How the Golden Gate Bridge Was Built: A 3D Animated Introduction

Built dur­ing the depths of the Great Depres­sion (from 1933 to 1937), the Gold­en Gate Bridge became the longest and tallest sus­pen­sion bridge in the world. Dur­ing its con­struc­tion, work­ers bat­tled harsh con­di­tions — strong winds, thick fog, and the risk of plung­ing into the San Fran­cis­co Bay. 11 souls per­ished. Like­wise, the engi­neer Joseph Strauss had to work through com­pli­cat­ed design chal­lenges to anchor the struc­ture in the deep waters, then spin mas­sive cables and ten­sion them across the 4,000-foot span. Cre­at­ed by the YouTube chan­nel Ani­ma­graffs, the 3D ani­mat­ed video above takes view­ers on a tech­ni­cal tour of the Gold­en Gate Bridge’s con­struc­tion, decon­struct­ing the engi­neer­ing that makes the bridge both beau­ti­ful and endur­ing.

Note: If you vis­it this post in our archive, you can see vin­tage footage that shows the bridge under con­struc­tion and then open­ing to traf­fic in 1937.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent 

How the Brook­lyn Bridge Was Built: The Sto­ry of One of the Great­est Engi­neer­ing Feats in His­to­ry

Built to Last: How Ancient Roman Bridges Can Still With­stand the Weight of Mod­ern Cars & Trucks

Build­ing the Gold­en Gate Bridge: A Retro Film Fea­tur­ing Orig­i­nal Archival Footage

 

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The Untold Story of Bauhaus Women: The Avant-Garde Artists Who Helped Shape Modernism

It does­n’t take too long a look at the almost sur­re­al­is­ti­cal­ly clean-lined build­ings of Wal­ter Gropius to get the impres­sion that the man want­ed to ush­er in a new world, espe­cial­ly when you con­sid­er that many of them went up before World War II. Take the Bauhaus Dessau build­ing, which, though com­plet­ed exact­ly a cen­tu­ry ago, looks like a con­crete trans­mis­sion from the future that nev­er arrived, or one that may indeed still be on the way. It once housed the Ger­man art school turned polit­i­cal and cul­tur­al engine he found­ed in 1919, whose prin­ci­ples includ­ed absolute equal­i­ty between male and female par­tic­i­pants — or they did at first, at any rate.

Soon decid­ing that the new insti­tu­tion would­n’t be tak­en seri­ous­ly with too high a pro­por­tion of women, Gropius lim­it­ed their enroll­ment to one-third of the stu­dent body. That episode, among oth­ers that under­score the ways in which Gropius and the Bauhaus’ osten­si­ble com­mit­ment to the advance­ment of women was­n’t all it could be, fig­ures into Susanne Radel­hof’s doc­u­men­tary The Untold Sto­ry of Bauhaus Women.

Yet what­ev­er the short­com­ings in that depart­ment one might iden­ti­fy from a twen­ty-first cen­tu­ry van­tage, the fact remains that the Bauhaus made pos­si­ble — or at least encour­aged — more endur­ing and influ­en­tial work by female artists and design­ers than almost any art school in ear­ly twen­ti­eth-cen­tu­ry Europe.

Among the almost 500 women who stud­ied at the Bauhaus, the film pro­files fig­ures like Alma Busch­er, “who cre­at­ed pro­to­types of avant-garde fur­ni­ture and toys”; “vision­ary met­al­smith and design­er” Mar­i­anne Brandt; Gun­ta Stöl­zl, whose “weav­ing rev­o­lu­tion­ized mod­ern tex­tile design” (weav­ing even­tu­al­ly being the main pro­gram to which women were admit­ted); Friedl Dick­er, a “mul­ti­tal­ent­ed artist” ded­i­cat­ed to the Bauhaus; and Lucia Moholy, whose “excep­tion­al pho­tographs still influ­ence how we view Bauhaus design today.” The school itself may have shut down in 1933, owing to the con­flict between its aes­thet­ic and polit­i­cal ends and those of the ris­ing Nazi Par­ty, but the for­ward-look­ing nature and world­wide cul­tur­al influ­ence of the Bauhaus have ensured that we still feel the influ­ence of its alum­ni, male and female alike.

