• Materials: sand, smoke

I think these words, have a very translated and tessellated experience and visual, portraying the post effects of movement or destruction. Similar to breath to a flame, and water to sand. Creating and leaving these imprints in the material.

mellifluent | mɛˈlɪflʊənt | 

adjective

another term for mellifluous.

• Materials: water
• I think that water best represents the form and movement of the words, specifically within a material context. With the definition providing a light and soft movement, reflecting and fading away.

mercurial | məːˈkjʊərɪəl | 

adjective

1 subject to sudden or unpredictable changes of mood or mind: his mercurial temperament. 2 of or containing the element mercury: gels containing organic mercurial compounds.

• Materials: light

The erratic and fast motion of mercurial I think is depicting in lighting or fireworks. With the movement of the words itself leaving a trail of fast and crazy paths. Allowing the words to leave a mark in a space or material.

presence | ˈprɛz(ə)ns | 

noun [mass noun] 

the state or fact of existing, occurring, or being present: my presence in the flat made her happy | the presence of chlorine in the atmosphere | the memorial was unveiled in the presence of 24 veterans. • [count noun] a person or thing that exists or is present in a place but is not seen: the monks became aware of a strange presence.

• Materials: stone

I imagined as presence with my new understanding as a object or structure of a space, that holds a attraction or attention, through it’s gaze or posture. Similar to stone as it’s own shaping and form gains attention of senory elements or touch. Creating and depicting that atmosphere of a space through its presence.

essence | ˈɛs(ə)ns | 

noun [mass noun]   

1 the intrinsic nature or indispensable quality of something, especially something abstract, which determines its character: conflict is the essence of drama. • [count noun] Philosophy a property or group of properties of something without which it would not exist or be what it is: Locke’s scepticism about our ability to penetrate to the real essences of things.

• Materials: marble

I now imagine essence, through the depiction of vanilla essence. With the element itself having such control over the experience and taste, yet is so little and can’t be seen.

I visualise this in a similar manner to marble, with the little highlights of colour seen in the stone, changing the whole purpose and atmosphere of the space.

I then began to create a mindmap, in consideration of my past and current words. Expanding on their new found meaning and connecting the words, through similarities.

Mindmap

Metacognitive Check-in:

• – Through this process I began to pick up similarities in the words mellifluent and essence- with having similar actions of being very soft or fragile. Slowly fading or dripping away.
• – The words echo and presence also have connections between controling the experience. With I think presence holding the intial control at the beganing of an experience/space, and the after-effects of echo controlling the ending of the narrative. Being the overiding idea or feeling in a design/space.
• – Echo, mercurial and mellifluent have connections between movement. With the direction and control of the movement being very out of control- almost as something else is controlling it- waves to sand, breath to smooth, leaf in wind. I see the movement being soft but erratic. The viewer not being sure of the next move, but understanding the process.

• – Essence depicting natural scenes/materials, is new discovering through expansion.- with visualising the words as elements of the enviornment.
• – Considering my choice of words I want to keep the same arrangement, with the words; mellifluent and mercurial being new to me, but somehow relating to my design practice. 
• – Now moving forward I want to the linkages between all of the words within a metaphorical/experience sense and visual sense within my design practice.
• – Through this process of expanding on my words in relation to the words defitnition and my intial reaction to the words, the development and meaning of these words have evolved.

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Week 2

Observation to Theory

Session 1:The Expanded Field

Kanohi ki te kanohi (face to face) discussion

At the beginning of class we had a discussion with a peer, summarising of blog post on our discovering and exploration of our findings and connections surrounding our five words. Then giving feedback surrounding our partners work.

Self-reflection of my 5 words, selection and exploration:

Feedback from Cherise:

Metacognitive Check-in:

Responding to my feedback.

Session 2: Expanding the Field

I then began to turn words into working ideas, with diarising ideas from my kanohi ki te kanohi dicussion- drawing, writing, annotation each words.

Self Reflection & Concept Sketches

Concept Sketches:

Turning words into Working ideas. I began mapping out my exploration of 5 words into concepts, physical forms. Drawing and annotating the words as to my new definition, of how I am going to be interpreting these words.

Echo

• The effects or presence of weighted movement- the leftover residue, from sound, feet, fingers or breath. The movement pathway.

Presence

• The strong and bold apparence- specifically represented within contrete or metals. The defintion of the strength and underlying form found within these structures.

Mercurial

• I first reconsided this words to be a fast pased lighting form, but through further exploration and relation to my design proposal I want to fit this erractic word into a soft and calming environment.
• The new defintion of this word is the erratic behaviour, but soft nature.

Mellifluent

• The post reaction. The organic nature and results of the ripple effect. Dropping of fabric or liquid- resulting in the ripple or folding.

