Week One

Raiding the pantry

Methods Applied to Materials

Step One

I researched into each of the words listed in this weeks matrix and their current definition, and then placed and manipulated the term to fit within my own practice and making of materiality.

My Research Question- How might taking the design theories of Hygge and Biophilic, leveraging their calming materiality and atmospheric practices, provide a safe and therapeutic healthcare experience for local communities through the articulation of a spatial design artifact (consultation space)?

Listed Ingredents:

Raw:

Definition- Being untreated/ uncooked being perceived in its natural state.

Own Practice- The natural or realistic depiction of environmental elements. Direct access to naturalistic view or attributes; fresh air + natural lighting.

Processed:

Definition-Having has been refined or altered through manipulation or a method.
Own Practice- Taking physical materials or scenes of biophilic qualities and adapting them through a replication/modification process, to work in a calming manner.

Readymade:

Definition-Fitting within a space or site, having pre-standing needs within the site.
Own Practice- Working around a set scenic attribute/quality of the site.

Standardised:

Definition-Altering to fit within a guideline or standard, for consistency and evenness.
Own Practice- Forming and creating a space or the qualities to fit within the health guidelines of medical spaces. Additionally conforming to the standards of biophilia to create the benefits and effects.

Hot:

Definition-Heated, through an oven, microwave, stove- heating device.
Own Practice- The experience of warm space- physically or visually, through the temperature and lighting of a room, or the depiction of heat through colouring, or surface/texture.

Cold:

Definition- Low temperature, ice- creating or lowing the temperature.
Own Practice- The temperature and atmosphere of a space. Created through the colouring of the space- through lighting and airflow. Clean and slick temperature.

Porous:

Definition- Obtaining gaps or holes, creating the absorption of liquids.
Own Practice- Ability to absorb stress through the gaps/access to biophilic elements- view, lighting, airflow.

Desiccated:

Definition-Drying and removing moisture, to maintain the form/food.
Own Practice- The process of desiccating a space’s biophilic features to maintain within a medical space. Removing drying out the germs and moisture of the features of the designed space/effects.

Solid:

Definition-Upholding strength and stability, full form.
Own Practice- The solidity and strength of the forms seating and access.

Sticky:

Definition-Connecting to surface and becoming attached, leaving a tacky residue.
Own Practice- Becoming attached to the safety of the space, leaving a relaxing residue on the user’s experience.

Ephemeral:

Definition- A short life span, being momently utilised.
Own Practice- The use of the design space will have ephemeral use, for doctor check-ins.

Step Two

My 3 chosen ingredients that I used as conceptual prompts to make work, using the constraints of dimension and time delineated below.

Ingredients:

Processed
Desiccated
Ephemeral

Materials:

Processed, materials: Environmental scenes, watercolour, acrylic
Desiccated, materials: Naturalistic materials, leaves, flowers- similar textures + forms
Ephemeral, materials: clay

Methods:

Assembly
Mapping
Watercolour Painting
Acrylic Blowing
Modelling
Photography
Audio

After selecting my chosen ingredients I had different time constraints to create concepts and works relating or steaming from my definitions. All works had to fit on a A5 piece of paper.

Constraints:

– A5 size
– 5 mins
– 10 mins
– 15 mins
– 30 mins
– 1 hr

Planning

Planning of works and ideas

MordBoard Barinstorm

5 Minute Works- 12

10 Minute Works- 12

15 Minute Works- 12

30 Minute Works-12

60 Minute Works- 6

Step Three

Trial and document digital and analogue methods that are novel to you to make 51 artefacts

Some examples are below but think laterally about a suite of methods to trial (time allocation: 6 hours)

works Download

The Making and reflection

5 Minute Works

Key Ingredient: Desiccated

This new knowledge of understanding the life form of nature give me the idea of possibly exploring of each natural medium looks in their different states of life, and the claiming effect each of these states has.

10 Minute Works

Key Ingredient: Desiccated, Process

Embodiment

In the 10mins collection, I took leaves and flowers out from my garden and coated them in paint, used them as a stamp, and pressed them into the page. I’m this design I was focused on the ingredients of process and desiccated. With working on the process itself of stamp and pressing the flowers, and using the paint as a form to explore desiccated, in the material itself after it was pressed with.

I think this process and outcome was really successful of depicting nature. This specific method allowed the detail of the form to stand out, rather than focusing on the forms colouring or texture, the shaping and sceretes of the form become the main focus of the design.

15 Minute Works

Key Ingredient: Process

Distraction

I used the keyframe of distraction in the design, with claiming this idea to try and supply support in a medical space through distraction. I think the overall movement and colouring of the work is very distracting, with wanting to see the pathways and blending of the artwork.

I focused different scenes in each of these pieces, with looking at colouring of; forestry, gardens, flowers, and aquatic scenes. and bowing and blending the paint through these catogies of colours and tones.

30 Minute Works

Key Ingredient: Emphermeral, Process

Tactile

Depending on how desiccated the plant had become, depended if any remnants were left behind. With the failure of removal, I began to fill in the gaps with watercolour, to depict the form of nature again. I think this design would work really well in a medical sense, with having a tactile feature, allowing the work to become distraction therapy. So it captures the user’s subconscious mind but not much attention. Just enough to stop their worries.

60 Minute Works

Key Ingredient: Proces

For my 1hr work I looked at the ingredients process and ephemeral in relation back to distraction therapy, of a view. By capturing a view, and using the process of pressing and stamping, to create a lively scene. I worked with different amounts of life within plants, so throughout the work, the different levels of desiccation could be seen.

Questions from Class discussion:

Do you place constraints on your work?

– I definitely place the constraint of time on myself a lot, with having the habit of spending to much time on small details I tend to forget about time. I have to control myself and the. e time I send on creating and making

What methods do you currently employ?

I use the methods of reflecting and creating within my practice. The use of keeping a visual diary to reflect and sketch out key points or moments within my design. Using a great length of visual communication methods of; sketching, rhino software, blender software, modelling, painting.- Mainly working and fabricating through my hands, to understand the shape and experience of the design.

How do you make do with constraints related to accessing time, space, money and materials to make work?

– Time management is a key constraint I have to utilise will creating, as thethinking and conceptual process it the draining of my time, within my practice. So I have to consider this whilst making, with leaving enough to to visually create my concepts, as I want the depiction to be as strong as the concept.
– For gathering my materials I buy them from arts and crafting stores, Gorden Harris. I consciously try to not be wasteful, and have a large amount of scarps and materials that reuse before seeking more for my making.

