16,841 research outputs found
Workshop: Positive Design. Designing the road of happiness
No full text“If you want to increase your happiness, don’t buy new products, change your behaviour.” Positive psychologists sometimes advise that not too much ought to be expected from the contributions to subjective well-being made by consumer products (Nicolao, Irwin, & Goodman, 2009). The ‘Positive Design’ workshop challenges this view by proposing that design can increase happiness. The central question addressed is: How can designcontribute to human flourishing? Positive Design is an umbrellaterm for all forms of design, design research and design intention in which explicit attention is paid to the effects of design on the subjective well-being of individuals and communities (Desmet & Pohlmeyer, 2013; Pohlmeyer & Desmet, 2014). In their workshop, Anna and Pieter will introduce their view on Positive Design andpresent examples of how design can help people in finding balancebetween pleasure, purpose in life, and virtuous behaviour. They will introduce some of the key research questions in the domain of Positive Design and detail a Positive Design Framework in-depth. In addition to providing relevant background knowledge, a number of hands-on exercises will be conducted to familiarize participants with essential concepts and design methods. The aim of the workshop is to inform, engage, and inspire; offering a balance between theory & research on the one hand, and experiences & design examples on the other
Design for subjective well-being in interior architecture
No full textCan interior environments engage people in pleasurable and meaningful experiences and thereby have a positive influence on their happiness? This paper discusses why and how interior architects might want to consider implementing ideas in relation to ‘design for subjective well-being’. Despite of people being the ingredients that bring life to the built environment, it tends to be designed in such a way for them to predominantly only passively absorb the surrounding. Up to date, when designing interior environments, (interior) architects are mainly concerned about the fulfillment of various rather objective considerations. Typical reflections in this respect are: is there enough daylight, how are the acoustics, how is the accessibility and the organization of the inner space? Starting from such premises, the atmosphere of the inner space is given substance. However, empirical studies have shown that long-term happiness is less a matter of one’s circumstances than of the activities that a person engages in. Hence, one could go one step further from viewing the built environment as a static entity, to designing spaces that facilitate desirable activities. In other words, inner environments could aim to stimulate experiences that provide pleasure and meaning to its inhabitants. Subjective well-being (SWB) is an emerging research topic in the field of design sciences. Design models and strategies are being developed in an effort to increase users’ well-being. However, a detailed understanding of how these insights apply to interior architecture still needs to be refined. For this reason, this paper will firstly outline why interior environments could have the potential to contribute to people’s SWB and thereby to become platforms for the full spectrum of human well-being. The second section of the paper reflects on how a deliberate focus on SWB will affect the process of designing interior environments. The Positive Design Framework, developed by Desmet & Pohlmeyer (2013), will be introduced to the (interior) architectural community. Interior architects can use this framework as a guide to assist them in the design process of interior environments that aim to contribute to people’s happiness. A number of examples will demonstrate in an interior architectural vocabulary the value that this framework can have for this discipline.Industrial DesignIndustrial Design Engineerin
From good to the greater good
No full textIn this chapter, we outline why and how design can (and cannot) support the sustainable wellbeing of individuals and communities. Building on findings of well-being researchers, we first address the reasons why material well-being, as experienced through the consumpfion and ownership of products and goods, does not necessarily contribute to subjective wellbeing. On the other hand, products that are valued for the activities and experiences that these enable can be a profound resource for happiness. This discussion provides the foundationfor an approach to design for well-being that includes three main ingi-edients: design for pleasure, personal significance and virtue. These ingredients will be detailed in depth and several directions to design for well-being will be introduced, addressing both challenges and opportunities for design theoiy and practice.Accepted author manuscriptDesign Aesthetic
An Article About Albertus C. Van Raalte, Author Unknown, Except for Parts Taken from an Article by Anna C. Post
No full textAn article about Albertus C. Van Raalte, author unknown, except for parts taken from an article by Anna C. Post. The author knew first generation persons in the Holland settlement and therefore, the article has some value.https://digitalcommons.hope.edu/vrp_1890s/1012/thumbnail.jp
Richardson, Barbauld, and the construction of an early modern fan club
No full textMPhilMuch has been written about the life and long works of the eighteenth century epistolary novelist, Samuel Richardson, but the prospect of his position as the first celebrity novelist – responsible for courting his own fame as well as initiating his own fan club – has largely been ignored. The body of manuscripts housed at the National Art Library in the Victoria and Albert Museum in London provides the modern scholar with evidence of the skeletal beginnings of an early fan club. This thesis aims to show how these manuscripts were turned into a saleable commodity by the publisher and entrepreneur Richard Phillips, while under the guiding hand of another, slightly later, literary celebrity, Anna Laetitia Barbauld. In order to restore Richardson’s reputation amongst a new nineteenth century audience, Barbauld was required to construct her own idea of him as an eighteenth century celebrity author, and in doing so the insecurities of a self-professed, apparently diffident man, are revealed. Barbauld’s capacious, but heavily edited selection of letters is analyzed in this thesis, providing ample evidence that Richardson’s correspondents were more than just eager letter writers. By using Barbauld’s biography of Richardson this thesis aims to show how she manipulates the genre of life writing in her construction of him.
