About
SHADOWS OF AWE
Can awe-inspiring nature inspire designs that benefit our wellbeing?
“The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science. He to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, is as good as dead: his eyes are closed.”Albert Einstein (1930)
Fig. 1 Collection of Biophilic lights (2022) Lauren MacLure
Fig. 2 Mock up of Strandmon Armchar covered in tufted Moss Patches in room mock up (2022)
Fig. 3 Wall mural covering two walls in room mock up (2022) Lauren MacLure
Background
By investigating how awe-inspiring nature, through design to promote wellbeing, I intend to design Biophilic Awe-esque immersive environments. Awe-esque is a term I have created to define beneficial design inspired by Awe. Biophilic Design is “the expression of the inherent human need to affiliate with nature in the design of the built environment” (Kellert and Heerwagencited by Söderlund, 2019:6). Although not impossible, Awe in nature is difficult to capture in photographs or replicate in another place. You can get a greater sense of Awe by being immersed in the environment, using your senses to take in what you see, hear, smell, and touch. By referencing Plato’s Allegory ‘Shadows on a cave wall’, I will design work that engages the senses based on my awe-inspiring adventures in nature, to create ‘shadows’ of my own unique experiences for others to see and touch. I will investigate decoration for public interior spaces to design a bespoke sublime immersive environment.
I will explore three topics; light design, tactile textiles that can be applied to surfaces, and aesthetic surface pattern designs. I will explore how these three elements work in harmony tocreate a bespoke environment.
Rationale
I have found that connecting with nature and seeing beautiful, awe-inspiring natural occurrences (Fig.4) can give me a sense of Awe and is a form of escapism. I have found it has improved my health and overall wellbeing significantly. I have always been passionate about travelling, helping others, and creating work that makes others happy or feel calm and tranquil. This has fed directly into my passion for designing work for others that promotes wellbeing and hopefully inspires Awe.
Our need for nature is evident in examples from the past, where nature has been used decoratively throughout various art movements such as Art Nouveau and incorporated into Architecture. It can be seen most clearly in the design of Falling Water House (1936-1938) (Fig.5) by Frank Lloyd Wright, arguably one of America’s greatest architects. Wright chose to build the house over a waterfall. The lower parts of the building were made to look as though they were growing out of the natural rock—using natural materials, incorporating light and access to water, were all considered. The house is a perfect example of Biophilic Design; a concept that had not yet been established and significantly influenced this project.
Fig. 4Pulpit Rock - Cape SchanckVictoria Australia (2019)by Lauen MacLure
“Biophilia is the passionate love of life and of all that is alive” (Erich Fromm 1973). Biophilic Design is now at the forefront of innovative design; it is more consciously being applied in Interior Design and Architecture. As Biophilic Design is on the rise, leading the way is Oliver Heath, an Interior Design Consultancy (Fig.6) based in the UK, providing services such as Designing Healthy Spaces, Research & Consultancy and Media Advocacy. They are teaching other companies and communities about the importance of Biophilic Design and sustainability for our planet, improving our wellbeing and increasing productivity. They highlight the link between the increased mental and physical health issues and the lack of exposure to nature. In light of the recent pandemic, many of us were confined to our homes, unable to travel or socialise except over social media and online apps. It has become more apparent how important our environment is to our mental health and wellbeing. In comparison to 50 years ago, in the 1970s when 77% of the UK lived in cities, times are changing:
Fig. 5 Falling Water House (1936- 1938) Frank LLoyd Wright
Fig. 6 The Joy of Plants (2019) Oliver Heath
“90% of the UK now live in cities, a statistic being reflected around the world. With this increased urbanisation, we have strayed further from nature and have progressively become more disconnected with natural systems. It’s no coincidence that we have, at the same time, seen increases in mental and physical health issues.” (Heath, 2022)
It has been estimated that by 2050, 68% of the world’s population will live in urban areas (Ritchie and Roser, 2022). This makes it more critical than ever that we ensure we continue to in corporate nature into our surroundings and do not get lost in an urban concrete jungle.
Kjellgren, A. and Buhrkall, H., (2010) research highlighted how seeing and experiencing nature second-hand can still significantly improve depression and anxiety and make us feel happier and more connected with our environment. In 2014 Terrapin Bright Green, a sustainability Consulting firm based in New York, wrote a paper that outlined fourteen patterns of Biophilic Design to apply to our surroundings. These patterns provide a framework for how nature and human biology interreact, demonstrating how we can incorporate Biophilia into our surroundings. They split the patterns into three categories: Nature in the Space, Nature of Space and more importantly Natural Analogues. Natural Analogues refer to nature indirectly represented through artwork, ornamentation, furniture, décor, and textile. These elements can help reduce stress, improve creative performance, and improve comfort. This project will explore creating designs to promote wellbeing through the Natural Analogues process.