Week Two

Cooking with Gas

Reflection of Week One

The exploration and exhibition of my work are designed around the words and ingredients of dedicated, process, and ephemeral.

Throughout the research process of these and their meanings within my practice:

Desiccated describes “The process of desiccating a space’s biophilic features to maintain within a medical space. Removing/drying out the germs and moisture of the features of the designed space/effects.”
Process is described as “Taking physical materials or scenes of biophilic qualities and adapting them through a replication/modification process, to work in a calming manner.”
And for ephemeral, “The use of the design space will have ephemeral use, for doctor check-ins.”

For my 5mins constraint, I explored the words process and ephemeral, with exploring the process of pressing flowers, as well as the time and life of a flower as it dries out. Within my research and practice, I am wanting to have biophilia present in a medical space, which is unreasonable due to hygiene guidelines. So with this method, I understood the different forms of the environment and their different stages of life. In the 10mins collection, I took leaves and flowers out from my garden and coated them in paint, used them as a stamp, and pressed them into the page. I’m this design I was focused on the ingredients of process and desiccated. With working on the process itself of stamp and pressing the flowers, and using the paint as a form to explore desiccated, in the material itself after it was pressed with. I think this process and outcome was really successful of depicting nature. This specific method allowed the detail of the form to stand out, rather than focusing on the forms colouring or texture, the shaping and sceretes of the form become the main focus of the design.

For my 15mins I explored the word process. The technique I used in this work is paint blowing. Where I a, depicting natural scenes, with similar colours, and through the process of blowing the paint, the scene becomes abstract. I think these sequences of works were the most captivating with the intense use of colouring and movement in the paint. I used the keyframe of distraction in the design, with claiming this idea to try and supply support in a medical space through distraction. I think the overall movement and colouring of the work is very distracting, with wanting to see the pathways and blending of the artwork. I focused different scenes in each of these pieces, with looking at colouring of; forestry, gardens, flowers, and aquatic scenes. and bowing and blending the paint through these catogies of colours and tones. Though I loved the overall appearance of these works I have to consider the purpose of medical spaces and believe that effect of these works would be to distracting. Taking away from the focus of the appointment and thinking of the space.

For my 30mins I created these etchings of nature using the ingredients of desiccated and process. I used modelling paint and nature, and pressed the flower into the paint and left it for half an hour to dry, and then removed the leaf from the paste. Depending on how desiccated the plant had become, depended if any remnants were left behind. With the failure of removal, I began to fill in the gaps with watercolour, to depict the form of nature again. I think this design would work really well in a medical sense, with having a tactile feature, allowing the work to become distraction therapy. So it captures the user’s subconscious mind but not much attention. Just enough to stop their worries.

For this weeks self directed task I had to research into the descriptive terms listed within the Week Two Matrix, make notes on each of these terms.

Step 1:

Delaminate:

Definition- The division of layers
– Dividing through layers of depth, layer by layer.
– Through the process the medium (form) becomes thiner and thinner/weaker, similar to sheding/plealing.

Reconstitute:

Definition- Restoring a form back to its original state, by adding water/liquid.
– Restarting, providing life or process back to the form.

Layer:

Definition- The quantity or thickness of a material, practically one on top of several.
– Adding upon current work and developing through detail or strength. Moving forwards.

Dissolve:

Definition- A reaction of a solid, cause it to become incorporated into a liquid so as to form a solution.
– Something key to a form or design can become less and important and fade out of the picture/idea.

Aerate:

Definition- A process of introducing air into a material.
– Similar to my paint blowing technique of forcibly adding air to material, and in thiscase providing new life and experince.

Eviscerate:

Definition- Being deprived of it’s essential content.
– Taking something away to remove life or purpose.

Glaze:

Definition- A smooth and slippery coating, a liquid preparation applied to food on which it forms a firm glossy coating.
– Adding a shine.

Amalgamate:

Definition- The process of combining or uniting to form one structure.
– Blending mulitole ideas together- mediums + methods.

Substitute:

Definition- A thing acting or serving place for another.
– Being and add-in.

Subtract:

Definition- Taking something away from something else to decrease in size, number, or amount.
– Removing detail or features to make something more simple.

Morselate:

Definition- The division into small pieces.
– Making something more simple.

The processes of understanding these definition within the context of my practice and project were a bit tricky as a couple of these words were new to me. The term the best fits to my context was layering, with using the term to develop or add on to a pre-exisiting state for calming and support.

Step 2

I then selected a term or layering as it best fit in relation to my research, with using the process of building and developing from a existing conspet or design. I then conitued my past indgrednts from last week as well.

Ingredients:

Processed, materials: Environmental scenes, watercolour, acrylic
Desiccated, materials: Naturalistic materials, leaves, flowers- similar textures + forms
Ephemeral, materials: clay

Key Term:

Layer: The quantity or thickness of a material, practically one on top of several. The development or advancement upon a work.

Methods:

Assembly
Stamping
Sketching
Mapping
Watercolour Painting
Acrylic Blowing
Modelling
Photography
Audio

Planning:

MoodBoard Barinstorming:

Contraints:

– A3 scale
– 15 mins
– 30 mins
– 1 hr
– 2hrs

15 Minute Works- 4

30 Minute Works- 4

1 hour Works- 4

2 hours Works-4

Step Three

The Making

This week I worked with the process of layering, with the definition of “The quantity or thickness of a material, practically one on top of several”.

I worked on creating a sequence of biophilic works, which developed in depth and tactility throughout layers of time frames. Providing the access of distraction for the users engaging with the space.

Roger,S,Ulrich. “View Through a Window May Influence Recovery form Surgery. 198

This week I read into Ulrich’s “View Through a Window May Influence Recovery form Surgery, 1984. The discussion of this text explores the case study of the recovery of cholecystectomy patients in Pennsylvania hospital were Ulrich examined to understand whether rooms with a window view of natural scenes would have restorivate influence of the patients wellbeing and health.

The study uses views of vegetation and water to reduce the etsress and fear of patients within their stays. Utilsing these views to “elicit positive feelings, reduce fear in stressed subjects, hold interest, and may block or reduce stressful thoughts, they might also foster restoration from anxiety or stress (Ulirch, 1984.P420)”. The study showed that patients with a view to a window of tress spent less time within the hospital than patient with a view of a brick wall, 7 days compared to 8. Concluding that the change made small different, yet the patients with a view had shorter hospital stays, fewer negative comments to nurses, fewer strong analgesic does (medication), and lower scores of postsurgical complications. defining that natural views have a comparatively therapeutic influences on patients.