This thesis offers an alternative reading of how the Richardson manuscripts are viewed, redefining them as not simply a collection of letters, but as a collective entity, deliberately selected and archived as evidence of an early modern fan club, and its celebrity managing director
Selection of work by Anna Gerber
No full textVarious journals and magazines Anna Gerber has contributed to. Anna Gerber is a graphic designer and writer based in London.
She is the author and designer of All Messed Up: Unpredictable Graphics (Laurence King, 2004) and co-editor and co-designer
of Influences: A Lexicon of Contemporary Graphic Design (Die Gestalten Verlag, 2006) with Anja Lutz. She writes regularily for magazines such as Print, Eye, Creative Review, Varoom and Idea Magazine and her work has also been published in shift!, dot dot dot and +rosebud.
She teaches at the London College of Communication on the BA Graphic Design and MA Design Writing Criticism programmes. She has also held workshops and lectures across the U.K. (including Tate Modern and the V&A Museum), as well as in India, the U.S., Australia and Malaysia.
Anna Gerber is currently engaged in research and developing projects relating to sustainability and how it applies to graphic
design as well as exploring contemporary graphic design in India
Design for subjective well-being in interior architecture
No full textCan interior environments engage people in pleasurable and meaningful experiences and thereby have a positive influence on their happiness? This paper discusses why and how interior architects might want to consider implementing ideas in relation to ‘design for subjective well-being’.
Despite of people being the ingredients that bring life to the built environment, it tends to be designed in such a way for them to predominantly only passively absorb the surrounding. Up to date, when designing interior environments, (interior) architects are mainly concerned about the fulfillment of various rather objective considerations. Typical reflections in this respect are: is there enough daylight, how are the acoustics, how is the accessibility and the organization of the inner space? Starting from such premises, the atmosphere of the inner space is given substance. However, empirical studies have shown that long-term happiness is less a matter of one’s circumstances than of the activities that a person engages in. Hence, one could go one step further from viewing the built environment as a static entity, to designing spaces that facilitate desirable activities. In other words, inner environments could aim to stimulate experiences that provide pleasure and meaning to its inhabitants.
Subjective well-being (SWB) is an emerging research topic in the field of design sciences. Design models and strategies are being developed in an effort to increase users’ well-being. However, a detailed understanding of how these insights apply to interior architecture still needs to be refined. For this reason, this paper will firstly outline why interior environments could have the potential to contribute to people’s SWB and thereby to become platforms for the full spectrum of human well-being.
The second section of the paper reflects on how a deliberate focus on SWB will affect the process of designing interior environments. The Positive Design Framework, developed by Desmet & Pohlmeyer (2013), will be introduced to the (interior) architectural community. Interior architects can use this framework as a guide to assist them in the design process of interior environments that aim to contribute to people’s happiness. A number of examples will demonstrate in an interior architectural vocabulary the value that this framework can have for this discipline
Design for subjective well-being in interior architecture
No full textCan interior environments engage people in pleasurable and meaningful experiences and thereby have a positive influence on their happiness? This paper discusses why and how interior architects might want to consider implementing ideas in relation to ‘design for subjective well-being’.
Despite of people being the ingredients that bring life to the built environment, it tends to be designed in such a way for them to predominantly only passively absorb the surrounding. Up to date, when designing interior environments, (interior) architects are mainly concerned about the fulfillment of various rather objective considerations. Typical reflections in this respect are: is there enough daylight, how are the acoustics, how is the accessibility and the organization of the inner space? Starting from such premises, the atmosphere of the inner space is given substance. However, empirical studies have shown that long-term happiness is less a matter of one’s circumstances than of the activities that a person engages in. Hence, one could go one step further from viewing the built environment as a static entity, to designing spaces that facilitate desirable activities. In other words, inner environments could aim to stimulate experiences that provide pleasure and meaning to its inhabitants.
Subjective well-being (SWB) is an emerging research topic in the field of design sciences. Design models and strategies are being developed in an effort to increase users’ well-being. However, a detailed understanding of how these insights apply to interior architecture still needs to be refined. For this reason, this paper will firstly outline why interior environments could have the potential to contribute to people’s SWB and thereby to become platforms for the full spectrum of human well-being.
The second section of the paper reflects on how a deliberate focus on SWB will affect the process of designing interior environments. The Positive Design Framework, developed by Desmet & Pohlmeyer (2013), will be introduced to the (interior) architectural community. Interior architects can use this framework as a guide to assist them in the design process of interior environments that aim to contribute to people’s happiness. A number of examples will demonstrate in an interior architectural vocabulary the value that this framework can have for this discipline
Author and Lecturer Anna Bird Stewart will Speak at the University of Dayton
No full textNews release announcing the visitation and speech of author and lecturer Anna Bird Stewart to the University of Dayton
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