Williams (2016) argues the benefits of going outside and experiencing Awe in nature. She gives the example of forest bathing in Japan, called Shinrin-yoku. This involves individuals sitting and spending time in forests. She mentions that Japanese researchers asked a group of stressed-out students to spend 30 minutes in nature with a control group remaining in the city. They found that those in nature had reduced stress levels and anxiety benefits, whereas the opposite was true for the group in the city. In addition, they found that spending three days in the forest increased the body’s production of “natural killer cells”, that target diseases such as cancer, by 40%. In 2020 Terrapin Bright Green added Awe as the fifteenth pattern of Biophilic Design, highlighting the importance of experiencing Awe in our surroundings. “15. Awe. Stimuli that defy an existing frame of reference and lead to a change in perception.” (2020).
Awe in nature is difficult to replicate elsewhere, partly because of how the environment is naturally lit throughout the day. In an interview about lighting, Daniel Blaker (Creative Director of Nulty,2022)) pointed out that balance is key to creating a delicate but dramatic effect. In the article “The Importance of Darkness in Lighting Design” Nulty (2022) further highlights the significance of utilising darkness to provide contrast and emphasise some aspects of the environment by lighting specific areas and leaving others in the dark. This is crucial to how we perceive the environment and how we feel about it.
Fig. 7 Park Row Soho (date unknown) Nulty
Aims/Objectives
The goal is to design various features of an Awe-esque immersive environment to engage the viewer’s senses and connect with nature. Not everyone engages with their environment in the same way. Some people are more visual, others are more tactile. This project will consider what someone views and touches in this environment. Lighting will significantly impact how the work is interpreted and what emotions a person feels. Lighting Design consultant Nultry (Fig.7) reasons that “Being fully immersed is complex and challenging, but it helps develop confidence, insights and deeper understanding of our surroundings.” (Light: an immersive experience | Nulty |Lighting Design Consultants, 2022). Tactile elements have also been considered. ‘Moss’ patches (Fig.2) have been developed that are sensory and can be applied to various surfaces. This will provide additional visual links to nature while also engaging one of the key senses, touch, which influences how we interact with the world. The intention is to invoke an emotional response from the participant. Anticipation can add to the awe we feel when seeing something for the first time. For those with knowledge of environmental awe, there is potential for my work to invoke a positive emotional response. However, the opposite could also be true, where the work is underwhelming.
Ideas and Development
I am exploring Lights and Surface Patterns with attention to texture. Frank Lloyd Wright’s “FallingWater House” (1936-1938) (Fig.5) and Megre Interiors project “Gather” (Fig.8) has inspired my work where lighting and surface pattern have been considered. As my concept developed, I investigated creating natural textures such as moss (Fig.2) using a hand tufting technique. This has allowed me to rewild my environment. Light can significantly affect how my work is perceived and what emotional response it brings out of someone. Initial ideas have been developed through experimenting with shadows (Fig.9), which led me to develop physical lights (Fig.1). I then went on to explore the importance of moving dappled light using Gifs and how this impacted on mywork.
Fig. 8 GATHER (2019) Megre Interiors
Proposed Outcome
The intended outcome of this project is to create an awe-esque environment that pushes the boundaries of what we perceive an interior space to be. I will create elements of an immersive environment that could offer someone a unique connection to nature. It could also be restorative, stimulative and provide the opportunity to shift someone’s focus away from themselves and feel part of something bigger—much the same way as being in the presence of a magnificent waterfall. I will create a body of work and portfolio that considers the various aspects that make up my entire environment with a combination of both physical work and digital print.
Fig. 9 Experimentation of light and dark (2022) Lauren MacLure
Impact
I have rediscovered my passion for both two-dimensional and three-dimensional work which has fed into a passion for the area of Biophilic Design, especially surrounding Awe and how it benefits our wellbeing and mental health. I look forward to further developing my portfolio and exploring Biophilic Design and Awe in my future practice and career.
References
Biophilicdesign.umn.edu. 2022. [online] Available at: <https://biophilicdesign.umn.edu/sites/biophilic-net-positive.umn.edu/files/2020-09/Terrapin%20_%2015%20Patterns%20of%20Biophilic%20Design%20_%20Quick%20Ref%20Sheet.pdf> [Accessed14 February 2022].
Einstein et al, 1930, Living Philosophies, Simon and Schuster, New York (p.5)
Fromm, E., 1973. The anatomy of human destructiveness. New York, N.Y.: Holt, Rinehart and Winston, p.377.
Heath, B., 2022. Biophilia & Design for Wellbeing - Oliver Heath. [online] Oliver Heath. Available at: <https://www.oliverheath.com/our-approach-and-its-impact/biophilia-and-design-for-wellbeing/> [Accessed 14 February 2022].
Nulty | Lighting Design Consultants. 2022. Light: an immersive experience | Nulty | Lighting Design Consultants. [online] Available at: <https://www.nultylighting.co.uk/blog/light-immersive-experience-lighting-design-inspiration/> [Accessed 2 March 2022].
Söderlund, J., 2019. The emergence of biophilic design. Cham: Springer.p.6.
Sturm, V., Datta, S., Roy, A., Sible, I., Kosik, E., Veziris, C., Chow, T., Morris, N., Neuhaus, J., Kramer, J., Miller, B., Holley, S. and Keltner, D., (2020). Big smile, small self: Awe walks promote prosocial positive emotions in older adults. Emotion,. [Online]
American Psychological Association, p.2. [Accessed: 13 November 202