Within these works I worked on exlorations of natural elements that may been seen from a window view of a space. Looking a the scenic elements of greenary and flora and fuana.

15 Minute Works

The 15min works portray the desiccated form of my pressed biophilic findings. With the sketches being a skeletal depiction, exhibiting all of the fine bones and details of the plants. I started from the every bottom layer of the form, as dessicated nature of the plant would be seen.
I think the nature and experience of these works are calming with the contrast of the white pencil drawing compared with the brown tones of the paper.

30 Minute Works

The 30mins works are a development of life. By using the process of stamping, coating the pressed plants in paint and stamping them onto the watercoloured form. The use of tracing paper and watercolour allows the past depiction of the work to be seen underneath.
Creating the next layer of texture and life of the form, filling in the bones of the plants with colour (viens of movement).

1 Hour Works

For the 1hr work, the process has developed into a flourished tactical form.
Each work/ development of the pressed plant portrays the ephemeral state and stages of the biophilic works.
I worked with the process of creating the backbone of the forms with clay, and then using wire to detail the movement of the extensions of the forms.

2 hour Works

For the 2 hour works I created the the finishing top of the plants forms, their skin. In the other works I almost did a zoom out of layering, as starting within the bones to viens to form, and then for this work I almost zoomed back in to explore the detail of the skin.
I think the movement of these works create great distraction, withtrying to follow the movement and pathways of the skin vessels in the plants.

Draft Narrative of weeks 1-3:

The exploration and exhibition of my work are designed around the words and ingredients of dedicated, process, and ephemeral.

Through pout the research process of these and their meanings within my practice:

Desiccated describes “The process of desiccating a space’s biophilic features to maintain within a medical space. Removing/drying out the germs and moisture of the features of the designed space/effects.”
Process is described as “Taking physical materials or scenes of biophilic qualities and adapting them through a replication/modification process, to work in a calming manner.”
And for ephemeral, “The use of the design space will have ephemeral use, for doctor check-ins.”

Throughout the process of making I considered my ideas of calming and distraction therapy, through the methodology of biomimicry. By creating biophilic works that are inspired or are drawn from current biophilia found within nature. Relating to my research question of, How might taking the design theories of Hygge and Biophilic, leveraging their calming materiality and atmospheric practices, provide a safe and therapeutic healthcare experience for local communities through the articulation of a spatial design artifact (consultation space)?

For my 15mins I explored the word process. The technique I used in this work is paint blowing. Where I a, depicting natural scenes, with similar colours, and through the process of blowing the paint, the scene becomes abstract. For my 30mins I created these etchings of nature using the ingredients of desiccated and process. I used modelling paint and nature, and pressed the flower into the paint and left it for half an hour to dry, and then removed the leaf from the paste.

In week 2 I worked with the process of layering, with the definition of “The quantity or thickness of a material, practically one on top of several. I worked on creating a sequence of biophilic works, which develop depth and tactility throughout layers of time frames. Providing the access of distraction for the users engaging with the space.

The 15min works portray the desiccated form of my pressed biophilic findings. With the sketches being a skeletal depiction, exhibiting all of the fine bones and details of the plants. The 30mins works are a development of life. By using the process of stamping, coating the pressed plants in paint and stamping them onto the watercoloured form. The use of tracing paper and watercolour allows the past depiction of the work to be seen underneath. For the 1hr work, the process has developed into a flourished tactical form. Each work/ development of the pressed plant portrays the ephemeral state and stages of the biophilic works.

Week Three

The Progressive Dinner

Formative Assessment

Weeks One to Three Statement:

formative-statement2-1 Download

Step 1:

Week One Table Layout

– The layout of this table developes throughout the constraint of time to create these works, as a journey of biophilic calming attributes.

Week Two Table Layout:

– For the structure of this table set up portrays the layering and development of the plants sturcture/design. Starting form the bones and moves down throughout form and structure.

Step 3:

Feedback:

Reflection:

I think this feedback session was really helpful with understanding how others view and understood my work and research, it was also really nice to see everyone else’s work and progress throughout these first few weeks.

The feedback and discussion of my project was really helpful with understanding what was strong and what os less clear in my practice of making in relation to research question/project. The strongest element of my work was the biomimicry and biphilia concept, with my work being a variety of depictions of these ideas, and having the ability through structure and materiality to be calming for the viewers of my class.

I key elements of my work that may have been missing or unclear is:

– what about the biomimicry is supplying the support and reposed emotions to the users of the space.
– Who are the users of the space, and what is the context of the medical space. What type of patients will be in use of the space.
– Who are the key design precedents that are informing and inspiring my practice and methods of making.
– How might these forms work as spatial scale. How would they interact at full scale within a space of use.

Moving forward within the next couple of weeks with my work I want to focus on the users of my work and understand how they will interact with the design, through their emotions and experience. Working and thinkingthrough my Person-Centred Design methodology, it provide a experience for the user that will be calming and safe within medical environment. Within my research I meed to explain further into the context of my design, being specific into the setting of the space.

Explore and highlight the key practitioners that inspire my practice and thinking process, examining how their works in relation to users and the experience that is created for them. As well asapplying this to a spatial scale, with understanding how the design would function in a contained space, working these 2D sketches into a 3D experience.

Key thinking to keep in mind:

Articulating my thinking and research surrounding the notion of Totafortis’s proposition of ‘humanisation of the beauty and recovery of humans and nature (2018), and the direct access to an environmental scene can block and reduce stress and anxiety for patients (Ulrich, S. 1984). I began to explore how my original ideas can steam into physical access to nature and investigate the emotional response created by these forms.

re-Positioning the Context of my Research

Re-Imaging the Healthcare Spatial Experience, Through Embodiment and Support.

Keywords:

Manaakitanga
Wellbeing
Container
Communal
Aid
Repose
Redevelopment
TeleHealth
Embodiment

Introduction to Context:

This research uses Biophilia, Spatial Design and Person-Centred Care in relation to the troubling and anxiety-inducing experience an outpatient journey, to a reposed and safe health encounter.
My proposed research study is developing a telehealth consultant space for outpatient check-ups; located within public settings of communities.

