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.

Dur­ing the first sum­mer of the COVID-19 pan­dem­ic, nurs­ing home deaths attrib­uted to Alzheimer’s dis­ease and demen­tia increased by more than 20 per­cent, owing to such fac­tors as chron­ic staffing short­ages and a ban on out­side vis­i­tors.

As DeAnn Wal­ters, direc­tor of clin­i­cal affairs for the Cal­i­for­nia Asso­ci­a­tion of Health Facil­i­ties, told Politi­co:

We’re try­ing to be sup­port­er, social work­er, care­giv­er, friend and house­keep­ing for the res­i­dent. It’s putting a lot of pres­sure on the care­givers and the oper­a­tion of the facil­i­ty to make sure every­one has what they need. Before the pan­dem­ic we couldn’t even get socks on peo­ple and you’d see them walk­ing around bare­foot.

Not the vision any of us would choose for our parent’s gold­en years, or our own.

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.

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 of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

How a Simple, Bauhaus-Designed Chair Ended Up Everywhere Over the Past 100 Years

If you don’t believe chairs can be art, you’ll have to take it up with the cura­tors, gal­lerists, col­lec­tors, archi­tects, and design­ers around the world who spend their lives obsess­ing over chair design. Every major muse­um has a fur­ni­ture col­lec­tion, and every col­lec­tion dis­play­ing fur­ni­ture gives spe­cial pride of place to the rad­i­cal inno­va­tions of mod­ernist chairs, from ear­ly arti­san cre­ations of the Bauhaus to mass-pro­duced mid-cen­tu­ry chairs of leg­end. Chairs are sta­tus sym­bols, art objects, and phys­i­cal man­i­fes­ta­tions of leisure, pow­er, and repose.

Who could for­get Charles and Ray Eames’ icon­ic lounge chair, Arne Jacob­sen’s “Egg,” the ele­gant­ly sim­ple side chairs of Eero Saari­nen and Charles Eames, or even the more recent cor­ner office sta­ple, the Aeron Chair — the Her­man Miller orig­i­nal that has been part of the Muse­um of Mod­ern Art’s per­ma­nent col­lec­tion since 1992? “In chairs more than in any oth­er object, human beings are the unit of mea­sure,” says Muse­um of Mod­ern Art cura­tor Pao­la Antonel­li, “and design­ers are forced to walk a line between stan­dard­iza­tion and per­son­al­iza­tion.”

Artist Mar­cel Breuer, a Bauhaus design­er, archi­tect, and instruc­tor, applied more than his share of inno­v­a­tive ideas to a series of chairs and tables designed and built in the 1920s and 30s. The most icon­ic of these, from a design per­spec­tive, may be the “Wass­i­ly,” a club chair-shaped con­trap­tion made of steel tub­ing and can­vas straps. (The chair acquired the name because Breuer’s Bauhaus col­league Wass­i­ly Kandin­sky so admired it.) One rarely encoun­ters this chair out­side the envi­rons of upscale fur­ni­ture gal­leries and the fin­er homes and wait­ing rooms.

Breuer’s Cesca, how­ev­er, the Wass­i­ly’s small­er, more util­i­tar­i­an cousin from 1928, seems to show up all over the place. Also called the B32 (with an arm­chair ver­sion called the B64), the Cesca’s one-piece, steel tube design was, like Breuer’s full line of Bauhaus fur­ni­ture, inspired by his exper­i­ments in bike-build­ing and inter­est in “mass pro­duc­tion and stan­dard­iza­tion,” he said. Unlike the Wass­i­ly, which might set you back around $3,300 for a qual­i­ty repro­duc­tion, a Cesca comes in at around 1/10th the price, and seems ubiq­ui­tous, the Vox video above points out.