Relat­ed Con­tent:

The Female Pio­neers of the Bauhaus Art Move­ment: Dis­cov­er Gertrud Arndt, Mar­i­anne Brandt, Anni Albers & Oth­er For­got­ten Inno­va­tors

Watch Bauhaus World, a Free Doc­u­men­tary That Cel­e­brates the 100th Anniver­sary of Germany’s Leg­endary Art, Archi­tec­ture & Design School

The Pol­i­tics & Phi­los­o­phy of the Bauhaus Design Move­ment: A Short Intro­duc­tion

The Women of the Bauhaus: See Hip, Avant-Garde Pho­tographs of Female Stu­dents & Instruc­tors at the Famous Art School

An Oral His­to­ry of the Bauhaus: Hear Rare Inter­views (in Eng­lish) with Wal­ter Gropius, Lud­wig Mies van der Rohe & More

The Bauhaus Book­shelf: Down­load Orig­i­nal Bauhaus Books, Jour­nals, Man­i­festos & Ads That Still Inspire Design­ers World­wide

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

 

Discover Khipu, the Ancient Incan Record & Writing System Made Entirely of Knots

Khi­pus, the portable infor­ma­tion archives cre­at­ed by the Inca, may stir up mem­o­ries of 1970s macrame with their long strands of intri­cate­ly knot­ted, earth-toned fibers, but their func­tion more close­ly resem­bled that of a dense­ly plot­ted com­put­er­ized spread­sheet.

As Cecil­ia Par­do-Grau, lead cura­tor of the British Museum’s cur­rent exhi­bi­tion Peru: a jour­ney in time explains in the above Cura­tors Cor­ner episode, khi­pus were used to keep track of every­thing from inven­to­ries and cen­sus­es to his­tor­i­cal nar­ra­tives, using a sys­tem that assigned mean­ing to the type and posi­tion of knot, spaces between knots, cord length, fiber col­or, etc.

Much of the infor­ma­tion pre­served with­in khi­pus has yet to be deci­phered by mod­ern schol­ars, though the Open Khipu Repos­i­to­ry — com­pu­ta­tion­al anthro­pol­o­gist Jon Clin­daniel’s open-source data­base — makes it pos­si­ble to com­pare the pat­terns of hun­dreds of khi­pus resid­ing in muse­um and uni­ver­si­ty col­lec­tions.

Even in the Incan Empire, few were equipped to make sense of a khipu. This task fell to quipu­ca­may­ocs, high­born admin­is­tra­tive offi­cials trained since child­hood in the cre­ation and inter­pre­ta­tion of these organ­ic spread­sheets.

Fleet mes­sen­gers known as chask­is trans­port­ed khipus on foot between admin­is­tra­tive cen­ters, cre­at­ing an infor­ma­tion super­high­way that pre­dates the Inter­net by some five cen­turies. Khi­pus’ stur­dy organ­ic cot­ton or native camelid fibers were well suit­ed to with­stand­ing both the rig­ors of time and the road.

A 500-year-old com­pos­ite khipu that found its way to the British Muse­um organ­ics con­ser­va­tor Nicole Rode pri­or to the exhi­bi­tion was intact, but severe­ly tan­gled, with a brit­tle­ness that betrayed its age. Below, she describes falling under the khipu’s spell, dur­ing the painstak­ing process of restor­ing it to a con­di­tion where­by researchers could attempt to glean some of its secrets.