Essence

• The hidden sparkle. Highlighting the hidden.- physically as seen as a detail or metaphorically; glowing through the cracks.

Metacognitive Check-in:

• – I think that through the exploration of sketching and visual descriptions, I think my words have a lot more similarities than I thought. I think all of my words hold a element of nature- through organic forms or texture of the enviornment. Possibly creating a safe medical spae.
• – I see connections betwee mercurial, mellifleunt and echo as movement. With echo and mellifluent being more gradual and flowly, contrasting with mecrurials fast nature.
• – I also connected echo and essense, to be after-effects. Between created or imprinted through efefcts of overriding elements.

Key Words for my research/practice inconsideration of my word exploration:

• – Manaakitaganga (context)
• – Participation (context)
• – Harmonious (concept)
• – Communal (context)
• – Therapeutic (material)

Self-Directed Learning

For my self directed learning, I needed to develop 5 responses to each of my selected words, that relate to my practice or challenge my practice.

When creating these responses, I decided to create models that either depicted the emotion or feeling defined in each word, or fabricated a similar surface or experience to the definition.

Echo

Definition: “The effects or presence of weighted movement- the leftover residue, from sound, feet, fingers or breath. The movement pathway.”

Materials:Wire, fabric, clay, string

• – For this word, I continued the concept from the original idea of vibrations and waves, exploring the almost echo’s weight and experimenting with the weight’s post effects- similar to waves and sand. 

• – In these responses explored possible pathways taken from the echo, similar to the weight of smoke and how it would travel. Specifically, in the left bottom corner seeing the weight of travel through the use of fabric.

Presence

Definition: “The strong and bold appearance- specifically represented within concrete or metals. The definition of the strength and underlying form found within these structures. “

Materials: Card, acrylic paint

• – Through the connections of this word, I always imagined the surface of concrete or metals and the presence these surfaces would create. I Imagine what it would feel like, what sound would it make when I touched it.

• – For my concept models, I explored the feeling that would be emitted from these forms: the present and bold aura created from the surface and structure. 
• I did lots of paint scrapings to achieve this design- with the colouring peaking through, depicting the underlying purpose of a design.  
• The different carvings created from the scraping successfully creates the worn and cold feeling of the definition.- In the following exploration, I will use cooler tones for the effect of the materiality.

Mercurial

Definition: “The erratic behaviour, but soft nature. “

Materials: Card, acrylic paint

• – Within this new meaning, I explored the original erratic and unpredictable movements of the word. With its new meaning of practice, I wanted the word to fit within a calm environment- so I explored this nature through a liquid form, which, visually, is less overwhelming and light. Which I initially imagined in the beginning.

• – For my models, I layered watery paint and blew it onto the paper in different erratic motions- to create the reaction of this word within a calming depiction.
• I used my breather rather than a hairdryer to create the same effect in a less intense manner. Which I have reimagined the word to frame.
• – The more exploration did, I achieved the portrayal of an intense yet calm experience, with the movement of the waves contrasting with the colouring and layers created.
• I think this is one of my favourite concepts, with being aesthetically pleasing and embodies its definition well. 

Mellifluent

Definition: “The post reaction. The organic nature and results of the ripple effect. Dropping of fabric or liquid- resulting in the ripple or folding. “

Materials: Clay, wire, fabric, paper

• – I fabricated this word from my imagination of water’s post-reaction, viewing the movement created. So explore soft and natural like organic shapes- seen within fabric and liquid.

• – love this firs concept, creating both a 3d and 2d experience of mellifluent, creating an outline in wire of the post-reaction- exploring the ripple effect. The result of this work is new within my practice as I usually keep 2d and 3d sperate; I want to explore these wire outlines into my practice further.
• – In these next responses was exploring delicate concepts focusing on these natural formations and details, with materials of wire, fabric, and clay.

Essence

Definition: “The hidden sparkle. Highlighting the hidden.- physically as seen as a detail or metaphorically; glowing through the cracks. “

Materials: Clay, leaf, wire, metal, acrylic paint

• – For this word, I was driven by the veins found in leaves and stems, with the detailed crease telling a narrative of their own, so I created the concept around the organic and round shaping of flora and fauna. Detailing lots of tiny little elements within the cracks.

• I worked with clay as it is easy to leave a deep imprint of the material. I used wire to create this light glowing through a crack, which I could not achieve, as the clay kept breaking. 
• – So I began working with air dry clay and modeling paint to create this secrete whisper found within a tree-like shape.
• Working with biophilic design elements, I want to portray these highlights of nature. I began imprinting leaves to the clay, which I think turned out fantastic; I love how the leaves left tiny chips in the clay. 

