting upon the world, in different phases of a reflective experience.
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OBJECTIVE: Loneliness and social isolation are pressing issues that can seriously impact the mental health and well-being of older adults. Interacting with nature can stimulate a feeling of connectedness. However, for older adults, access to nature is often troublesome because of physical limitations and mobility restrictions.METHODS: In the present mixed-method study, 37 older adults (62-99 years old) with varying care needs and mobility restrictions watched a video presenting a walkthrough of a simulated digital nature landscape.RESULTS: Quantitative results show a significant increase in social connectedness scores and enhanced peacefulness after experiencing a digital nature. Qualitative results stress the importance of variations in nature scenery and highlight the influence of contextual and person-related factors including nature experiences throughout the life span and mobility constraints that older adults may face.CONCLUSION: These findings testify to the potential of using digital nature as a complementary strategy when interactions with outdoor nature become increasingly difficult due to old age.
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Within large service organizations there are currently two trends visible. These trends seem to be diametrically opposed. On the one hand organizations face increasing price pressure and thus a pressure to cut costs. One of the consequences of this trend is that organizations are increasingly encouraging customers to make more use of digital communication channels. At the same time, companies find it important to know their customers in order to respond adequately to their needs. To do this, organizations must have a certain degree of personal involvement to their customers and they must have regular personal contact. It is assumed that both trends – digitisation and personalisation – will have a strong impact on customer experience and (perhaps) on the relational models customers use. If it is true that relational models - so the way in which people perceive and assess a relationship - play a role in the perception of the customer, it is also interesting to know if it is possible to influence these relational models. During the last fifty years much research has been done into the possibilities to influence customers by using subliminal priming techniques. In these techniques thoughts and feelings are unconsciously activated by showing people certain words or images (eg Bargh, Chen & Burrows, 1996; Dijksterhuis, 2005). In recent years a number of experiments were performed in which customers were unconsciously primed at some type of relationship (eg Aggarwal, 2004; McGraw & Tetlock, 2005; Tuk, Verlegh, Smidts & Wigboldus, 2009). These experiments showed that it is possible to activate a certain type of relationship. The experiments however the researchers used scenario’s based on an interpersonal relationship, and often to a fictitious relationship. The question is whether priming techniques also work for an already existing and more complex relationship between an organization and its customers. From 2010-2013 we conducted research for six large service providers in banking, insurance, utilities and social welfare to discover what the customer experience of these organisations, what role relational models played in customer experience and whether it was possible to influence these relational models. The research project has provided answers to the following questions: - Which relational models are used by customers and what is the influence of these models on customer experience? - What is the influence of digitisation in customer communication on relational models and customer experience? - What is the influence of personalisation in customer communication on relational models and customer experience? And finally, - Is it possible to influence relational models (and customer experience) by using specific words and images that are associated with relational models (relational framing)?
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Stichting Natuurlijk Genieten is a Dutch foundation, founded by Jeannette Bolck, and dedicated to stimulating the development of a more natural living environment for older people living permanently in residential care centres. Many older people, in particular with Alzheimer's, are dependent on activities and facilities, in or in the immediate surroundings, of these centres. Over the past decade Natuurlijk Genieten has taken many initiatives to bring back nature into the daily lives of older people and their carers. In this article these activities are reviewed.
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