No, it’s still not cheap, but Breuer’s rat­tan chair design is wide­ly beloved and copied. “The can­tilevered cane-and-chrome chair is all over the place,” Vox writes, “in trendy homes, in movies and on TV shows, even tat­tooed on peo­ple’s bod­ies.… [This] some­what unas­sum­ing two-legged chair is the real­iza­tion of a man­i­festo’s worth of utopi­an ideals about design and func­tion­al­i­ty.” It sat­is­fies the school’s brief, that is to say, for the util­i­tar­i­an as utopi­an, as Breuer him­self lat­er com­ment­ed on his design:

I already had the con­cept of span­ning the seat with fab­ric in ten­sion as a sub­sti­tute for thick uphol­stery. I also want­ed a frame that would be resilient and elas­tic [as well as] achieve trans­paren­cy of forms to attain both visu­al and phys­i­cal light­ness.… I con­sid­ered such pol­ished and curved lines not only sym­bol­ic of our mod­ern tech­nol­o­gy, but actu­al­ly tech­nol­o­gy itself.

Learn more about the prac­ti­cal, com­fort­able, beau­ty of the Cesca — and the ideals of the Bauhaus — in the video at the top. Learn more about the chair’s design­er, Mar­cel Breuer, in this online MoMA mono­graph by Christo­pher Wilk.

Relat­ed Con­tent: 

How the Icon­ic Eames Lounge Chair Is Made, From Start to Fin­ish

Down­load Orig­i­nal Bauhaus Books & Jour­nals for Free: A Dig­i­tal Cel­e­bra­tion of the Found­ing of the Bauhaus School 100 Years Ago

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

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Behold a Book of Color Shades Depicted with Feathers (Circa 1915)

Per­haps the 143 col­ors show­cased in The Bay­er Company’s ear­ly 20th-cen­tu­ry sam­ple book, Shades on Feath­ers, could be col­lect­ed in the field, but it would involve a lot of trav­el and patience, and the stalk­ing of sev­er­al endan­gered if not down­right extinct avian species.

Far eas­i­er, and much less expen­sive, for milliners, design­ers and dec­o­ra­tors to dye plain white feath­ers  exot­ic shades, fol­low­ing the instruc­tions in the sam­ple book.

Such arti­fi­cial­ly obtained rain­bows owe a lot to William Hen­ry Perkin, a teenage stu­dent of Ger­man chemist August Wil­helm von Hof­mann, who spent East­er vaca­tion of 1856 exper­i­ment­ing with ani­line, an organ­ic base his teacher had ear­li­er dis­cov­ered in coal tar.  Hop­ing to hit on a syn­thet­ic form of qui­nine, he acci­den­tal­ly hit on a solu­tion that col­ored silk a love­ly pur­ple shade — an inad­ver­tent eure­ka moment that ranks right up there with peni­cillin and the pret­zel.

A Sci­ence Muse­um Group pro­file details what hap­pened next:

Perkin named the colour mauve and the dye mau­veine. He decid­ed to try to mar­ket his dis­cov­ery instead of return­ing to col­lege.

On 26 August 1856, the Patent Office grant­ed Perkin a patent for ‘a new colour­ing mat­ter for dye­ing with a lilac or pur­ple colour stuffs of silk, cot­ton, wool, or oth­er mate­ri­als’.

Perk­in’s next step was to inter­est cloth dyers and print­ers in his dis­cov­ery. He had no expe­ri­ence of the tex­tile trade and lit­tle knowl­edge of large-scale chem­i­cal man­u­fac­ture. He cor­re­spond­ed with Robert and John Pullar in Glas­gow, who offered him sup­port. Perk­in’s luck changed towards the end of 1857 when the Empress Eugénie, wife of Napoleon III, decid­ed that mauve was the colour to wear. In Jan­u­ary 1858, Queen Vic­to­ria fol­lowed suit, wear­ing mauve to her daughter’s wed­ding.

Cue an explo­sion of dye man­u­fac­tur­ers across Great Britain and Europe, includ­ing Bay­er, pro­duc­er of the feath­er sam­ple book. The sur­vival of this arti­fact is some­what mirac­u­lous giv­en how vul­ner­a­ble antique feath­ers are to envi­ron­men­tal fac­tors, pests, and improp­er stor­age.

(The sam­ple book rec­om­mends clean­ing the feath­ers pri­or to dying in a luke­warm solu­tion of small amounts of olive oil soap and ammo­nia.)

The Sci­ence His­to­ry Insti­tute, own­er of this unusu­al object, esti­mates that the undat­ed book was pro­duced between 1913 and 1918, the year the Migra­to­ry Bird Act Treaty out­lawed the hunt­ing of birds whose feath­ers humans deemed par­tic­u­lar­ly fash­ion­able.

