Fig. 15 A typical open plan workplace where presence is taken for granted.

Chin-Lien Chen - Photograph taken in Stockholm in the early 1990s

New meanings

The concepts of working and meeting have quite recently acquired new meanings in the sense that we…

The development of workplace design

I put forward that, for a long time, workplace design has been modelled on a presence-in-person…

Fig. 14 Our design concept to enable mutual gaze is an adaptation of a patent from 1947 (Rosenthal 1947). The video projector in the background is used for back-projection onto a screen of matted acrylic glass.

Chin-Lien Chen - In this case the back-projection displays my colleague Leif Handberg who looks straight at me

Fig. 13 The shared mediated space that emerges as two rooms are joined can also be represented as a spatial montage

Fig. 12 The section illustrates what the camera captures of the room

Fig. 11 The layout of the two rooms, each of which measured 3.2 × 4.5 m. Key: (1) Desk and mediated extension; (2) Sitting area; (3) Back-drop (same in both locations)

Fig. 14 Our design concept to enable mutual gaze is an adaptation of a patent from 1947 (Rosenthal 1947). The video projector in the background is used for back-projection onto a screen of matted acrylic glass.

Chin-Lien Chen - In this case the back-projection displays my colleague Leif Handberg who looks straight at me

Fig. 13 The shared mediated space which emerges as two rooms are joined can also be represented as a spatial montage.

Fig. 12 The section illustrates what the camera captures of the room.

Fig. 11 The layout of the two rooms, each of which measured 3,2 x 4,5 m. Key: (1) Desk and mediated extension; (2) Sitting area; (3) Back-drop (same in both locations).

Fig. 10 The mediated consulting room with the piece of furniture designed to enable mutual gaze by incorporating reflective mirrors.

Chin-Lien Chen - Both therapist and patients expressed positive feelings in regards the interior design which was…

Fig. 9 The alternative spatial design proposed in the text, in which Ekern would appear merely once before the audience

Fig. 8 The teleprompter-based design as seen from the audience (left) and from Ekern’s perspective (right).

Chin-Lien Chen - Photos by Gro Vasbotten.

Fig. 7 Schematic analysis of the spatial layout as perceived by the audience.

Chin-Lien Chen - The red arrow on the plan denotes the direction of gaze of the persons seen on stage. As noted