Vis­it Museo Chileno de Arte Precolombino’s web­site to learn more about khipu in a series of fas­ci­nat­ing short arti­cles that accom­pa­nied their ground­break­ing 2003 exhib­it QUIPU: count­ing with knots in the Inka Empire.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent: 

How the Incas Per­formed Skull Surgery More Suc­cess­ful­ly Than U.S. Civ­il War Doc­tors

How the Inca Used Intri­cate­ly-Knot­ted Cords, Called Khipu, to Write Their His­to­ries, Send Mes­sages & Keep Records

Explore the Flo­ren­tine Codex: A Bril­liant 16th Cen­tu­ry Man­u­script Doc­u­ment­ing Aztec Cul­ture Is Now Dig­i­tized & Avail­able Online

Ancient Maps that Changed the World: See World Maps from Ancient Greece, Baby­lon, Rome, and the Islam­ic World

Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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The Greek Mythology Family Tree: A Visual Guide Shows How Zeus, Athena, and the Ancient Gods Are Related

It was long ago that poly­the­ism, as the sto­ry comes down to us, gave way to monothe­ism. Human­i­ty used to have many gods, and now almost every reli­gious believ­er acknowl­edges just one — though which god, exact­ly, does vary. Some pop­u­lar the­o­ries of “big his­to­ry” hold that, as the scale of a soci­ety grows larg­er, the num­ber of deities pro­posed by its faiths gets small­er. In that scheme, it makes sense that the grow­ing Roman Empire would even­tu­al­ly adopt Chris­tian­i­ty, and also that the gods it first inher­it­ed from the city-states of ancient Greece would be so numer­ous. Through our mod­ern eyes, the var­i­ous immor­tals invoked so read­i­ly by the Greeks look less like holy fig­ures than a cast of char­ac­ters in a long-run­ning tele­vi­sion dra­ma.

Or maybe it would have to be a soap opera, giv­en that most of them belong to one big, often trou­bled clan. Hence the struc­ture of Use­fulCharts’ Greek Mythol­o­gy Fam­i­ly Tree, explained in the video above. Also avail­able for pur­chase in poster form, it clear­ly dia­grams the rela­tion­ships between every­one in the Greek pan­theon, from the high­est “pri­mor­dial gods” like Eros Elder and Gaia down to the chil­dren of Zeus and Posei­don.

How­ev­er pow­er­ful they could be — and some were pow­er­ful indeed — none of these gods act­ed like the infal­li­ble, omni­scient enti­ties of the major reli­gions we know today. They could act capri­cious­ly, venge­ful­ly and even non­sen­si­cal­ly, a reflec­tion of the often capricious‑, vengeful‑, and non­sen­si­cal-seem­ing nature of life in the ancient world.

For the Greeks them­selves, these myth­i­cal gods and mon­sters offered not just an explana­to­ry mech­a­nism, but also a form of enter­tain­ment, giv­en that noth­ing could go on in their ele­vat­ed world with­out high dra­ma. For us, they remain present in leg­ends from which we still draw inspi­ra­tion for our own larg­er-than-life sto­ries of hero­ism and vil­lainy, but also in our very lan­guage. Con­sid­er the ways in which we con­tin­ue to evoke the likes of the time-rul­ing Chronos, the love-bring­ing Cupid, the androg­y­nous Her­maph­ro­di­tus, or the mul­ti-head­ed Hydra in every­day speech. Though we may no longer need them to orga­nize our soci­eties, some of them have kept play­ing roles in the age of monothe­ism — which, what­ev­er its oth­er advan­tages, does­n’t require us to con­sult dia­grams to know who’s who.