Peruse the Sci­ence His­to­ry Insti­tute of Philadel­phi­a’s dig­i­tized copy of the Shades on Feath­ers sam­ple book here.

via Messy Nessy

Relat­ed Con­tent 

Down­load 435 High Res­o­lu­tion Images from John J. Audubon’s The Birds of Amer­i­ca

The Bird­song Project Fea­tures 220 Musi­cians, Actors, Artists & Writ­ers Pay­ing Trib­ute to Birds: Watch Per­for­mances by Yo-Yo Ma, Elvis Costel­lo and Beck

The Bird Library: A Library Built Espe­cial­ly for Our Fine Feath­ered Friends

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Take Graphic Design Courses to Launch Your Career as a Graphic Designer, Video Game Designer, UI Designer & More

What can you do with graph­ic design skills? More and more, it seems, as emerg­ing tech­nolo­gies dri­ve new apps, soft­ware, and games. New design chal­lenges are every­where, from human-machine inter­faces, to 3D mod­el­ing in video games and ani­mat­ed films, to re-imag­in­ing clas­sic designs in print and on screen. In addi­tion to tra­di­tion­al jobs like art direc­tor, graph­ic design­er, pro­duc­tion artist, and ani­ma­tor, the past few years have seen a sharp rise in demand for User Expe­ri­ence (UX) and User Inter­face (UI) design­ers, roles that require a vari­ety of dif­fer­ent cre­ative and tech­ni­cal skill sets.

You could get a four-year degree in design to work in one of these fields, or you could take a Cours­era Spe­cial­iza­tion and be one step clos­er. Cours­era has met the demand for new job skills and tech edu­ca­tion by part­ner­ing with top arts insti­tu­tions and uni­ver­si­ties to offer online cours­es at low cost. All of these cours­es grant cer­tifi­cates that show poten­tial employ­ers you’re ready to put your learn­ing to use. If careers in art and con­tem­po­rary design, graph­ic design, web user expe­ri­ence and inter­face design, or video game design appeal to you, you can learn those skills in the five cer­tifi­cate-grant­i­ng Spe­cial­iza­tion pro­grams below.

Graph­ic design­ers can choose to be as spe­cial­ized or gen­er­al­ized as they like, but as in all cre­ative fields, they need a thor­ough under­stand­ing of the basics. A Cours­era Spe­cial­iza­tion is a series of cours­es intend­ed to lead stu­dents to mas­tery, build­ing on the his­to­ry and foun­da­tions of the field. You can enroll for free and try out any of the Spe­cial­iza­tions for 7 days. After that, you’ll be charged between $39-$49 per month until you com­plete the cours­es in a Spe­cial­iza­tion. (Finan­cial aid is avail­able).

The excit­ing Spe­cial­iza­tions from CALARTS and the Muse­um of Mod­ern Art will bring you many steps clos­er to a new career, or maybe even a new per­son­al pas­sion project.

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es and pro­grams, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

Google Unveils a Dig­i­tal Mar­ket­ing & E‑Commerce Cer­tifi­cate: 7 Cours­es Will Help Pre­pare Stu­dents for an Entry-Lev­el Job in 6 Months       

Google & Cours­era Launch Career Cer­tifi­cates That Pre­pare Stu­dents for Jobs in 6 Months: Data Ana­lyt­ics, Project Man­age­ment and UX Design

Become a Project Man­ag­er With­out a Col­lege Degree with Google’s Project Man­age­ment Cer­tifi­cate

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Vincent van Gogh “Starry Night” LEGO Set Is Now Available: It’s Created in Collaboration with MoMA

Vin­cent Van Gogh’s The Star­ry Night is one of the most pop­u­lar and eas­i­ly rec­og­nized paint­ings on earth. If you haven’t seen it per­son, you’ve prob­a­bly seen it repro­duced on a post­card, a tote bag, or a t‑shirt.

