札哈哈蒂:建筑還有一個層面,是大家忘記的。建筑應該令人喜悅--在一個美妙的地方,令人覺得喜悅。一間漂亮的房間,大小并不重要。大家對于奢侈經常誤解;奢侈其實和價格無關。這是建筑該做的事情--以較大的尺度讓你感到奢侈。(Photo Appreciation: MAXXI Museum by Shahrzad Gh)

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Comment by 就是冷門 on February 8, 2024 at 5:50pm

There, she writes: “So, where are we? What is the current state of the art? Sadly, the current research on multisensory environments appearing in journals such as The Senses & Society does not appear to be impacting artists and architects participating in the Chicago Biennial. Nor are the discoveries in neuroscience offering new information about how the brain relates to the physical environment.” (Malnar, 2017, p. 153).19 At the same time, however, the adverts for at least one new residential development in Barcelona promising residents the benefits of “Sensory living” (The New York Times International Edition in 2019, August 31–Septem ber 1, p. 13), suggests that at least some architects/de signers are starting to realize the benefits of engaging their clients’/customers’ senses. The advert promised that the newly purchased apartment would “provoke their senses”.

Ultimately, it is to be hoped that as the growing awareness of the multisensory nature of human perception continues to spread beyond the academic community, those working in the field of architectural design practice will increasingly start to incorporate the multisensory perspective into their work; and, by so doing, promote the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional well-being.

(Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)




The Light of City: Freedom by Thai Hoa Pham



Comment by 就是冷門 on February 7, 2024 at 3:20pm

Senses of place: architectural design for the multisensory mind

Abstract: Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is
only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously. (Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)

Comment by 就是冷門 on July 19, 2023 at 9:04pm











當代文化並不是一種抽象的存在,隻有如此具體的和一個孩子討論問題的時候,才讓人感覺到兩代人的距離感和差異性。就旅遊而言,也許我們將要面臨的,是一個“後旅遊的時代”。 後旅遊者

Comment by 就是冷門 on July 5, 2023 at 11:26am

What is learning experience design?

Learning experience design (LX design) is the process of creating learning experiences that enable the learner to achieve the desired learning outcome in a human centered and goal oriented way.

Learning experience design is rooted in a combination of several design disciplines with the field of learning. Key design principles used in LXD come from interaction design, user experience design, experience design, graphic design and game design. These design principles are combined with elements of education, training and development,

, cognitive psychology, experiential learning, educational sciences and neuroscience.

To gain a deeper understanding of LX design it's easiest to break things down into smaller parts: experience, design and learning. These parts are quite self-explanatory and together they tell a lot about what LX design really is about.

Experience:Everything we learn comes from, that’s a fact. As mentioned earlier an experience is any situation you encounter that takes an amount of time and leaves an impression. These experiences don’t necessarily have to take place in an educational setting like a school. They can take place at home, outside, in the office or anywhere else.

Not every experience is as educational as the next. Some experiences can be straight out boring or annoying. Fortunately, we’ve all had experiences that were very educational and that will last a lifetime. Being able to design such powerful experiences is the main quality of a good LX designer.


LX design is a creative design discipline. In essence, it is an applied form of art. Similar to other creative professions the LX design process typically includes research, experimentation, ideation, conceptualization, prototyping, iteration and testing. It is not a step by step systematic process, but a creative process with an outcome that’s uncertain at first and crystal clear in the end. LX designers use a mix of creative, conceptual, intellectual and analytical qualities to come up with elegant solutions that work. The main difference with other design disciplines is the fact that your design serves a purpose to learn.


LX design is about learning and not so much about teaching, instruction or training. The focus is where it should be: on the learner and the process that the learner goes through. You definitely have to understand why and how people learn in order to be effective. Experiential learning in particular is part of the foundation of LX design. As stated in the definition of lxd, you want to design a learning experience that enables the learner to reach the desired learning outcome. But how do you do that? By making the experience human centered and goal oriented.

Comment by 就是冷門 on July 5, 2023 at 11:25am

Human centered

Learning is a human and preferably social process. Putting the learner at the center of your design process is called human centered design. This is an important part of how and why LX design works. This means you have to get to know and understand the people you design for. You want to figure out what drives them and how you can ignite their intrinsic motivation. That’s why getting in touch with your target audience through interviews, observations and co-creation is indispensable. People are both rational and emotional beings. We all have wants, needs, hopes, fears and doubts. So a great learning experience has to connect on a personal level. To do so, being able to distinguish and act upon differences between groups of learners and even individual learners is key.

Goal oriented

A learning experience will make no sense if you don’t reach your goals. Choosing and formulating the right goals is an important part of designing a learning experience. This can be quite a challenge, depending on the scale and complexity of the experience that you are designing. Coming up with activities that enable the learner to actually reach specific goals is vital to a great design. That’s where a thorough and innovative approach, like working with the Learning Experience Canvas, can really make a difference.

One very important aspect of LX design is what form, medium or technology you choose for a learning experience which is primarily based on the goals of the learner. This means you start with formulating the desired learning outcome and every next step in the design process, including the choice of your medium or technology, is geared towards the desired learning outcome.