The experience of hospitals can be daunting and traumatising for many as the experience neglects the care and emotions undertaken within the space. Through the process and research of Person-Centred Care, I am exploring how I can re-imagine further support and care for the users, by listening to and applying their wants and needs.
To address the stress of the spaces of healthcare, I am exploring the methodology of Biomimicry through the methods of Positive Distraction. Using the control and absorption of the patients and wider whanau worries through the distraction of Biophilia, creating a therapeutic telehealth outpatient experience.

Through these methodologies and methods, I am wanted to humanise and repose the healthcare experience through the exploration of Person-Centred Care and Spatial Design containment of Positive Distraction.

Environment:

Outpatinet Clinic for acute surgeries.

Users:

Patients
Family
Friends
Support People for patients

Key Thinkers:

Roger, S, Ulrich

“Having direct access to an environmental scene can block and reduce stress and anxiety for patients.”
Ulrich, S.(1984).

Key ideas surrounding positive distraction and recovery influence of natural views of patients and people health and wellbeing.

Simona Totafortis

“The humanisation of the beauty and recovery of humans and nature.”
Totrforis,S.(2018)

The humanisation of the beauty and recovery of humans and nature, humanising the process and experience of medical spaces, through biophilia.

M McCuskey Shepley

‘The ability to allow the individual to shift focus from negative foci within the health environment to the more restorative apsect of the nonmedical world”.
M McCuskey, S. (2006)

The ideology of positive distraction through nature and art, using these forms and distaction mechanisms form patients stress and worries. Abosbring the anxiety for the epatinets, so they can focus on their health and wellbeing status within the clinical space.

Methodology:

Person-Centred Design
Biomimicry
Distraction Therapy

Step 4:

I the selected two words from the Contexts and Distribution Maxtrix that currently relate to my work and how I would like it to be positioned in the futrue.

Context: environment + methodology

Repair- My work is currently repairing the daunting and stressful relationship between users and hospital spaces through calming qualities of my practice.- Something I want to working into further is repairing the relationship between the user and their needs, with communicating them through design.- through the methodology of Person-Centred Design.
Contain- The context of contain my practices in relation to a medical environment.

Distribution: impact + reach

Local – With providing access to local, safe and support in outpatient clinics in communities. Placing them within local spaces, that everyone can access.
Restore- Restoring and reconnecting people with nature, creating and humanising the experience of healthcare.

Step 5:

Ingredients:

Processed, materials: Environmental scenes, watercolour, acrylic
Desiccated, materials: Naturalistic materials, leaves, flowers- similar textures + forms
Ephemeral, materials: clay

Key Term:

Layer: The quantity or thickness of a material, practically one on top of several. The development or advancement upon a work.

Contexts for Practice:

Repair
Contain

Distribution for Practice:

Local
Restore

Methods:

Assembly
Mapping
Watercolour Painting
Modelling
Photography

Within this weeks artefacts I am going to focus on the ‘User’, exploring into my practice related to people and understanding how they will interact with my ideas and concepts.

Careful Painting

Hannah Sames

https://studiorosey.com/carefulpainting

Hanah is a graphic design who studied her thesis at AUT. Her research project “Careful Paintin”, 2020 investigated the grown recognition for the benefits for pantients and staff of visual and colourful art within the asymetric systems. Using her paint as a means for a co-design research and exhibition. With undertaking healthcare case studies to develop her methodology of “think through colour’ using colour as an understanding of emotion.

“ I wanted to know how healthcare communication could be designed in a way that embraced patient insights, creative thinking and would visually connect with people”.
Hannah Sames, 2020.

Commuicating in Colour

Sames, H. (2020). Careful Painting. Auckland University of Technology

Communicating in colour was one of her co-design workshops conducted, that explores her theory of painting as a tool kit to humanise hospital spaces. She undertook a couple of exercises to get the participants to think back on memories of good and bad days. Use colours that relate to this memory and create markings with similar energy felt in the memory.

Thinking through Tactility

Self run co-design focus group, exploring experiences of emotions, hospital spaces and biophilia
2022

From researching into Hannah’s work I decided to create my own approach to a person-centred design methodology, to understand how users themselves would perceive my concept of a safe and calming hospital environment and how they interact with nature. I created my own little workshop using the methodology of paint as access to emotions.

Time Constraints:

Exersice One– 12 mins

Painting as Emotions- 3 mins, 8 works

Exercise Two– 36 mins

Painting as Hopsital Spaces and Biophilia– 3 mins, 12 works

Exercise Three- 90 mins (1.30 hr)

Clay as Biophilia- 15 mins, 6 works

I trialed two exercises using watercolour paint. For exerice one I asked the users to paint how they reacted to an emotion and to create this memory with similar forms and colouring imagined. For the second exercise I reworked the exercise in relation to my concept of biophilia and hospitals scenes, and having the viewers to mark their emotions relating to these word.

Giving the users 3 minute time constraint to depict each word, not allowing the user to think to hard. Just capturing their intinal response to each word.

Exersice One Paint as Emotion

Exercise Two Paint as Emotions in Medical Spaces

After these two workshops I wanted to capture the emotion and perspective of biophilia within a physical form, to understand how users may interact with the concept within a contained space. So I had the users use the material of clay, which is a key material of making in my practice and easy to mould and shape. Asking the users to create forms solely relating to concepts of Biophilia, to understand how users experience this connection to nature. Giving the users 15 minutes each to create their reaction. For this exercise I gave the uses more time than the first two exercises as this was the first time they had encountered clay, and had found it difficult to capture their thoughts within 5 to 10 minutes. So this time frame allowed the user to express their connection to biophilia successfully.

Exersice Three Clay as Biophilia

Results + Artefacts of the Focus Group Exercise

painting-as-emotion Download

Exersice One– the most calming emotions and images produced/recognised by both were recongised as ‘Sad’. Even though this is the emotion users are not wanting to face in healthcare spaces, they distinguished as the colouring to be very calming and soft.

Exercise Two– the most calming emotions and images produced/recognised by both were recongised as ‘Water’ and ‘Flora and Fuana’. The usesloved the relationship between the colouring and movement of the images- the shaping of waves and blossoming.

Exercise Three- the most calming emotions and images produced/recognised by both were recongised as ‘Water’. The users loved their memories and shaping detailed in their formation of waters, with remember the motion as ver calming and addicting to watch. Their favourite form of communicating in these exerices were through clay, they stated even though it was a bit messy the process of moulding and shaping was very calming.- motion of feeling the clay.