Musi­cian Shel­don Clarke was a Star­ry Night vir­gin when he start­ed work­ing as a secu­ri­ty offi­cer at the Muse­um of Mod­ern Art:

I knew noth­ing about Vin­cent or Star­ry Night before I start­ed work­ing here. And I remem­ber the first time I stood at that painting…first of all, I was so amazed at the reac­tion of the pub­lic. There was always a group of peo­ple just fight­ing to look at it or take pic­tures or take self­ies and I was just curi­ous to know like, who is this painter and why is every­one so excit­ed to see this piece?

Now, Clarke is suf­fi­cient­ly well versed to hold forth on both the nature of the art­work and cir­cum­stances in which the artist cre­at­ed it. He is, with Senior Paint­ings Con­ser­va­tor Anny Avi­ram,  Asso­ciate Cura­tor Cara Manes, and Robert Kastler, direc­tor of Imag­ing and Visu­al Resources, one of four MoMA staffers to give some con­text, while try­ing their hands at the new Star­ry Night LEGO set.

A col­lab­o­ra­tion between MoMA and LEGO, the set rein­ter­prets Van Gogh’s thick impas­to brush­work in 2316 tiny plas­tic bricks, includ­ing a mini fig­ure of the artist, equipped with paint­brush, palette, easel, and an adjustable arm for posi­tion­ing him at suf­fi­cient dis­tance to gain per­spec­tive on his world famous work.

The set is the win­ning entry in a LEGO Ideas com­pe­ti­tion. Design­er Tru­man Cheng, a 25-year-old LEGO fan and PhD can­di­date focus­ing on  med­ical robot­ics and mag­net­ic con­trolled sur­gi­cal endo­scopes. He had long want­ed to ren­der The Star­ry Night in LEGO, bu its exe­cu­tion required a light­bulb moment:

One day, I was just play­ing with LEGO parts, and I real­ized that stack­ing LEGO plates togeth­er at ran­dom inter­vals looks a lot like van Gogh’s icon­ic brush strokes. I couldn’t help but won­der what the full paint­ing would look like with this build style.

As Avi­ram and Kastler point out, the set cleaves faith­ful­ly to Van Gogh’s lim­it­ed palette. Some LEGO fans report that build­ing up the blue back­ground lay­ers is the most chal­leng­ing aspect of assem­bling the 11”x14.5” kit:

I’m 54 and the col­ors, being kind of close, were play­ing games with my eyes. LOL This is my favorite LEGO of all time! In clos­ing, if you haven’t heard the song, Vin­cent  by Don McLean, I sug­gest you take a lis­ten to this song as you stare at this LEGO mas­ter­piece.

Order LEGO’s Vin­cent van Gogh - The Star­ry Night set from Ama­zon.

Relat­ed Con­tent 

Vin­cent Van Gogh’s “The Star­ry Night”: Why It’s a Great Paint­ing in 15 Min­utes

The Unex­pect­ed Math Behind Van Gogh’s “Star­ry Night”

Zoom Into a Super High Res­o­lu­tion Pho­to of Van Gogh’s “The Star­ry Night”

1,000+ Art­works by Vin­cent Van Gogh Dig­i­tized & Put Online by Dutch Muse­ums: Enter Van Gogh World­wide

Down­load Vin­cent van Gogh’s Col­lec­tion of 500 Japan­ese Prints, Which Inspired Him to Cre­ate “the Art of the Future”

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Ergonomics Experts Explain How to Set Up Your Desk

Ergonom­ics aren’t a joke, Jim. — Dwight Schrute, The Office

Tech­no­log­i­cal inno­va­tions are snow­balling faster than ever in the third decade of the 21st-cen­tu­ry. A home office set-up that would have been cause for pride in 2019 seems woe­ful­ly inad­e­quate now.

Just ask any­one whose desk job piv­ot­ed to vir­tu­al in March of 2020.

So, per­haps don’t take phys­i­cal ther­a­pist’s Jon Cinkay’s near­ly three year old advice in the above Wall Street Jour­nal video as gospel, but rather as a chance to check in with your carpal tun­nels, your aching neck and back, and your favorite refur­bished office fur­ni­ture out­let.