LX design vs instructional design

Sometimes LX design is confused with instructional design. On the surface there are similarities but when you look closer they are fundamentally different regards to their origin, perspective, methods, skills and tools. Find out more about these differences in the next chapter "" or read the blog post "
(Source: https://lxd.org)

Comment by 就是冷門 on November 12, 2022 at 5:22pm





















熊本縣立大學之所以積極參加這項活動並非是將活動當作一般的慈善活動,而是將它定位為培養人才活動的一個環節,為了讓該活動成為可持續的活動,本想將它作為正規課程的一部分形成學分製度,但是每回都參加活動的學生則提出了反對意見∶「我們都是憑自己的愛好參加活動的,反對以學分為目的的人加入」,所以此事需要慎重考慮。不過,學生們有這樣的反應,其本身是一件可喜的事,為了讓這類持積極態度的學生人數不斷增多,今後,我們打算跟鄉政府合作,開展以鄉山為據點的交流以及野外調查等新事業。文/髙本篤(熊本縣立大學地區合作研究推動中心參事 / 2014年12月22日 產學研合作


Comment by 就是冷門 on October 11, 2022 at 3:07pm





因此要想設計出受歡迎和有內涵的文創產品,首先要深入了解對應的文化,最重要則是如何選擇可用的文化元素。蘊涵文化氣息的產品會在無形中提高自身的價值,在同類產品中脫穎而出。 一起來看看別人家有優秀的文創設計產品吧~

01 故宮博物院




02 西西弗書店



03 大英博物館



04 企鵝圖書

「三段式書封」是企鵝出版社的經典造型, 2009 年英國皇家郵政局發行的「影響英國的十個經典設計」的郵票中,企鵝「三段式」書封與雙層巴士、MINI 汽車一起成為了代表英倫文化的符號。



Comment by 就是冷門 on May 11, 2022 at 10:43pm

Chaim Noy·The Poetics of Tourist Experience: An Autoethnography of a Family Trip to Eilat 1

(Chaim Noy,2007,The Poetics of Tourist Experience: An Autoethnography of a Family Trip to Eilat,Journal of Tourism and Cultural Change. January 2007, P141-157) 

This paper is an autoethnographic exploration of a tourist’s experience. Through interpreting qualitative material, in the form of a poem I wrote in 1994 about a short familial excursion to an Israeli seaside resort city (Eilat), the research seeks to sensitively describe the intricacies of travel experience. The research explores the advantages of the autoethnographic method of inquiry, and discusses tourism-related emotions and memories in the context of performance and representation. The paper joins recent efforts in attempting to challenge and loosen the grip of positivist epistemologies and discourses on mainstream tourism studies, by illustrating the emotional complexities and contradictions in the travel experience of tourists. In line with traditions

of critical research in sociology, the exploration sheds light on the materiality of texts and on the role language plays in tourism, viewing the poem read in this paper (‘Quiet Eilat’) simultaneously as a representation, performance and material object of discourse.


Keywords: performance, qualitative methodology, language, family, travel literature, poetic expression

Introduction: Performing Experience Research into the experiences of tourists, commonly referred to as the ‘tourist experience’, has a respectable tradition within the sociological research of tourists (Cohen, 1974, 1979). Through employing the conceptual categories suggested by Cohen, various researches productively explored the typology of tourists’ possible and actual experiential modes (Lengkeek, 2001; Sternberg,

1997; Wickens, 2002). These works have further enhanced as well as criticized Cohen’s early tourist typologies. Generally, they directed scholarly attention to the unique experiential characteristics of tourists’ phenomenology, and contributed to the growing understanding of the intertwined psychological, social and

cultural possibilities that are promoted and embodied by modern tourism.

While invaluable, Cohen’s formulations tended to stimulate highly theoretical research, often aiming at neat conceptual categories and clear theoretical typologies. Due to this tendency, researches neglected the details of tourists’ lived experience, and did not allocate sufficient grounds for these experiences before theorizing and conceptually categorizing them. Indeed, although Cohen’s early works were inspired by phenomenological and existential trends of thought, new methodologies, that would have captured in more sensitive and informed ways the ‘tourist experience,’ did not follow. The present exploration addresses this state of affairs by pursuing the following sensitivities and sensibilities.

First, close – even intimate – attention is paid to the experiences themselves. Indeed, the bulk of the paper is devoted to a detailed evocation of the experience of a tourist excursion. The emotional dimension of the tourist experience is elaborated, with emphasis on negative hues, which are not commonly associated with tourists’ experiences and emotions.

Comment by 就是冷門 on December 7, 2021 at 11:31am

(To be Con't)Second, the exploration seeks innovative methodologies – autoethnography in the present case, which can communicate experience and reconstruct it in vivid, lively and sometimes painful ways. By pursuing the research of experience in an evocative fashion, a presentation is possible whereby insights into and appreciation of the subject matter of experience is reached. In this regard, the present research is part of recent advancements in tourism research methodologies (Aitchison, 2000; Ateljevic et al., 2007; Botterill, 2003).