Metacognitive Check-in: Response to Process

These words were my original selection, yet their meaning and use have evolved throughout my exploration.- I was drawn to these words by the visual impression created by them. The movement of sound created by these words also created this pull and attachment.

I challenged myself with this selection by using most words that were foreign to me. I think selection pushed my explorations of ideas. Usually, I explore concepts within my practice within a 3D physical sense rather than metaphorical, which I think these words categorise themselves in.

When developing these words into their own meanings, I took elements of their original meanings and my first reactions to them.

These words connect and link through various ways:

• – The words mellifluent and essence have a strong connection between by their soft nature and detailed qualities. 
• – Presence and echo link through the strong push and stand these words hold.
• – Echo and Mercurial connect through the waves and vibrations of movement.

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Week 3

Tacit & Embodied Knowledge

Class Notes:

Session 1: Tacit & Embodied

I had a discussion with other class members surrounding concepts and materials surrounding my responses and words.

Talking Points:

• – Through my exploration of my words I either explored the direct surface of my definitions, with trying to fabricate similar surfaces or elements of the visual definitions. Or I experimented with creating the same experience created by the words. Exploring through the photography of my responses that atmosphere created. _ techniqually I always integrated and related my work back to my spatial practice and thinking.
• – So defintelty one thrink that I want to work with is my new thinking and interest into biophilic design. It is something that so far I have incoprating unitentionally. So I think now moving forwards with my thinking and process I want to have this idea driving my work.

• – My words of essence and presence, I tried to replicate the definition of my words as direct surfaces or structures. Within my presence model I created the appearance of different explorations of stone and concrete, which best suits the form of presence. In my responses to the word echo, I explored little details of elements of nature, marrow and spirits of the word. Which I really liked this concept, and think it has the potential to relate and explore biophilic design.
• – My words of essence and presence, I tried to replicate the definition of my words as direct surfaces or structures. Within my presence model I created the appearance of different explorations of stone and concrete, which best suits the form of presence. In my responses to the word echo, I explored little details of elements of nature, marrow and spirits of the word. Which I really liked this concept, and think it has the potential to relate and explore biophilic design.

• – In the words mellifluent, mercurial, and echo I explored and saw the connection between the work itself not depicting the words, yet the process and post-effect depicting the word.
• – With the concept of echo I explored the past pathways of movement, in relation to my defintion. SO the display or wire and fabric depcit the gradiual weight and movement of the response.
• – In mercurial I didn’t know how to create responses through light, so I depicted erratic movement through movement of paint. In the process I layered paint on a surface of runny white paint, and blew on the surface to create the echoed shaping.- This changing my designtion of the word, with ablility to be erratic yet soft.
• – In my response to the word mellifluent I looked at post-effects of liquid or soft surfaces. Depicting the weight or dropping of events on to these materials and models.
• Feedback:
• – The idea of biophilic design could already situate itself into my responses, and would help the process and evelopment of my work- with having a new purposful movement of the work.
• – favourites were my detailed wire works, with create essences of my defintions through the delicate nature and apperance of wire. As well as my blowing work, with creating these overwhelming and capativating scenes.
• – Now working with th emotions and feelings created by these responses. Since I want my works to develop into a calming element for medical spaces.

Session 2: The Senaorium

Considering my words as materials

Through this exercise I need to understand my words and responses in relation to the tactile and emotional effects of materials. What do these definitions now feel like, smell, and sound like? How do they make you feel? Also my key consideration of natural/biophilic elements.

Echo:

• – Wire

I think that the idea of echo it something that you can’t touch but almost hear. I think the material of wire also the engagement of creating your own sound surrounding the movement of wire through a space

Mercurial:

• – Sand
• – Liquid

I think this material is something that the engagement of touch would only disrupt the erratic nature of the work. SO I think that through the material of liquid the movement becomes softer and less intense.

Mellifluent:

• – Feather
• – Fabric
• – Petal

When imagining this form as materials, I imagine my touch effecting the whole design or configuration of the material- breaking or altering the placement

Presence:

• – Unkept stone + metal

I image the new materiality of the definition keeping the same structure and gaze through stone and metals. Yet now I visualise a more of an unkept manner, with portraying history of the site in thee form. Through the straches and dents of the design- portraying echos of the past through mercurial movements.

Essence:

• – Leaves

For this material I feel the sense of touch controlling the experience. WIth feeling the viens and steams of natures, to understand the delicate and fragile nature of the material.

Metacognitive Check-in:

I think my exploration does default in to my practice of spatial design thinking. With all of my selections depicting or controlling the experience + amtoshpere of the space. As most of my practice being in consideration of being physically interacted with, I worked around the feeling each word’s surface would have. How it would make each viewer feel whilst touching the words.