Relat­ed Con­tent:

Mythos: An Ani­ma­tion Retells Time­less Greek Myths with Abstract Mod­ern Designs

Mythol­o­gy Expert Reviews Depic­tions of Greek & Roman Myths in Pop­u­lar Movies and TV Shows

How the Ancient Greeks Built Their Mag­nif­i­cent Tem­ples: The Art of Ancient Engi­neer­ing

18 Clas­sic Myths Explained with Ani­ma­tion: Pandora’s Box, Sisy­phus & More

Con­cepts of the Hero in Greek Civ­i­liza­tion (A Free Har­vard Course)

A Visu­al Time­line of World His­to­ry: Watch the Rise & Fall of Civ­i­liza­tions Over 5,000 Years

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A Visual Timeline of World History: Watch the Rise & Fall of Civilizations Over 5,000 Years

In the video above, Use­fulCharts cre­ator Matt Bak­er sug­gests that we not refer to the peri­od span­ning the fifth and the late fif­teenth cen­turies as the “dark ages.” In jus­ti­fi­ca­tion, he does­n’t put forth the argu­ment, now fair­ly com­mon, that the time in ques­tion was actu­al­ly full of sub­tle inno­va­tion occlud­ed by mod­ern prej­u­dice. The real prob­lem, as he sees it, is that the slow­ing, if not revers­ing, of the progress of human soci­ety that we’ve tra­di­tion­al­ly regard­ed as occur­ring in what are com­mon­ly known as the Mid­dle Ages only occurred in Europe. What’s more, there have been mul­ti­ple such eras in the world: take the ear­li­er “Greek dark ages” asso­ci­at­ed with the Bronze Age civ­i­liza­tion­al col­lapse of 1177 BC.

All this and more comes across at a glance on Bak­er’s Time­line of World His­to­ry, whose design is explained in the video. With char­ac­ter­is­tic Use­fulCharts clar­i­ty (also demon­strat­ed by the World Reli­gions Fam­i­ly Tree and the Evo­lu­tion of the Alpha­bet, pre­vi­ous­ly fea­tured here on Open Cul­ture), it lays out all the peri­ods of his­to­ry we may know bet­ter by their names than by their rela­tion­ship to actu­al events.

At the top, it begins with the end of pre­his­to­ry and the start of his­to­ry: that is, when writ­ing devel­oped around 5,300 years ago. At that point, mul­ti­ple civ­i­liza­tions had already begun to estab­lish them­selves around the world, and it is their growth and decline rep­re­sent­ed by the thick­ness of the lines run­ning down the time­line’s reg­u­lar cen­tu­ry-long divi­sions.

As the ear­ly Bronze Age gives way to the Bronze Age, the Bronze Age gives way to the Iron Age, and the Iron Age gives way to Clas­si­cal Antiq­ui­ty, these lines of civ­i­liza­tion thick­en into those of empire. None come thick­er than that of ancient Rome, which occu­pies the visu­al cen­ter of the poster (itself, inci­den­tal­ly, avail­able for pur­chase from Use­fulCharts’ site), but the design’s strength lies less in under­scor­ing the impor­tance of any one empire than of reveal­ing how much his­to­ry was going on all over the world at any giv­en time. Using its ver­ti­cal lines to trace the rise and fall of the Olmecs, say, or the Aksum­ite Empire or the Mis­sis­sip­pi­an Cul­ture, one can hard­ly sup­press a feel­ing of Ozy­man­di­an tran­sience. Nor, for that mat­ter, can one ignore that all of us live out our lives with­in the span of two of its hor­i­zon­tal ones.

Relat­ed con­tent:

An Inter­ac­tive Time­line Cov­er­ing 14 Bil­lion Years of His­to­ry: From The Big Bang to 2015

The His­to­ry of Civ­i­liza­tion Mapped in 13 Min­utes: 5000 BC to 2014 AD

World Reli­gions Explained with Use­ful Charts: Hin­duism, Bud­dhism, Judaism, Islam, Chris­tian­i­ty & More

The His­to­ry of the Earth (All 4.5 Bil­lion Years) in 1 Hour: A Mil­lion Years Cov­ered Every Sec­ond

6,000 Years of His­to­ry Visu­al­ized in a 23-Foot-Long Time­line of World His­to­ry, Cre­at­ed in 1871

The Writ­ing Sys­tems of the World Explained, from the Latin Alpha­bet to the Abugi­das of India

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How IKEA Revolutionized Furniture-Making