The Process

the-process Download

Reflection:

This exercise was a really good experience of seeing how other people and potienal users of hospital spaces, see and experience the concepts within my project. With seeing the idea of a hospital as the sterotypical and structured space depicted in films and TV. It was really powerful to see the effect colour has within people reacting to design/spaces, how I can control the emotion within a space through the portrayal of colour.

I think this process of using co-design (working with people) is really important within my research, as it is great to get feedback and information from user regarding my designs and concepts. But I think working with the users through design and seeing how they think and interact with my concepts and ideas, seeing their understanding and interaction is very critical in relation to how they willinteract without observation in my designs.

After the exercise I asked the users how they felt that went and what their experience was like with thinking through clay and paint to show they emotions. They explain that it was really fun and relaxing with thinking through their hands rather than their mouths, communicating through a different way. They explained that they didn’t mind if their exact ideas went displayed within the designed space, rather this calming process of movement and relaxation was the experience.

From this experiment I learnt that working in a Person-Centred Methodology and Co-Design methods their has to be a clear understanding and relationship of respect between the designer and users, to listen and take in all of the users thoughts and needs to create a design that is satisfactory for both parties.

I am going to explore this relationship of repose possibly through tactility, from this focus group as the thought this was the most calming element of exercise, rather than the imagery they produced.

Week 4

Cordiality

500 Word Draft Statement

Throughout this process of making, my creative practice considers the calming ideas of Distraction Therapy through the methodology of Biomimicry. Developing the exploration of embodiment, creating a reposed atmosphere through similar shaping and inspiration of Biophilia (nature).

Within the first few weeks of my creative practice, the use of rationing and constraints were undertaken, exploring the ingredients of Processed, Desiccated, and Ephemeral, specifically in Biophilia. I altered each word’s definition and process concerning my practice of Biomimicry within a medical context. Employing the word ‘Process as exploring the adaptation and modification of this naturalistic embodiment’, ‘Desiccation as removing the moisture to fit within medical space’ and ‘Ephemeral as the time frame within medical spaces and the work in similar time frames’. I additionally worked with the key term of Layering, exploring the ‘development of a work or idea upon a work’, creating a sequence of biophilic works which develop depth and tactility throughout layers of time frames—providing access to distraction for the users engaging with the space. I explored these concepts through materials of; watercolour, environmental depiction, pressed leaves and flowers, clay and wire.

My most successful embodiment work was an etching of varying natural materials, pressing flowers into modelling paint, leaving it for half an hour to dry, and then removing the form, depending on how desiccated the plant had become deciphered if any remnants were left behind. With the failure of removal, I began to fill in the gaps with watercolour, to depict the form of nature again. This design would work well in a medical sense, with a tactile feature, allowing the work to become distraction therapy, capturing the user’s subconscious mind, enough attention to stop their worries.

In the later weeks of my practice, I realised that my making was solely depictions of embodiments, and I had neglected my key aspect and intention of spatial elements and experience.

Keeping my initial work in mind, I began to re-think my practice at a spatial scale; how could I create a model of these drawings? How would these shapes be interacted with? How would it interact within a medical space? As well as involving my developed research question of;

How might taking the design theories of Hygge and Biophilic, leveraging their calming materiality and atmospheric practices in relation to a Telehealth Consultation space, re-imagine the daunting healthcare encounter to a safe and therapeutic experience for local communities?

Continuing to articulate my thinking and research surrounding the notion of Totafortis’s proposition of ‘humanisation of the beauty and recovery of humans and nature (2018), and the direct access to an environmental scene can block and reduce stress and anxiety for patients (Ulrich, S. 1984). I began to explore how my original ideas can steam into physical access to nature and investigate the emotional response created by these forms.

From working with the method of painting to discover emotions and forms, I then developed this method within my practice, creating the methodology of materials as emotions. Using my ideology of Biophilia and Biomimicry, I worked with creating resemblance and layering from water as emotions to clay. Using the framework of Repair and Contain to create the context of the space’s place and purpose to reconnect the patients to the environment, and the terms Local, Restore in the interaction of the distribution of the impact the patients experience.

References:

Sames, H. (2020). Careful Painting. Auckland University of Technology.

Communication in Colour, (Auckland University of Technology 2019).

Totafortis, S. Applying the benefits of biophilic theory to hospital design, (City Territ Archit 2018). https://doi.org/10.1186/s40410-018-0077-5 

Ulrich, R. S. (1984). View Through a Window May Influence Recovery from Surgery. American Association for the Advancement of Science., 224(Science), 420–422.

Lisa Cahill

Lisa Chaill is Australian artist who creates these illusive depictions with finely sculpted glass artworks. Creating the experience of pulling the viewer’s past associations of their own memories in relation to landscapes portrayed in her works, fabricating a meditative and emotional response for the viewer.

Her work is inspired from the forms, colours, texture and space of Australian bushes and rough winter scenes of Denmark.

Lisas art becomes a experience the questions the reality behind the visible world, and becomes a space for quiet thoughts and contemplations.

Her work that I originally was drawn to was her wall panels, which stand as a record of her memories and experiences in different landscapes. Work becomes an abstract representation of these scene, with the reproduction being her own interpretation of the calm and silent intensity experiences.

Lisa Cahill

Lisa’s artwork resonates with my practice within a similar approach of creating forms and rensitions of environmental scenes, with the experience and stand of the design to become an atmosphere of calmness and repose. Drawing the quiet and relaxing elements of nature into an abstract configuration. Drawing the viewers worries and anxiety out through the dirstaction of the work.

Some Key works that I think work successfully in being depictions and spaces of quiet are:

Himalayan Cedar

Lisa Cahill, Kiln formed and enamelled glass, 95cm high x 100cm wide x 1cm deep

http://www.lisacahill.com/himalayancedar/paa6km2xk8bxpjfognlietk8c7z01e

I am drawn to the harsh and defined markings made by the paint of the work, creating intense and heavy movement throughout the glass. This quite dark and harsh work becomes really incapturing with visualsing a dark and winter like scene.
The abstract markings of the tree creates my own visualisation and imagination of the scene, with picturing a cold and strong forest ingolfing this tree.