In relation to my practice I have always shyed away from the incorparation on natural elements, of flora and fuana. Always creating embodiments or replications of the forms. So I think in relationship between my words and my practice there is a re-occurring theme and surface of nature within a surface or movement sense.

Self Directed Learning

For the rest of the week, I worked on my Formative Assessment Presentation.

I think in this presentation I want to portray the overall process of these words. Depicting the development through my own definitions of these words, showing the embodiment of my responses- in materials and surfaces.

Then talk about further relating and exploring my work in relation to biophilic design.

Formative Presentation

Speaking Notes for each Slide:

1-Nothing

2- Proposal:

My proposed research study is developing a consultant space for the district health board. This space will be located within public places of communities that neglect their healthcare. 

Through my research, I am holding the question of “what is a safe hospital experience, and what does that feel like? How can I emit these experiences exterior of a hospital environment?

I will be exploring these support mechanisms through materials, explicitly exploring how qualities of design “hygge” found within materiality can provide support and serenity within a medical environment? 

Since these environments provide traumatising moments for people, I want to explore how I can provide further support and care through my practice.e

3- Words

My chosen words that I have explored and created into my work is

• Essence
• Mercurial
• Echo
• Mellifluent
• And Presence

These words were my original selection, yet their meaning and use have evolved throughout my exploration.- I was drawn to these words by the visual impression created by them. The movement of sound created by these words also created this pull and attachment.

I challenged myself with this selection by using most words that were foreign to me. I think selection pushed my explorations of ideas. Usually, I explore concepts within my practice within a 3D physical sense rather than metaphorical, which I think these words categorise themselves in.

4- Linkages

When developing these words into their own meanings, I took elements of their original meanings and my first reactions to them.

These words connect and link through various ways.

The words mellifluent and essence have a strong connection between by their soft nature and detailed qualities. 

Presence and echo link through the strong push and stand these words hold.

Echo and Mercurial connect through the waves and vibrations of movement.

5- Mercurial

Mercurial: “Erratic behaviour, but soft nature.”

Within this new meaning, I explored the original erratic and unpredictable movements of the word. With its new meaning of practice, I wanted the word to fit within a calm environment- so I explored this nature through a liquid form, which, visually, is less overwhelming and light. Which I initially imagined in the beginning.

6- Model

For my models, I layered watery paint and blew it onto the paper in different erratic motions- to create the reaction of this word within a calming depiction.

I used my breather rather than a hairdryer to create the same effect in a less intense manner. Which I have reimagined the word to frame.

7- 

The more exploration did, I achieved the portrayal of an intense yet calm experience, with the movement of the waves contrasting with the colouring and layers created.

I think this is one of my favourite concepts, with being aesthetically pleasing and embodies its definition well. 

8- Presence

Presence: “The strong and bold appearance, specifically represented within concrete or metals. The definition of the strength and underlying form found within structures.” 

Through the connections of this word, I always imagined the surface of concrete or metals and the presence these surfaces would create.  Imagine what it would feel like, what sound would it make when I touched it.

9- Model

For my concept models, I explored the feeling that would be emitted from these forms: the present and bold aura created from the surface and structure. 

I did lots of paint scrapings to achieve this design- with the colouring peaking through, depicting the underlying purpose of a design.  The different carvings created from the scraping successfully creates the worn and cold feeling of the definition.- In the following exploration, I will use cooler tones for the effect of the materiality.

10- Echo

Echo: “The effects or presence of weighted movement- the leftover residue, from sound, feet, fingers or breath. The movement pathway.”

For this word, I continued the concept from the original idea of vibrations and waves, exploring the almost echo’s weight and experimenting with the weight’s post effects- similar to waves and sand. 

11- Model

So I explored possible pathways taken from the echo, similar to the weight of smoke and how it would travel. Specifically, in the left bottom corner seeing the weight of travel through the use of fabric.

12-Mellifluent

Mellifluent: “A post-reaction. The organic nature and result of the ripple effect. Dropping of fabric or liquid, resulting in the ripple or folding.

I fabricated this word from my imagination of water’s post-reaction, viewing the movement created.So explore soft and natural like organic shapes- seen within fabric and liquid.

13-Model

I was exploring delicate concepts focusing on these natural formations and details, with materials of wire, fabric, and clay.

14-

I love this concept, creating both a 3d and 2d experience of mellifluent, creating an outline in wire of the post-reaction- exploring the ripple effect.

The result of this work is new within my practice as I usually keep 2d and 3d sperate; I want to explore these wire outlines into my practice further.

16-Essence

Essence: “The hidden sparkle. Highlighting the hidden; physically as seen as a detail or metaphorically; glowing through the cracks.”

