This work examined window/door opening as means of bedroom ventilation and the consequent effect upon occupants’ sleep, using data from 17 healthy volunteers. Bedroom CO2 level, temperature, and relative humidity were measured over 5 days, for two cases: open window or door (internal, bedroom door), and closed window and door. Participant filled questionnaires and sleep diary provided subjective measure of sleep quality. Actigraphy objectively monitored the participants during sleep. Additionally, a FlexSensor, placed under pillows of participants, detected movement during sleep. Average CO2 level for the Open conditions was 717 ppm (SD = 197 ppm) and for Closed conditions was 1150 ppm (SD = 463 ppm). Absolute humidity levels were similar for both conditions, while Open conditions were slightly cooler (mean = 19.7°C, SD = 1.8°C) than Closed (mean = 20.1°C, SD = 1.5°C). Results showed significant correlations (P < .001) between actigraphy data and questionnaire responses for: sleep latency (r = .45), sleep length (r = .87), and number of awakenings (r = .28). Of all analyzed sleep parameters, questionnaire‐based depth of sleep (P = .002) and actigraphy‐based sleep phase (P = .003) were significantly different between Open and Closed conditions.
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Our planetary footprint has become so incredibly large, precisely because we have been doing less and less ourselves. Our entire culture revolves around outsourcing. First to slaves, then to wage slaves, machines and now also to AI. We let others produce (often industrially) all sorts of things, in clean-looking production lines. For example, in the factory farming industry, from rearing, via slaughter, processing, marketing and selling to that pork chop on our plate, or from monocultures via breweries to the beer in our jugs, all of this revolves around outsourcing. In our daily lives we outsource muscle power to machines (cars, bicycles, drills, kitchen mixers, etc.), search and thinking power to Wikipedia, Google or ChatGPT, and agenda and collection power to online platforms and meeting rooms.
MULTIFILE
Ageing-in-place is the preferred way of living for older individuals in an ageing society. It can be facilitated through architectural and technological solutions in the home environment. Dementia poses additional challenges when designing, constructing, or retrofitting housing facilities that support ageing-in-place. Older adults with dementia and their partners ask for living environments that support independence, compensate for declining and vitality, and lower the burden of family care. This study reports the design process of a demonstration home for people with dementia through performing a literature review and focus group sessions. This design incorporates modifications in terms of architecture, interior design, the indoor environment, and technological solutions. Current design guidelines are frequently based on small-scale studies, and, therefore, more systematic field research should be performed to provide further evidence for the efficacy of solutions. The dwellings of people with dementia are used to investigate the many aspects of supportive living environments for older adults with dementia and as educational and training settings for professionals from the fields of nursing, construction, and building services engineering.
We had been involved in the redesign of the 4 Period Rooms of the Marquise Palace, also called the Palace of Secrets, in Bergen op Zoom. This design was based on the biography of a historical figure: Marie Anne van Arenberg, whose dramatic life was marked by secrets. Each of the 4 rooms represents a turning moment in Marie Anne’s story: the official marriage, the secret marriage and the betrayal, the dilemma and choice, with, in a final room, the epilogue. These different episodes are reflected in the way the rooms are furnished: the ballroom, the bedroom, the dining room. The Secret Marquise as design and exhibition has brought more visitors to the museum. As designers and researchers, however, we were interested in understanding more about this success, and, in particular, in understanding the visitors experience, both emotionally and sensorially at different moments/situations during the story-driven experience.In the fall of 2021, the visitors’ lived experience was evaluated using different approaches: a quantitative approach using biometric measurements to register people’s emotions during their visit, and a qualitative one consisting of a combination of observations, visual imagery, and interpretative phenomenological analysis (IPA).Qualitatively, our aim was to understand how respondents made sense of Marie Anne’s story in the way in which this was presented throughout the exhibition. We specifically looked at the personal context and frame of reference (e.g., previous experiences, connection to the visitor’s own life story, associations with other stories from other sources). In the design of the rooms, we used a combination of digital/interactive elements (such as a talking portrait, an interactive dinner table, an interactive family painting), and traditional physical objects (some 17th century original objects, some reproductions from that time). The second focal point of the study is to understand how these different elements lead the visitors experience.