Cinkay assumes that your desk is a stan­dard 29 — 30” tall, which is not the case here, but okay…

Our bod­ies’ unique dimen­sions mean that no desk can be a one-size-fits-all propo­si­tion, and Cinkay makes a robust case for mak­ing mod­i­fi­ca­tions:

1. Adjust your desk chair

Cinkay rec­om­mends adjust­ing the seat height until your elbows are bent at a 90-degree angle when your fin­gers are on the key­board. (As of this writ­ing, key­boards have not yet become obso­lete.)

In a 2020 arti­cle for the Hos­pi­tal of Spe­cial Surgery, he also rec­om­mends mak­ing sure your chair’s arm­rests can fit under your desk to avoid pos­tur­al com­pro­mis­es when reach­ing for your key­board or mouse.

He also wise­ly advis­es look­ing for a chair with a min­i­mum 30-day war­ran­ty so you don’t get stuck with an expen­sive mis­take.

2. Con­sid­er a foot­stool

If crank­ing your desk chair to the per­fect height leaves your feet dan­gling, you’ll need a foot­stool to help your knees main­tain a prop­er 90-degree bend. If you can’t invest in a high tech adjustable foot­stool, a ream of paper will do in a pinch.

Tech expert David Zhang, who we’ll hear from soon below, rests his cute striped socks on a yoga mat.

Who among us does not have dozens of things that could be pressed into ser­vice as a foot­stool?

I am left to pon­der the fate of the dec­o­ra­tive needle­point­ed foot­stools my late grand­moth­er and her sis­ters scat­tered around their liv­ing rooms.

Can an actu­al foot­stool be con­sid­ered a foot­stool hack?

3. Adjust the height of your mon­i­tor 

To avoid neck pain, use a mon­i­tor stand to posi­tion the top of the screen lev­el with your eyes. If you’re work­ing with a lap­top, you’ll need a stand, a sep­a­rate key­board and and a mouse.

Cinkay’s mon­i­tor stand hack is — you guessed it — a ream of paper.

Mine is 5000 Years of the Art of India which is about the same thick­ness as a ream of paper and was in easy reach at the library where I work.

To judge by some of the com­ments on Cinkay’s Wall Street Jour­nal video, his key­board dates to the Stone Age.

What­ev­er his key­board vin­tage, the afore­men­tioned arti­cle did sug­gest gel wrist rests to relieve pres­sure on the sen­si­tive carpal tun­nel area, but watch out! Zhang is not a fan!

4. Get a Head­set

Leav­ing aside the fact that the phone in ques­tion appears to be a land­line, a head­set allows you to keep your head on straight, thus min­i­miz­ing neck and shoul­der pain.

5. Remem­ber that you’re not chained to your desk

Of all the ergonom­ic advice offered above, this seems like­li­est to remain ever­green.

Take a snack break, a water break, a bath­room break, and while you’re at it toss in a cou­ple of the stretch­es Cinkay rec­om­mends.

(The Mayo Clin­ic has more, includ­ing our favorite shoul­der stretch.)

Zhang’s desk-cen­tric video was uploaded in 2017, when key­board trays were already becom­ing a rel­ic of a bygone era. 

As men­tioned, he’s anti-wrist rest. If your wrists are in need of sup­port, and they are, get a palm rest!

Zhang’s also crit­i­cal of draw­ers and — unusu­al for 2017 — stand­ing desks though like Cirkay, he’s a big fan of stand­ing up and mov­ing around.

His video descrip­tion includes some com­mon sense, ass-cov­er­ing encour­age­ment for view­ers with irreg­u­lar symp­toms or pain to seek pro­fes­sion­al help. We think this means med­ical pro­fes­sion­al, though unsur­pris­ing­ly, ergonom­ic assess­ment is a fast grow­ing field. It’s expen­sive but pos­si­bly costs less in the long run than rush­ing out to buy what­ev­er a stranger on the inter­net tells you to.

To that end, we appre­ci­ate Zhang’s trans­paren­cy regard­ing his channel’s par­tic­i­pa­tion in the Ama­zon Ser­vices LLC Asso­ciates affil­i­ate adver­tis­ing pro­gram.

Caveat emp­tor!