The humorist San­dra Tsing Loh once described her gen­er­a­tional cohort as “today’s young, high­ly trained, down­ward­ly mobile pro­fes­sion­als: ‘dump­ies.’ We’re just emerg­ing from years of col­lege only to learn that there are no jobs avail­able for peo­ple with our advanced qual­i­fi­ca­tions,” and thus no route to own­er­ship of all their hoped-for lifestyle accou­trements. No, she’s not a mil­len­ni­al, but rather what she calls a “late boomer” in an essay that dates from the mid-nineties — a few years after IKEA founder Ing­var Kam­prad “came into South­ern Cal­i­for­nia, utter­ing those five immor­tal words: ‘Halo­gen! Impos­si­ble Price: $29!’ The rest was his­to­ry. In that instant, we dump­ies found our niche. We rose up and became the IKEA Gen­er­a­tion!”

IKEA could expand so far out of its native Swe­den thanks to the suc­cess of prod­ucts like the LACK cof­fee table, the sub­ject of the new Pri­mal Space video above. Though small in scale and high­ly unpre­pos­sess­ing in appear­ance (and, let’s face it, a visu­al byword for cheap fur­nish­ings sec­ond only to the num­ber-one-sell­ing BILLY book­shelf) it’s long been a steady sell­er the world over, not least because its price, just under the equiv­a­lent of ten euros when intro­duced in 1981, has nev­er been raised. To man­age that, IKEA has had to use every trick in its book: not just the do-it-your­self “flat-packed” design it pio­neered, but also non-warp­ing par­ti­cle board, hon­ey­comb paper struc­tures for max­i­mum strength using a min­i­mum of mate­r­i­al, and even new­ly engi­neered leg-fold­ing machines.

How­ev­er briskly it sells, this par­tic­u­lar prod­uct may be unfor­tu­nate­ly named in an Eng­lish-speak­ing mar­ket; “What they ‘lack’ is sta­bil­i­ty,” one inter­vie­wee says to Loh. Still, it remains emblem­at­ic enough of the cor­po­rate mis­sion once artic­u­lat­ed by Kam­prad him­self: “To cre­ate a bet­ter every­day life for the major­i­ty of peo­ple.” (“How many Repub­li­can politi­cians can say they’ve done that?” Loh adds. “How many Democ­rats?”) That extends to the design of IKEA’s stores, which offer only one path to fol­low all the way through, like an extra-large fun­house. As not­ed in the video, while this forces cus­tomers to pass every prod­uct — and thus every temp­ta­tion to impulse buy — it also turns a vis­it into an expe­ri­ence unto itself, before the cus­tomer even reach­es the cafe­te­ria. Fun­ny; I could go for a plate of meat­balls right about now.

If you want to take a deep dive into the ori­gin and growth of IKEA, lis­ten to this three hour episode from the Acquired pod­cast.

Relat­ed Con­tent:

IKEA Dig­i­tizes & Puts Online 70 Years of Its Cat­a­logs: Explore the Designs of the Swedish Fur­ni­ture Giant

Hans Rosling Uses Ikea Props to Explain World of 7 Bil­lion Peo­ple

What Hap­pens When a Cheap Ikea Print Gets Pre­sent­ed as Fine Art in a Muse­um

Meet the Mem­phis Group, the Bob Dylan-Inspired Design­ers of David Bowie’s Favorite Fur­ni­ture

Spike Jonze’s Imag­i­na­tive TV Ads

Charles & Ray Eames’ Icon­ic Lounge Chair Debuts on Amer­i­can TV (1956)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

How a Dutch “Dementia Village” Improves Quality of Life with Intentional Design

Peo­ple suf­fer­ing from demen­tia lose their abil­i­ty to take an active part in con­ver­sa­tions, every­day activ­i­ties, and their own phys­i­cal upkeep.

They are prone to sud­den mood swings, irri­tabil­i­ty, depres­sion, and anx­i­ety.