Escarpement Series

Lisa Cahill, Escarpment, 2020, kiln formed and enamelled glass wall panel, 100 h x 185 w x 20mm d

http://www.lisacahill.com/escarpment-seriess/6ifznk07z4rkgxogite8lo50j9hwta

I think having works in a process and display of a sequence is really powerful with engaging a viewer through a story and experience of a work. As the works develop I feel as though I am moving throughout the space/environment with the artist.

Flow

Lisa Cahill, Kiln formed glass, aluminum, stainless steel. Commissioned for the Tiffany & Co Flagship Store, Sydney, Australia

http://www.lisacahill.com/flow/ubylh6fjltut9ug7la8jv8ypo87hic

This work is inspired by the ocean and seascapes of Sydbey, with depicting the flow of the air and waves crashing against the shore. The softer forms in colour and transparency have softer movement and shape relation to the ebluer forms, creating the experience of the clear designs standing as the airflow, and the dark forms being the water.

I enjoy the sequence and formation of this work, with the movement of the structure itself and the individual pieces become highly engaging and distracting.

Chiaroscuro

Lisa Cahillm Chiarosucro, 2014, 2.3m high x 60cm wide x 5cm deep, cast crystal and brass. Photo: Greg Piper.

http://www.lisacahill.com/chiaroscuro

This work portrays the “depth of colour and graduating tones… not flat and graphic, but deep and unfathomable”. This work depicts folding of clothes seen in renaissance paintings, in the form of cast crystal and brass. The placement of this glass allowed natural light to shine through the landscaped garden. Creating this dominant feature in the middle of the house.

I think the abstract form of materiality to depict the fabric becomes really evoking and encapsulating, with the effects of lighting, allowing the work to become detailed at different angles.

From Lisa’s works I want to emboy her abstract method of biomimicry in relation to environment scenes. With creating scenes that are so close to being reconsible but not at the same time, allowing the viewer to create this own narrative and emotions in relation to the work. Falling into the experience of positive distraction, taking away from their stress and worries.

Action Plan + Shopping List

Ouctomes:

Creating watercolour as emotions in healthcare spaces, depicted in the biomimicry of water. 2-3 images in 10 mins each of the emotions; stress, confusion, sadness, happiness, and repose- a total of 120 mins (2hrs), 10-14 works.
Creating wire as emotions. 3 artifacts in 30 mins each, of layering and developing the sketches from the pages.
Fabric as emotions. 3 artifacts in 30 mins each, of layering and developing the from the wire forms into interactive fabrics.
Clay as Emotion.2 artefacts, 40 mins each. Capturing the calmness of the experience within the material.
Refining clay as emotion for a the summative, alongside the presentation, of practice.

From last week’s experience and making within a focus groups, and gathering feedback from users surrounding Biophilia and Hospital spaces, I have decided to work further with the Biomimicry of water scenes. From working with the method of painting to discover emotions and forms, I then developed this method within my own practice. Using my ideology of Biophilia and Biomimicry, I worked with creating resemblance and layering from water as emotions to clay. I am also going to try and emit Lisa Cahill’s method of creating abstract depictions of nature to compose and create the quiet and calming experience of the work within the space contained in.

I specifically explored emotions that may be faced within an outpatient clinic by patients and their families, with exploring a experience of each emotion through paint and then developing and adding a layer into the spatial scale. I want to examine if any of these depictions are experienced as calling even though their origin may contrast with that.

Watercolour as Emotions in Healthcare Spaces

Stress

Confusion

Sadness

Happiness

Repose

I began with creating markings and forms of water in relation to some emotions undertaken in medical spaces, using the constraint of 1o minutes with watercolour paint to create these works; removing the chances of over-thinking.

My most calming concept was the emotion of repose. With creating dripping forms similar to water ripples and currents. I think this work best emits the calming nature of the work into the space viewed in, as the movement and presence of the water ripples being very soft and delicate. The works movement emits a very calm experience, making me flow the pathways of drips, and my worries fadeaway with the weight of the drips.

I then explored my new method of presenting emotions through abstract natural scenes within different materials, and examined the different emotions presented within the experience of the work.

Wire as Emotions

In these works I explored how wire could depict this reposed emotion in 30 minutes each. I think the structure itself created an intricate experience of movement and reflection. This work becomes distracting in relation to the movement and pathway of the wires formation of the scenes of water ripples.

Fabric as Emotion

Then developed these forms further and explored how the ripples would appear within the form to Hygge and materiality, as for how the form would be felt and touched. I kept the small detailing of the developed work and explored how the fabric would drip and ripple as if it were water.

Clay as Emotion

I began exploring the emotion through clay to imagine the almost soft and smooth nature of the ripples, specifically through fabric. Wanting the movement of the form to emit the calming and soft nature of the space. This work’s incorporation of tactility had the most calming effects, so I created a sequence of drips to capture the authentic experience of the work.

500 word Statement of Practice

In the later weeks of my practice, I realised that my making was solely depictions of embodiments, and I had neglected my key aspect and intention of spatial elements and experience.

I began to depict my watercolour paintings of water movement as handheld clay models, related to the movement of Hygge’s calming materiality—exploring these patterned movements in fabric depiction within small spaces.

I want to further work on these layering processes from my embodiment sketches into the interior and exterior spaces moving forward in my practice. I want to explore the visualisations of how these forms would be interacted with in a contained space. Would the embodiments be fabricated in the shape of the space of wall, seating, lighting or surfaces?

References:

Sames, H. (2020). Careful Painting. Auckland University of Technology. Communication in Colour, (Auckland University of Technology 2019).

Totafortis, S. Applying the benefits of biophilic theory to hospital design, (City Territ Archit 2018). https://doi.org/10.1186/s40410-018-0077-5 

Ulrich, R. S. (1984). View Through a Window May Influence Recovery from Surgery. American Association for the Advancement of Science., 224(Science), 420–422.

Week 5

Preparing for the Dégustation

Week 5 class Silent Presenation Layout

Reflection of Practice

500w-statement Download

Feedback:

Reflection:

The feedback I received from todays silent feedback session was very ressauring concerting the understanding and experience of my work. Which was the main the focus of the past week, with understanding and exploring how the work would effect the users emotions and experiences of the space. Within my statement I stated the further work of my practice which would be pursing these material as emotion artefacts within a spatial scale of interact and experience. At this point I was a bit unsure of which model to continue, as thoughts are biased on the effort used to make each work. through the feedback I was able to recognise that clay as emotions was very calming as an artefact and experience. With the nature moving into the use.