For this word, I was driven by the veins found in leaves and stems, with the detailed crease telling a narrative of their own, so I created the concept around the organic and round shaping of flora and fauna. Detailing lots of tiny little elements within the cracks.

17-Model

I worked with clay as it is easy to leave a deep imprint of the material. I used wire to create this light glowing through a crack, which I could not achieve, as the clay kept breaking. 

18-

So I began working with air dry clay and modeling paint to create this secrete whisper found within a tree-like shape. Working with biophilic design elements, I want to portray these highlights of nature. I began imprinting leaves to the clay, which I think turned out fantastic; I love how the leaves left tiny chips in the clay. 

19-Moving Forward: 

Within medical care, biophilic flora and fauna design is scientifically proven to create a response of relaxing and calming emotions, but cannot usually be utilised due to health and cleanliness concerns. I want to further work on this element in my practice in relation to my word essence. 

By working with pressed outlines created in my leaves of mellifluent, I want to explore debossed carvings and drawings similar to my mellifluent ripple. Showing details of nature within the surface portrayal of my words presence and mercurial, carving the little highlights, giving a tactile element to the space.

Most of my explorations hold a physical element, but I want to explore with mercurial and elements of essence- Investigating what it would be like to be engulfed within a contained atmosphere of this nature.How does it make you feel? Does it relax you? What emotions are you feeling before and after entering the space? 

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Week 4

Formative Assessment

Formative Assessment: Presentation

1. Looking back: Telling a story about how you arrived here – in this place.

Present a brief outline of your journey over the past few weeks. You are not being asked to describe exactly what you’ve produced, but to lay out a map of your ideas and any interesting concepts that you have identified that might present fruitful opportunities for exploration in the future. This is a reflective conversation. 

 2. Thinking forward: Tell us where you plan to journey next – where are you going?

 When presenting your forward-thinking . Discuss where are you going next with your practice and ideas

Feedback from Presentation:

• – That my work contiues to explore my practice of movement through a spatial incorpations. Either through the design or experience.
• – Capturing still, thinking about using still or time in my work.
• – That my work relates to biophilic design in some elements, but can have a stronger relationship.
• – That I am at the point where my words have driven a lot of thinking and connections, so now I can move forward and contiue without them.

Self Directed Learning

Self-reflection: Working alone

Re-consider your practice. Have an in-depth conversation with yourself.

• So the far process of my word choice and expansion have been veery effective in relation to my exploration of responses. I think each response was a little element to the overall self defintion of the owrd. I really enjoyed the prcess of manipulating a words into my own rendition.
• I think that the these words have shaped my dircetion of making quite a bit, with my past practice being veru big and filling up a whole space. Where as in relation my words I explored how this response will effect the viewer? What emotions are felt by touching, viewing, interacting with it?- exploring how small scale has the same effect as large scale.
• I have also noticed how a lot of my exploration relates to nature subconsiously, through depictinons or defintions- as a subconious response to creating a safe space, as biophilic design has such an amazing impact on these medical spaces. –
• Specifically the words echo, mercurial and mellifluent in relation to the nature and movemnt of my explorations- movement of all the design elements togther, or the surface configuration. The words essence also provides an element to nature, with being somewhite small and detailed, yet creating such a big impact.
• I think to have made a bigger impact would have been if I used physical and material elements of nature through repsonse., or manipulating to relate of critquie a wording deifintion.

Peer to Peer Feedback for Rhys:

Peer to Peer Feedback, from Cherise:

Formative Feedback from Jyoti :

Establish a nexus of idea

• The connections between my explorations and words are: mercurial, mellifluent, echo and essence.
• With using the connection between the movement of mercurial and mellifluent within explorations and further exploring how the interact with each other- using soft, gradual and erractic within the same context.
• Then using the connection between echo and melliflunet, in the context of after/post effects, specifically in nature. Seeing the echo move within mellifluent connects of flora and fuana. Depicting the past.
• Contiuing the connection between echo and essence, as grounding and key details of the work- in relation to context, biophilic design. Having thesedeisgn elements being subtle in the appearnce of the exploration, but driving the experince.

From consideration of all my feedback, I realise that I want to include biophilic design and a key part of my work. So I began looking into readings surrounding biophilic design, and thinking surrounding the whole process in a medical related environment. – from my Contextual Review paper.

Into these readings, I had been inspired by the use of Ulrich’s distraction study, mentioned in Toafori’s text “Applyin the Benefits of Biophilic Design. Ulrich’s project worked around providing access to a natural view from a window, and comparing medical and pain experiences between patient’s that had a view vs patient’s that didn’t- Concluding that ‘looking at greenery and nature reduces hospitalisation time by 8% (Ulrich 1984)”
and that “95% of patients and families exposed to direct contact with nature reported lowered stress
levels(Ulrich 1984)”. Creating a visual stimulation.