They may be strick­en with delu­sions and wild hal­lu­ci­na­tions.

All of these things can be under­stand­ably upset­ting to friends and fam­i­lies. There’s a lot of stig­ma sur­round­ing this sit­u­a­tion.

Tak­ing care of a spouse or par­ent with demen­tia can be an over­whelm­ing­ly iso­lat­ing expe­ri­ence, though no one is more iso­lat­ed than the per­son expe­ri­enc­ing severe cog­ni­tive decline first­hand.

While many of us would do any­thing to stay out of them, the sad fact is res­i­den­tial mem­o­ry care facil­i­ties are often the end-of-the-line real­i­ty for those liv­ing with extreme demen­tia.

The Hogeweyk, a planned vil­lage just out­side of Ams­ter­dam, offers a dif­fer­ent sort of future for those with severe demen­tia.

The above episode of By Design, Vox’s series about the inter­sec­tion of design and tech­nol­o­gy, explores the inno­va­tions that con­tribute to the Hogeweyk’s res­i­dents’ over­all hap­pi­ness and well­be­ing.

Rather than group­ing res­i­dents togeth­er in a sin­gle insti­tu­tion­al set­ting, they are placed in groups of six, with every­one inhab­it­ing a pri­vate room and shar­ing com­mon spaces as they see fit.

The com­mon spaces open onto out­door areas that can be freely enjoyed by all housed in that “neigh­bor­hood”. No need to wait until a staff mem­ber grants per­mis­sion or fin­ish­es some task.

Those wish­ing to ven­ture fur­ther afield can avail them­selves of such pleas­ant quo­tid­i­an des­ti­na­tions as a gro­cery, a restau­rant, a bar­ber­shop, or a the­ater.

These loca­tions are designed in accor­dance with cer­tain things proven to work well in insti­tu­tion­al set­tings —  for instance, avoid­ing dark floor tiles, which some peo­ple with demen­tia per­ceive as holes.

But oth­er design ele­ments reflect the choice to err on the side of qual­i­ty of life. Hand rails may help in pre­vent­ing falls, but so do rol­la­tors and walk­ers, which the res­i­dents use on their jaunts to the town squares, gar­dens and pub­lic ameni­ties.

The design­ers believe that equip­ping res­i­dents with a high lev­el of free­dom not only pro­motes phys­i­cal activ­i­ty, it min­i­mizes issues asso­ci­at­ed with demen­tia like aggres­sion, con­fu­sion, and wan­der­ing.

Co-founders Eloy van Hal and Jan­nette Spier­ing write that the Hogeweyk’s crit­ics com­pare it to the Tru­man Show, the 1998 film in which Jim Car­rey’s title char­ac­ter real­izes that his whole­some small town life, and his every inter­ac­tion with his pur­port­ed friends, neigh­bors, and loved ones, have been a set up for a high­ly rat­ed, hid­den cam­era real­i­ty TV show.

They describe The Hogeweyk as a stage for, “the rem­i­nis­cence world”, in which actors help the res­i­dents live in a fic­ti­tious world. Many Alzheimer’s experts have, how­ev­er, val­ued The Hogeweyk for what it real­ly is: a famil­iar and safe envi­ron­ment in which peo­ple with demen­tia live while retain­ing their own iden­ti­ty and auton­o­my as much as pos­si­ble. They live in a social com­mu­ni­ty with real streets and squares, a real restau­rant with real cus­tomers, a super­mar­ket for gro­ceries and a the­atre that hosts real per­for­mances. There is no fake bus stop or post office, there are no fake façades and sets. The restau­rant employ­ee, the handy­man, the care­tak­er, the nurse, the hair­dress­er, etc.—in short: every­one who works at The Hogeweyk uses their pro­fes­sion­al skills to actu­al­ly sup­port the res­i­dents and are, there­fore, cer­tain­ly not actors.

Pro­fes­sion­al care and sup­port goes on around the clock, but rarely takes cen­ter­stage. Nor­mal life is pri­or­i­tized.