Relat­ed Con­tent 

Why Sit­ting Is The New Smok­ing: An Ani­mat­ed Expla­na­tion

Who Wrote at Stand­ing Desks? Kierkegaard, Dick­ens and Ernest Hem­ing­way Too

Behold the Elab­o­rate Writ­ing Desks of 18th Cen­tu­ry Aris­to­crats

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

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

Admit­ted­ly jew­el­ry is not one of our areas of exper­tise, but when we hear that a bracelet costs €10,000, we kind of expect it to have a smat­ter­ing of dia­monds.

Design­ers Lyske Gais and Lia Duinker are get­ting that amount for a wrist­let com­prised chiefly of five large paper sheets print­ed with high res images down­loaded free from the Rijksmu­se­um’s exten­sive dig­i­tal archive of Rem­brandt draw­ings and etch­ings.

Your aver­age pawn­bro­ker would prob­a­bly con­sid­er its 18-karat gold clasp, or pos­si­bly the cus­tom-made wood­en box in which it can be stored when not in use the most pre­cious thing about this orna­ment.

An ardent bib­lio­phile or art lover is per­haps bet­ter equipped to see the book bracelet’s val­ue.

Each gilt edged page — 1400 in all — fea­tures an image of a hand, sourced from 303 down­loaded Rem­brandt works.

An illus­tra­tion on the design­ers’ Duinker and Dochters web­site details the painstak­ing process where­by the book­bracelet takes shape in 8‑page sec­tions, or sig­na­tures, cross stitched tight­ly along­side each oth­er on a paper band. Put it on, and you can flip through Rem­brandt hands, Rolodex-style. When you want to do the dish­es or take a show­er, just pack it flat into that cus­tom box.

Gais and Duinker also include an index, which is handy for those times when you don’t feel like hunt­ing and peck­ing around your own wrist in search of a hand that appeared in the Flute Play­er or  Christ cru­ci­fied between the two mur­der­ers.

The Rembrandt’s Hands and a Lion’s Paw bracelet, titled like a book and pub­lished in a lim­it­ed edi­tion of 10, nabbed first prize in the 2015 Rijksstu­dio Awards, a com­pe­ti­tion that chal­lenges design­ers to cre­ate work inspired by the Rijksmuseum’s col­lec­tion.

(2015’s sec­ond prize went to an assort­ment of con­serves and condi­ments that harkened to Johannes Hannot’s 1668 Still Life with Fruit. 2014’s win­ner was a palette of eye­shad­ow and some eye­lin­ers inspired by Jan Adam Kruseman’s 1833 Por­trait of Ali­da Christi­na Assink and a Leen­dert van der Cooghen sketch.)

But what about that spe­cial art lov­ing bib­lio­phile who already has every­thing, includ­ing a Rem­brandts Hands and a Lions Paw boekarm­band?

Maybe you could get them Col­lier van hond­jes, Gais and Duinker’s fol­low up to the book bracelet, a rub­ber chok­er with an attached 112-page book pen­dant show­cas­ing Rem­brandt dogs sourced from var­i­ous museum’s dig­i­tal col­lec­tions.

Pur­chase Rem­brandt’s Hands and a Lions Paw lim­it­ed edi­tion book bracelet here.

And embark on mak­ing your own improb­a­ble thing inspired by a high res image in the Rijksmu­se­um’s Rijks Stu­dio here.

via Colos­sal/Neatora­ma

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and cre­ator, most recent­ly of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Japanese Researcher Sleeps in the Same Location as Her Cat for 24 Consecutive Nights!


Cross cat nap­ping with bed hop­ping and you might end up hav­ing an “adven­ture in com­fort” sim­i­lar to the one that informs stu­dent Yuri Naka­hashi’s the­sis for Tokyo’s Hosei Uni­ver­si­ty.

For 24 con­sec­u­tive nights, Naka­hashi for­went the com­forts of her own bed in favor of a green sleep­ing bag, unfurled in what­ev­er ran­dom loca­tion one of her five pet cats had cho­sen as its sleep­ing spot that evening.

(The choice of which cat would get the plea­sure of dic­tat­ing each night’s sleep­ing bag coor­di­nates was also ran­dom­ized.)

As the own­er of five cats, Naka­hashi pre­sum­ably knew what she was sign­ing up for…

 

Cats rack out atop sofa backs, on stairs, and under beds…and so did Naka­hashi.

Her pho­tos sug­gest she logged a lot of time on a bare wood­en floor.