I am going to use my past process of mercurial water blowing to create this window view and access to nature, creating this support experience. The echo and melifluent wire work, and gradual moving form as a distraction in an abstract and disputing manner.

“The very idea of biophilic design was actually born from the growing awareness that the mind and the human body develop within a “sensorially rich world” that is fundamental to people’s health and intellectual, emotional and spiritual well-being.”. 

Totafortis, S

Within Biophilia the origins of Biophilic Design. The theory and method reconnects humans to the environment. My practice relating back to a medical thinking uses Biophilic Design to “humanise the space”, through an abstract representation

In Permatasari et al’s text Healing Environment’s Variable to Reduce Anxiety in Cardiovascular Patients, discuss the use of incorporating biophilic design elements to create an healing environment. This space which emit the same effects and atmosphere and the environment through an internal/interior setting. The key design elements that create the healing element, are the depiction of:

• – Natural organic forms
• – Access to natural light
• – Air flow
• – Enviornmental features
• – Pestorative patterns and processes
• – Space

In the development of my work I want to see how I can incorporate these design elements, through the process of the final depiction.

I began to look at different presentations and accesses to a natural view, through a real and abstract depiction- looking ta the different effects and emotions created by both.

Claude Monet- Water-Lilys

The depiction of Monets water-lily pound, creates a therapeutic and soft experience to the space placed in, controlling the atmoshpere and emotional response of the viewer. I love the technique of colouring and painting texture process of this work. WIth the configuration being somewhat abstract and known at the same time. I think his portrayal of a view through the process technique of his style of painting creates his own unique supportive emotion.

This is inspiring the continuation of my own paint blowing technique, to depict and portray these natural scenes, with being recongisable as an environment scene, through colouring and organic form.

Glen Howey- Photography Tours

I think Glen’s work is another great depiction of capturing an environmental scene, that provides an calming and safe environment. I think that Glen’s depiction of an entire view/scene is really successfull- with the freeze frame of the whole overview of the experience controls the emotional response to the work.

Glen’s approach is indiffereing compared to Monet, with capturing a exact representation of the environment scene rather than abstract. I think Glen’s use of toning and framing create a effect and powerful experience.

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Week 5

Palimpsest

Session 1: Visible traces

We began to discuss so far work and process with partners, talking about the key moments of our work. Then giving feedback and helping each other. Using the idea of a palimpsest, layer and build off our current work.

Wanting to develop/layering:

• – Depth of the experienced scene- through layering and transparecny of process
• – Playing around with hanging my work- how will it stand/ float
• – Providing and abstract representationof nature- colouring + organgic forms.

Further Thinking:

– providing water and landscape scenes

– colouring 

– light

– air flow

Within Biophilia the origins of Biophilic design, the theory and method reconnect humans to the environment. My practice relating back to a medical thinking, with using Biophilic Design to humanise the space, through an abstract representation.

– This element works with in creating a healing environment 

“Healing Environment variables “-  theroy on triggers to indacted this healing space- taking inrealtion to my own proposal and thinking, I see this notion of “healing” as safe. The ways and methods used in design to create not only safe experience for the patient but for the surrounding support. (Permatasari, N. et an.,2020).

The text refers to a study related to distraction therapy, by highlighting the view through a window, as visual stimulation. Concluding that patients who experienced nature felt less pain whilst undergoing a painful procedure.-(Permatasari, N. et an.,2020). para phase 

The very idea of biophilic design was actually born from the growing awareness that the mind and the human body develop within a “sensorially rich world” that is fundamental to people’s health and intellectual, emotional and spiritual well-being.

Totafori, S. Applying the Benefits of Biophilic Theory to Hospital Design, (City Territ Archit 2018). https://doi.org/10.1186/s40410-018-0077-5

Humans are attracted to things that appear vital and alive. Kellert has identified two main dimensions of biophilic design: the organic or naturalistic dimensions (the forms of the built environment that refer directly, indirectly or symbolically to nature) and a place-based or vernacular dimension (when the built environment or landscape refer to the culture of a given territory).

Totafori, S. Applying the Benefits of Biophilic Theory to Hospital Design, (City Territ Archit 2018). https://doi.org/10.1186/s40410-018-0077-5

What I have been exploring in my design practice work- further an abstract representation.
Capturing the still and alive

Metacognitive Check-in:

Think approaching this task with considering a new mindset, will be done as a critique of biophilia and biophilic design. With my process and experinece of my practice, having to be a claming and supporting distract mechanism, within a healing environment. So layering on top of my current works of water blowing and detailing work, but changing potinetal approaches and methods of technquie to better fit my in paimpsest.