A vis­i­tor describes a stroll through some of the Hogeweyk’s pub­lic areas:

In the shade of one of the large trees, a mar­ried cou­ple gazes hap­pi­ly at the activ­i­ty in the the­atre square. An elder­ly gen­tle­man, togeth­er with a young lady, intent­ly study the large chess board and take turns mov­ing the pieces. At the foun­tain, a group of women chat loud­ly on colour­ful gar­den chairs. The sto­ry is clear­ly audible—it is about a mem­o­ry of a vis­it to a park in Paris which had the same chairs. Passers-by, old and young, greet the women enthu­si­as­ti­cal­ly. A lit­tle fur­ther on, a woman is talk­ing to a man oppo­site her. She is ges­tur­ing wild­ly. After a while, anoth­er woman joins the con­ver­sa­tion. The two women then walk through the open front door of Boule­vard 15.

The cov­ered pas­sage smells of fresh­ly-baked cook­ies. The scent is com­ing from De Bonte Hof. Amus­ing con­ver­sa­tions can be heard that pause for a moment when the oven beeps in the kitchen that has been dec­o­rat­ed in an old-fash­ioned style. A tray of fresh cook­ies is removed from the oven. Two women, one in a wheel­chair, enter the venue, obvi­ous­ly seduced by the smell. They sam­ple the cook­ies.

The super­mar­ket across the street is very busy. Shop­ping trol­leys loaded with gro­ceries are pushed out of the shop. The rat­tle of a shop­ping trol­ley dis­si­pates into the dis­tance as it dis­ap­pears from view towards Grote Plein. A man reluc­tant­ly push­es the full trol­ley while two women fol­low behind him arm in arm. The trio dis­ap­pear behind the front door of Grote Plein 5.


A staffer’s account of a typ­i­cal morn­ing in one of Hogeweyk’s hous­es reveals more about the hands-on care that allows res­i­dents to con­tin­ue enjoy­ing their care­ful­ly designed home, and the autonomous lifestyle it makes pos­si­ble:

Mr Hen­dricks wakes up on the sofa. He unzips his fly. I jump up and escort him to the toi­let just in time. I grab a roll of med­ica­tion for him from the med­ica­tion trol­ley. He is now walk­ing to his room. We pick out clothes togeth­er and I lay them out on his bed. He wash­es him­self at the sink. I watch briefly before leav­ing. Fif­teen min­utes lat­er, I poke my head through the door. That’s not how elec­tric shav­ing works! I offer to help, but Mr. Hen­dricks is clear­ly a bit irri­tat­ed and grum­bles. He’ll be a lit­tle less shaven today. We’ll try again after break­fast…

We help Mrs Sti­j­nen into the show­er chair with the hoist. She is clear­ly not used to it. Dis­cussing her exten­sive Swarovs­ki col­lec­tion, dis­played in the glass case in her room, turns out to be an excel­lent dis­trac­tion. She proud­ly talks about the lat­est piece she acquired this year. On to the show­er. The two oth­er res­i­dents are still sleep­ing. Great, that gives me the chance to devote some extra time to Mrs Sti­j­nen today.

The door­bell rings again and my col­league, Yas­min, walks in. She’s the famil­iar face that every­one can rely on. Always present at 8 a.m., 5 days a week. What a relief for res­i­dents and fam­i­ly. She, too, puts her coat and bag in the lock­er. The wash­ing machine is ready, and Yas­min loads up the dry­er. The table in the din­ing room is then set. Yas­min puts a flo­ral table­cloth from the cup­board on the table. Mr Hen­dricks lends a hand and, with some guid­ance, puts two plates in their place, but then walks away to the sofa and sits down. A Dutch break­fast with bread, cheese, cold cuts, jam, cof­fee, tea and milk is served. Yas­min is mak­ing por­ridge for Mrs Smit. As always, she has break­fast in bed. Yas­min helps Mrs Smit. It is now 08:45 and Mr Hen­dricks and Mrs Sti­j­nen are sit­ting at the din­ing table. Yas­min push­es the chairs in and sits down her­self. They chat about the weath­er, and Yas­min lends a help­ing hand when need­ed.