The feedback also stated this clear connection between the watercolour explorations to models, which pressures the relationship of this new methodology in relation to my making practice.

My work was also recognised as ‘growth’ with seeing the development from the page to form- which I really like.

The key feedback was to see how this clay concept would work at a human scale within a medical space. I think continuing this model forward, I am going to produce a sequence of forms, to continue my engage meant of positive distraction through this form of biomimicry.

Further Development of Clay as Emotion

I began to explore the forms nature of tactility, and examining how the users would use this form as distraction to calm their nerves. So I created a model around 15 by 15 cm large, to engage with the work and obtain this calming experience.

Tactility:

The process of feeling and tracing this form is really relaxing, with feeling the dips and creases of the water replicated form. This movement of my hand almost became subconscious while engaging with it.

Sequence:

I then explored how I want this form to exhibited in a clinical space, whether it is hang individually or as a sequence of works. After consideration I think I want the work to be as a collection, as I don’t think one would be able to gauge the attention of patients solely, but I think this work would hold attention with taking up a decent amount of space as a group.

I created this first collection at a small scale to understand how the work would interact with the space and users. I was very pleased with the collectiveness and nature of these forms in relation to being reposed and emitting this into the contained space. I then decided to make a model at scale of 10y b 10 cm larger as a collective.

The overall design of the rippled sequence depicts the abstract embodiment of the calm ocean, displaying six forms hanging horizontally down the side of a wall, fitting with a scale around 10 by 10 cm per drip, creating the perfect size to touch and feel the forms, imaging the nature and experience of the design. The form’s currents interact with the movement and pathway of the user’s mind and the light of the space, creating a distraction from one’s worries but not the entire mind.

Communicating this design within a contained clinical setting, I wanted to depict the materiality in the context of the space, with curating of the environment would engage as well as the patients.

With the space there is currently a large sliding door lighting up the space. I would have the light reflecting and interacting with the forms and reflecting a pattern of water ripples within the surfaces of the space.

I think this small detail controlled by the environment, would really create this smooth and calm space for patients to engage with, distraction them of their anxiety and allowing them to focus on the health and wellbeing status in the appointment. This biophilic interaction humanising the healthcare experience.

Week 6

The Dégustation

Portfolio of Practice Presentation

summative-presentation-amy-cherguit Download

Speaking Notes:

Nothing

My proposed research study is developing a telehealth consultant space for outpatient check-ups; located within public settings of communities.
The experience of hospitals can be daunting and traumatising for most; I have to explore how I can re-imagine further support and care through my practice to create a therapeutic healthcare outpatient experience.
My research question is:
“How might taking the design theories of Hygge and Biophilic, leveraging their calming materiality and atmospheric practices in relation to a Telehealth Consultation space, re-imagine the daunting healthcare encounter to a safe and therapeutic experience for local communities?”

Throughout this process of making, my creative practice considers the calming ideas of Positive Distraction Therapy by M McCuskey and Dr Ulrich through the methodology of Biomimicry. Developing the exploration of embodiment, creating a reposed atmosphere through similar shaping and inspiration of Biophilia (nature) and developing Totafortis’s ideology of hospital space as a place to recover through connecting with nature.

Within the first few weeks of my creative practice, the use of rationing and constraints were undertaken, exploring the ingredients of Processed, Desiccated, and Ephemeral, specifically in Biophilia. I altered each word’s definition and process concerning my practice of Biomimicry within a medical context. Employing the word ‘Process as exploring the adaptation and modification of this naturalistic embodiment’, ‘Desiccation as removing the moisture to fit within medical space’ and ‘Ephemeral as the time frame within medical spaces and the work in similar time frames.

Throughout my time constraints, I explored various ideas about Biophilia’s timeline of life.
Within my shortened working time frames, I explored nature’s ephemeral state and desiccation by pressing and stamping the form with paint, depicting the different stages of life through the death of paint and moisture, creating a visual timeline. Then within the longer time constraints, I worked with the ingredients of process and desiccation, fabricating abstract depictions of nature, focusing on creating forms through paint blowing, watercolour, and etching processes.
I think the 15 minutes works were influential with being distracting, yet the colouring of the works becomes distracting to one’s worry and focus. It may not be suitable for medical space.

My works of etching and pressing were successful in relation to capturing. As Ulrich discusses in his positive distraction research of “a view to a window”, he explains that the site and access to nature and art should only capture one worry, not mind entirely.
This design works well in a medical sense, with a tactile feature, allowing the work to become distraction therapy, capturing the user’s subconscious mind and enough attention to stop their worries.

I additionally worked with the key term of Layering, exploring the ‘development of a work or idea upon a work’, creating a sequence of biophilic works which develop depth and tactility throughout layers of time frames—providing access to distraction for the users engaging with the space. I explored these concepts through materials of; watercolour, environmental depiction, pressed leaves and flowers, clay and wire.

Creating a sequence of biophilic works that develop depth and tactility throughout layers of time frames provides access to distraction for the users engaging with the space. I explored these concepts with materials of; watercolour, environmental depiction, pressed leaves and flowers, clay and wire.

Using the direct contact of nature as materials created this strong and recognisable element to the work.

10-

Through the formative feedback, I almost had a turning point, understanding through feedback that my practice exploration worked well concerning depicting nature and Biophilia.
However, I had been focusing solely on the form itself and forgotten about the experience of the works.
Discovering, I need to work with the initial effects created by the works and post-effects on the user’s emotions and anxiety.

11-

Communicating in colour was a co-design workshop conducted by Hannah Sames that explores her theory of painting as a tool kit to humanise hospital spaces. She undertook a couple of exercises to get the participants to think back on memories of good and bad days. Use colours that relate to this memory and create markings with similar energy felt in the memory.

12-

This created my approach to a person-centred design methodology, understanding how users themselves would perceive my concept of a safe and calming hospital environment and how they interact with nature.
I created my little workshop using the methodology of paint as access to emotions.

13-

I had two exercises using paint, asking the user to paint how they reacted to an emotion and create this memory with similar forms and colouring imagined.
I then reworked this exercise about my concept of hospital scenes and Biophilia.
Each word had 3 mins to be created.

14-

I then developed my method of using clay to access emotions, allowing a brain to now think through our fingers and hands.

15-

Asked the users to create forms solely relating to concepts of Biophilia, to understand how users experience this connection to nature.