I think to earse oall of my current thinking or intention will be very hard, with having become so attached to a couple of my ideas, I’m not sure if I will be able to let go, rather develop or alter completely to better suit my exhibtion.

Currently my most successful work is sitting as a now faliure, with not comletely fitting into the effects of biophilic design. SO I think to alter my concepts + responses to work, I Will have to chnage the materiality, colour, purpose, and experience to work within my new parameters.

Session 2: Intertwined

Preparation for Summative Assessment

Exploring the exhibition and interaction of my exhibibition:

• – I want my work to be hung from the ceiling. I thinkin I want my windown view (painting) to be hung first, then having other elements hanging down from it. Createing the post echos of the image to travel.- hung quite high up.
• • – I think at the moment I will have the abstract wither placed on the floor or on a pew. WIth the abstract situating the placement of the veiwer in the space, to interact with the work porperally.

• – I want the placement of this work to either be centred in the middle of the room, or placed near a window, to explore the effects of lightflow through the scene.

• – The placement of the work will be placed out of reach for the viewers, with closer to the ceiling rather than the floor.

• The interaction of this work will be surrounding movement. As the mind starts to wander the elements of design will capture their attention, allowing movement surrounding the work.

• – I am going to attach my work by the structured support beams in the ceiling. Connecting through clear fishing wire, to be hung- almost appearing as floating.

Self Directed Learning

From this week’s class, I have noted what I want to develop and layer off from my current design process and practice.

Wanting to develop/layering:

• – Depth of the experienced scene- through layering and transparecny of process
• – Playing around with hanging my work- how will it stand/ float
• – Providing and abstract representationof nature- colouring + organgic forms.

Capturing the SCene

So I began to create developed water blending/blowing paint, considering more naturalistic and environmental colouring, and seeing what naturalist scenes can be manipulated of visualised.

First Exploration:

• – Green
• – Yellow
• – Blue

https://bethmcgee.wixsite.com/biophilicdesign/abstraction-of-nature

Second Exploration

• – Blue
• – Green
• – Red

I think these depictions came our really well, but didn’t create a environmental scene as much as a pretty blending of colours. So I did a final exploration of breath and wind but incorpated more greeny tones.

Third Exploration:

I think this worked turned out really well in relation to setting a scene and colouring. I think this image represents somewhat of a stream moving water-lilys or flowers. The control of this work is really successful, with emitting a engaging but not overwhelming experience.

I also Used plexi glass as a base of the work rather than card, to play around wit the transparency and layering of the paint. Seeing peaks of access to natural light through the work whilst hanging.

Depth and layering

I felt as though my work could provide a further and more impactful experience of distractional support, through the layering and depth of my work. So I from Monday’s lesson I began exploring my sketches in a 3D manner, and looking at different opacity in materials and layering controlling the scene.

Tracing Paper

Wire

I think that the layering or paper created more boundaries to the view rather than districational support. The exploration of wire created a new element to the work, of extending the organic shaping further throughout th space. I think having this work hanging allows movement for the viewer in relation to the displayed space.

These extending forms almost appear as the echos of the working moving through the space, in an unpredictable mercurial manner, with mellifluent soft nature.

Exhibtion Layout

I began to explore the different exhibition layouts for my work, illustrating the movement and effect of the viewer in relation to the experienced created.

First Exhibition

• – I think this idea provides the access to movement around the work, and to the design elements. But also gives the viewer to much freedom which could hinder their claming and supportive experience.

Second Exhibition

• – I think this design provides a more direction to when interacting with the space, with needing to look undernather and then around the work, with the placement of the pew depicting a starting point for the experience.

Third Exhibition

• – Think is my final exhibition layout design. This layout controls the experinece created and followed through out the space.
• – With walking up to the pew, standing on the mat to read the abstract, and tehn looking up underneath the depict scene. Then having free access to roam around the work, becoming distracted by the peaking wire.

Air flow

The movement and nature of the extended water ripples, plays around with the airflow or the work and the space. I think if theis work were in the larger scale, the air flow of the space would become effected for the viewer, absorbing the mvement of sound.

Lighting Effects

The hanging nature of this work provides access to natural light through the process of layering. With directly hangingt the work under the light bulbs, the light can peak through undereather the work- similar to light reflecting on water.

Abstract Statement Draft:

The statement should address your generative process, What were your original 5 words or the words you ended up at. Show the path to your final  words
Include a quote or reference to at least one text relevant to your exploration.
This is a short written statement limited to 300 or fewer words.

Humming Caught In Still

This work was fabricated in response to my composition and definition of the words Echo, Mellifluent, Essence, Presence, and Mercurial. I was drawn and translated these words by the visual impression created, in relation to my practice and theory of Biophilic Design.