Third, the field of ‘tourist experience’ is presently construed as an integral part of everyday experience of people living in late-modern times in affluent societies. Following the advancements made by Urry (1990), this research holds with the notions that the cultures of tourism, and the experiences these cultures embody and endow, are but one sphere of the whole of our lived, everyday experiences. According to this view, the notion of ‘tourist experience’ entails a dazzling array of human experiences that emerge when people engage in the

sphere of tourism, via its many institutional extensions, representations and guises. The point is that people are constantly in touch with various cultures of tourism, and are, in one way or another, ‘much of the time “tourists”’ (Urry, 1990: 82). Hence the tourist experience is often an extension of people’s everyday experiences, amounting, as Richards and Wilson (2004: 254) note, to a ‘home plus’ experience.

Fourth, tourists’ behaviors, including the expression of feelings, emotions,  experiences, and memories are presently conceived as performances. Following the above notion concerning the cultures of tourism, the category ‘tourist’ is construed as one which engulfs a cultural symbol of modern experience (MacCannell, 1976). This symbol can be embodied through different roles people assume when they uptake tourism endeavors. In this vein, embodying tourist roles means performing tourism. Tourism is construed as a discerned set of aesthetic activities which take place in discernable spaces wherein tourists do not only cast the tourist gaze, but are also the subjects and objects of that gaze (Adler, 1989; Edensor, 1998).

More specifically, it means performing various states of experience and modes of being on the international social stages of tourism. However, since the borders between tourists’ experiences and everyday experiences are continuously blurring, some tourism-related activities, which are not performed within designated tourist spaces, are also construed as tourist or tourist-related performances (Noy, 2004). Such is the present case, where travel writing in the form of a poem, is construed and interpreted as a product (and a trace) of tourist performance.

A Tourist Autoethnography

Autoethnography is a critical and reflexive way of inquiry that flourished mainly within the North American qualitative movement in the social sciences during the last decade. Appreciating the strengths and weaknesses of this way of inquiry, as well as the implications it bears and the impact it carries on various fields of research, requires acknowledging its inherent relation to the diverse family of qualitative research methodologies (Denzin & Lincoln, 2000).

Yet even within the family of qualitative research methodologies autoethnography presents a rather radical approach; a subversive and oftentimes provocative relative. Autoethnography is a way of inquiry that is wholeheartedly – morally, emotionally and ideologically – committed to the subject of the research, namely to people and to their complex, intricate lives and experiences.

Comment by 就是冷門 on November 8, 2021 at 11:54am

(To be Con't)In this respect, autoethnographical research shares grounds with performance studies, symbolic interaction, feminist research, and similar schools of thought, both recent and traditional, within the social sciences.

Further, autoethnography is unique in that its power lies within its discursive, written mode. It is a text. The term literally entails the definition of the inquiry procedure: the researcher addresses herself or himself (‘auto’), as a subject of a larger social, cultural or institutional group (‘ethno’), by ways of revealing research and writing (‘graphy’, Ellis, 1997, see also Bochner & Ellis, 2002; Ellis & Bochner, 1996). The autoethnographic work aspires to tell of those constitutive dimensions that in conventional sociological research are erased or

play a backstage role. In addition to personal, lived experience, autoethnographic research explores voice, emotions, processes (rather than results or products) and embodied senses and knowledges, as a part of ‘the guerrilla warfare against the repressive structures of everyday lives’ (Denzin, 1999: 572).

Often, autoethnographic research investigates the relationship between researchers, their fields of inquiry and their informants, thus supplying innovative perspectives on the underlying assumptions and discourses of various academic disciplines, as well as on the process of socialization and disciplining in academia (Jones, 1998; Noy, 2003). As a method that is centered on the scholar herself or himself, autoethnography is inescapably an emotionally painstaking exercise, a type of ethnography that ‘breaks your heart’ (Behar, 1996).

The evocative and provocative effects accomplished by autoethnographic work, are mainly due to the genre’s literary form(s), including poetry, fiction, novels, personal essays, fragmented and layered writing, and more (Ellis & Bochner, 2000: 739). These forms are tailored to the social and cultural reality that is being studied – tourism, in the present case. Hence through a poeticized and personalized case-study, autoethnography forces the tourists – ourselves – to inquire into and to challenge our experiences, which would otherwise be dismissed as ‘recreational’, ‘superficial’, ‘fun’, and so on, in a reflexive and informed manner.

Autoethnographizing our tourist experiences soon reveals that there is more, indeed much more, to the sphere of tourist experience than leisurely experiences or other types of positive experiences. Rather, this type of critical and reflexive text forces us to admit to how much of tourism-endowed experience resonates with feelings of sadness and alienation. It seems that as tourists, i.e. people performing tourism, we are not permitted to feel or to acknowledge alienation or despair. While it is legitimate to occasionally admit to a sense of disappointment – as one traveller once revealed, ‘India was much warmer and humid than the pictures I saw show’, – or to cathartically experience powerful feelings of collective mourning and grief, such as is the case in dark tourism, expressing more mundane alienated feelings is almost a taboo.

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.


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