Mr Hen­dricks is real­ly grumpy today and is cur­rent­ly grum­bling at Mrs Jansen. I’m won­der­ing if we’re over­look­ing some­thing?

Learn more about the Hogeweyk, the world’s first demen­tia vil­lage here.

Watch a playlist of Vox By Design episodes here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2022.

Relat­ed Con­tent 

The Restau­rant of Mis­tak­en Orders: A Tokyo Restau­rant Where All the Servers Are Peo­ple Liv­ing with Demen­tia

How Music Can Awak­en Patients with Alzheimer’s and Demen­tia

Demen­tia Patients Find Some Eter­nal Youth in the Sounds of AC/DC

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist in NYC.

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A 400-Year-Old Ring that Unfolds to Track the Movements of the Heavens


Rings with a dis­creet dual pur­pose have been in use since before the com­mon era, when Han­ni­bal, fac­ing extra­di­tion, alleged­ly ingest­ed the poi­son he kept secret­ed behind a gem­stone on his fin­ger. (More recent­ly, poi­son rings gave rise to a pop­u­lar Game of Thrones fan the­o­ry…)

Vic­to­ri­ans pre­vent­ed their most close­ly kept secrets—illicit love let­ters, per­haps? Last wills and testaments?—from falling into the wrong hands by wear­ing the keys to the box­es con­tain­ing these items con­cealed in signet rings and oth­er state­ment-type pieces.

A tiny con­cealed blade could be lethal on the fin­ger of a skilled (and no doubt, beau­ti­ful) assas­sin. These days, they might be used to col­lect a bit of one’s attack­er’s DNA.

Enter the fic­tion­al world of James Bond, and you’ll find a num­ber of handy dandy spy rings includ­ing one that dou­bles as a cam­era, and anoth­er capa­ble of shat­ter­ing bul­let­proof glass with a sin­gle twist.

Armil­lary sphere rings like the ones in the British Muse­um’s col­lec­tion and the Swedish His­tor­i­cal Muse­um (top) serve a more benign pur­pose. Fold­ed togeth­er, the two-part out­er hoop and three inte­ri­or hoops give the illu­sion of a sim­ple gold band. Slipped off the wearer’s fin­ger, they can fan out into a phys­i­cal mod­el of celes­tial lon­gi­tude and lat­i­tude.

Art his­to­ri­an Jes­si­ca Stew­art writes that in the 17th cen­tu­ry, rings such as the above spec­i­men were “used by astronomers to study and make cal­cu­la­tions. These pieces of jew­el­ry were con­sid­ered tokens of knowl­edge. Inscrip­tions or zodi­ac sym­bols were often used as dec­o­ra­tive ele­ments on the bands.”

The armil­lary sphere rings in the British Museum’s col­lec­tion are made of a soft high-alloy gold.

Jew­el­ry-lov­ing mod­ern astronomers seek­ing an old school fin­ger-based cal­cu­la­tion tool that real­ly works can order armil­lary sphere rings from Brook­lyn-based design­er Black Adept.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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Relat­ed Con­tent: 

A 16th-Cen­tu­ry Astron­o­my Book Fea­tured “Ana­log Com­put­ers” to Cal­cu­late the Shape of the Moon, the Posi­tion of the Sun, and More

When Astronomer Johannes Kepler Wrote the First Work of Sci­ence Fic­tion, The Dream (1609)

The Rem­brandt Book Bracelet: Behold a Func­tion­al Bracelet Fea­tur­ing 1400 Rem­brandt Draw­ings

Behold the Astro­nom­icum Cae­sareum, “Per­haps the Most Beau­ti­ful Sci­en­tif­ic Book Ever Print­ed” (1540)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist in New York City.

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