Through the process of connecting and mapping out the words, I began to identify the connections through the vibrations and nature of the impression created, with these connections creating a visual aftereffect. 

Through this process, I began creating visualisations of the words in relation to biophilic elements, objects, scenes, and the purpose of comfort and support. This was done through the main exploration of materiality surfaces, and investigating the different effects created by each surface, inspired by each word. Deciphering how the form made me feel and how relaxed I felt? 

I initially worked with creating textures and models of nature aftereffects; ripples, presses, and movement through the materiality, of clay, paper, fabric, wire, and acrylic paint. Through success and failure, the most flourishing way of embodying the environmental relaxing atmosphere was through representation rather than materiality. As using wind and breath to depict a current movement, creating a marble-like surface of blended paints. 

Within this form I question the attraction of biophilia, which is through the appearance of life and vital scenes of a “sensorially rich world”, yet this may appear overwhelming and intense within a safe medical environment. 

I began to explore an embodiment or vibration of a healing environment, with the purpose of creating support and distractions through biophilic design elements. Playing around with illustrating the illusion of an oceanic scene, depicting the movement and stillness of the scenes, echo and presence. For this form to humanise the experience and space created within medical  scenes, creating a distraction from worry and a peaceful atmosphere. I continued with the moulding and blending of paint and moulding paint to create the abstracted natural scenes, capturing the stillness of the ripples and essence, and extending the surface through the wire. 

The placement of levels within this work portrays the control and effect of biophilic elements within my healing environment.

Posing the question of does this represents a safe medical environment? How does it make you feel or react? Proposing this “humanisation of the beauty and recovery of humans and nature”.

Amy Cherguit

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Week 6

Summative Assessment phase 1.

Final Exhibtion

Speaking Notes for Presentation

Humming Caught In Still

So I have called this work humming caught in the still. This whole somewhat atmosphere has been created from the process of my 5 words and their exploration; with a further critique of biophilia. This whole process of fabricating a response and definition to my words:

• – Echo
• – Mellifluent 
• – Essence
• – Presence
• – Mercurial. 

Through the process of connecting and mapping out the words, I began to identify the connections through the vibrations and nature of the impression created, with these connections creating a visual aftereffect or afterthought. 

As I visualised and explored the words in relation to biophilic elements of objects, scenes, and the purpose of comfort and support. I created explorations of materiality surfaces and the different effects created by each response surface. By visualising aftereffects of nature in relation to the word with materials of:

• – clay
• – paper
• – fabric
• – wire
• – acrylic paint.

So far I had only been creating concepts in relation to my words and visualising nature, and hoping that these elements could emit the relaxing nature of biophilic design. Deciphering how the form made me feel? and how relaxed I felt? 

Through that process of success and failure, I realised that the best way to embody the environmental relaxing atmosphere was through the representation of nature, rather than materiality.

The work stems from my concepts of this water like nature of blending and contrasting forms of paint In these ideas I began to question the attraction to biophilia, which is through the appearance of life and vital scenes of a “sensorially rich world”, yet this appeared to overwhelming within a safe and relaxing environment.  So I began to explore a further embodiment or vibration of elements in a healing environment, with now using the critique of biophilic design as creating support through distraction.

Within this scene I was playing around with illustrating the illusion of an aquatic scene of water lilies, depicting the stillness of the scene’s movement.   With continued with the moulding and blending of paint to create the abstracted scene., capturing the stillness of the ripples and essence, and extending the surface through the wire. – creating a less overwhelming atmosphere.

I used this form to humanise the experience and space created within medical scenes, creating a distraction from worry and a peaceful atmosphere.  The placement of levels within this work portrays the control and effect of biophilic elements within my healing environment.

Posing the question of does this represents a safe medical environment? How does it make you feel or react?  Proposing this “humanisation of the beauty and recovery of humans and nature”.

FInal Layout of Exhibtion

Video Link’s for Exhibtion:

https://youtube.com/shorts/m_Qu31j-7eI

https://www.youtube.com/shorts/ZqOj5-1BjKI

Feedback from Presentation

• – Playing around with different materials, as the extending wire. Wrapping them around in a similar manner. Incorpate the depth and transparncey in different materials.
• – Contuie further in a medical space. Hanging from the ceiling- would be engaged with as the mindstarted tow orry/wonder.
• – Sound Absoption- different materials

The further exploration of this work has potential. With the ability to investigate into sound and absorption of the design and space, with the current biophilic elements of the design providing a response of air and light flow.
This creates access to playing around with sound absorption in the extending echos of the work. Investigating into the different materials used to create these extending ripples. Exploring the different effects each material has within the atmoshpere and sound created within these envionments.

Final Summative Assessment