A Fit­Bit mon­i­tored the dura­tion and qual­i­ty of time spent asleep, as well as the fre­quen­cy with which she awak­ened dur­ing the night.

She doc­u­ment­ed the phys­i­cal and psy­cho­log­i­cal effects of this exper­i­ment in an inter­ac­tive pub­lished by the Infor­ma­tion Pro­cess­ing Soci­ety of Japan.

She reports that she eager­ly await­ed the rev­e­la­tion of each night’s coor­di­nates, and that even when her sleep was dis­rupt­ed by her pets’ mid­dle of the night groom­ing rou­tines, bunk­ing next to them had a “relax­ing effect.”

Mean­while, our research sug­gests that the same exper­i­ment would awak­en a vast­ly dif­fer­ent response in a dif­fer­ent human sub­ject, one suf­fer­ing from ail­uro­pho­bia, say, or severe aller­gies to the pro­teins in feline sali­va, urine, and dan­der.

What’s real­ly sur­pris­ing about Nakahashi’s itin­er­ant, and appar­ent­ly plea­sure-filled under­tak­ing is how lit­tle dif­fer­ence there is between her aver­age sleep score dur­ing the exper­i­ment and her aver­age sleep score from the 20 days pre­ced­ing it.

At left, an aver­age sleep score of 84.2 for the 20 days lead­ing up to exper­i­ment. At right, an aver­age sleep score 83.7 dur­ing the exper­i­ment.

Nakahashi’s entry for the YouFab Glob­al Cre­ative Awards, a prize for “work that attempts a dia­logue that tran­scends the bound­aries of species, space, and time” reflects the play­ful spir­it she brought to her slight­ly off-kil­ter exper­i­ment:

 Is it pos­si­ble to add diver­si­ty to the way we enjoy sleep? Let’s think about food. In addi­tion to the taste and nutri­tion of the food, each meal is a spe­cial expe­ri­ence with diver­si­ty depend­ing on the peo­ple you are eat­ing with, the atmos­phere of the restau­rant, the weath­er, and many oth­er fac­tors. In order to bring this kind of enjoy­ment to sleep, we pro­pose an “adven­ture in com­fort” in which the cat decides where to sleep each night, away from the fixed bed­room and bed. This project is sim­i­lar to going out to eat with a good friend at a restau­rant, where the cat guides you to sleep.

She notes that tra­di­tion­al beds have an immo­bil­i­ty owing to “their phys­i­cal weight and cul­tur­al con­cepts such as direc­tion.”

This sug­gests that her work could be of some ben­e­fit to humans in decid­ed­ly less fan­ci­ful, invol­un­tary sit­u­a­tions, whose lack of hous­ing leads them to sleep in unpre­dictable, and inhos­pitable loca­tions.

Naka­hashi’s time in the green sleep­ing bag inspired her to cre­ate the below mod­el of a more flex­i­ble bed, using a polypropy­lene bag, rice and nylon film.

We have cre­at­ed a pro­to­type of a dou­ble-lay­ered inflat­able bed that has a pouch struc­ture that inflates with air and a jam­ming struc­ture that becomes hard when air is com­pressed. The pouch side soft­ly receives the body when inflat­ed. The jam­ming side becomes hard when the air is removed, and can be firm­ly fixed in an even space. The air is designed to move back and forth between the two lay­ers, so that when not in use, the whole thing can be rolled up soft­ly for stor­age. 

It’s hard to imag­ine the pres­ence of a pussy­cat doing much to ame­lio­rate the anx­i­ety of those forced to flee their famil­iar beds with lit­tle warn­ing, but we can see how Nakahashi’s design might bring a degree of phys­i­cal relief when sleep­ing in sub­way sta­tions, base­ment cor­ners, and oth­er har­row­ing loca­tions.

Via Spoon & Toma­go

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Relat­ed Con­tent 

A 110-Year-Old Book Illus­trat­ed with Pho­tos of Kit­tens & Cats Taught Kids How to Read

An Ani­mat­ed His­to­ry of Cats: How Over 10,000 Years the Cat Went from Wild Preda­tor to Sofa Side­kick

GPS Track­ing Reveals the Secret Lives of Out­door Cats

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.