16-

From working with the method of painting to discover emotions and forms, I then developed this method within my own practice.
Using my ideology of Biophilia and Biomimicry, I worked with creating resemblance and layering from water as emotions to clay.
Using the framework of Compose, Situation to create the context of the works place and purpose. And Repurpose, Participate in the interaction of the work.

17-

I began with creating markings and forms of water in relation to some emotions undertaken in medical spaces, each taking 10 minutes.

18-

My most calming concept was the emotion of repose. With creating dripping forms similar to water ripples and currents.

19-

Then explored my new practice within different materials and explored how wire could depict this reposed emotion in 30 minutes each. I think the structure itself created an intricate experience of movement and reflection.

20-

Then developed these forms further and explored how the ripples would appear within the form to Hygge and materiality, as for how the form would be felt and touched.
I kept the small detailing of the developed work and explored how the fabric would drip and ripple.

21-

I began exploring the emotion through clay to imagine the almost soft and smooth nature of the ripples, specifically through fabric.
This work’s incorporation of tactility had the most calming effects, so I created a sequence of drips to capture the authentic experience of the work.

22-

I then developed this work further by considering the spatial element of the work, with understanding the scale and physical interaction of the structure.
I began to create multiple sequences of size and number to understand how the experience would be affected.
It was discovered that its design would work best with being hung horizontally down a wall.

23-

I decided that having the scale around 10 by 10 cm drips creates the perfect size to touch and feel the forms. Understanding the nature and experience of the design.

24-

I created this final arrangement of 6 clay ripples of water in fabric. Each model has its creases and dips.
I considered these forms to interact with the movement and pathway of the user’s mind and the light of the space.
Having the light reflect the material and create forms on the surrounding surface.

Design Practice Two Summative

Portfolio of Practice

design-practice-two-summative_amy-cherguit-2022-Download

REFLECTIVE STATEMENT OF RATIONING AND METHODOLOGY

Throughout this process of making, my creative practice considers the calming ideas of Distraction Therapy through the methodology of Biomimicry within a Person-Centred Design framework. Developing the exploration of embodiment, creating a reposed atmosphere of abstract shaping and inspiration of Biophilia (nature).

Within the first few weeks of my creative practice, the use of rationing and constraints were undertaken, exploring the ingredients of Processed, Desiccated, and Ephemeral, specifically in Biophilia. I altered each word’s definition and process concerning my practice of Biomimicry within a medical context. Employing the word ‘Process as exploring the adaptation and modification of this naturalistic embodiment’, ‘Desiccation as removing the moisture to fit within medical space’ and ‘Ephemeral as the time frame within medical spaces and the work in similar time frames’. I additionally worked with the key term of Layering, exploring the ‘development of a work or idea upon a work’, creating a sequence of biophilic works that developed in depth and tactility throughout layers of time frames—providing access to distraction for the users engaging with the space. I explored these concepts through materials and methods of; sketching, watercolour, environmental depiction, paper, pressed natural material, clay and wire.

Throughout my time constraints, I explored various ideas about Biophilia and its timeline of life. Within my shortened working time frames, I explored nature’s ephemeral state and desiccation by pressing and stamping the natural material with paint, depicting the different stages of life through the dying of paint and moisture, creating a visual timeline. Then within the more extended time constraints, I worked with the ingredients of process and desiccation, fabricating abstract depictions of nature, focusing on creating forms through paint blowing, watercolour, and etching processes. At the beginning of my making process for this paper, I struggled with working to the set timeframes; as being a perfectionist, I have the process of having to finish each work I start. As I began to develop my work throughout the weeks, it became clear that the almost unfinished and simple designs became the foundation of my final works.

In the first weeks, I created a key successful embodiment work, an etching of varying natural materials. The method lies in pressing flowers into modelling paint, leaving it for half an hour to dry, and then removing the form, depending on how desiccated the plant had become deciphered if any remnants were left behind. With the failure of removal, I began to fill in the gaps with watercolour, to depict the form of nature again. This design would work well in a medical sense, with a tactile feature, allowing the work to become a Positive Distraction, capturing the user’s subconscious mind, enough attention to suppress their worries.
In the later weeks of my practice, I realised that my making had become depictions of embodiments, and I had neglected my key aspect and intention of Spatial Experience and Person-Centred Design.
Keeping my initial work in mind, I began to re-think my practice and methodology at a spatial scale; How could I create a model of these watercolours? How would users interact with these shapes? How would the design interact within a medical space? As well as involving my developed research question of;
How might taking the design theories of Hygge and Biophilic, leveraging their calming materiality and atmospheric practices in relation to a Telehealth Consultation space, re-imagine the daunting healthcare encounter to a safe and therapeutic experience for local communities?

I became inspired by Hannah Sames ‘Communicating in Colour’ (2020) co-design workshop that explores her theory of painting as a tool kit to humanise hospital spaces. Within this Person-Centred Design workshop, she undertook a couple of exercises to get the participants to think back on memories of good and bad days, using colours that relate to their memory and creating markings with similar energy felt in the memory. This encouraged my own approach to a Person-Centred Design methodology to understand how users would perceive and interact with my concept of a safe and calming hospital environment. I created a little workshop using the methodology of paint as access to emotions. I trialled two three minute exercises using watercolour paint, exploring how users responded to emotions and hospital spaces through colour and marking. After these two workshops, I wanted to capture the emotion and perspective of Biophilia within a physical form to understand how users may interact with the concept within a contained space. So I had the users interact with clay, a key material of making in my practice and easy to mould and shape. I instructed the users to create forms solely relating to concepts of Biophilia, to understand how they experience this connection to nature.
From working with the method of painting to discover emotions and forms, I then developed this method within my practice, creating the methodology of materials as emotions. Using my ideology of Biophilia and Biomimicry, I worked with creating resemblance and layering from water as emotions to clay. Using the framework of Repair and Contain to create the context of the space’s place and purpose to reconnect the patients to the environment, and the terms Local, Restore in the interaction of the distribution of the impact the patients experience.

A key influence in the later weeks of my making is Lisa Cahill; her work investigates how illusive depictions of finely sculpted glass artworks create the experience of pulling the viewer’s past associations of their memories concerning landscapes portrayed in her works, fabricating a meditative and emotional response for the viewer. Specifically, in her series of paintings, ‘ Escarpment’ (2020), she uses harsh paint markings to fabricate intense and heavy placement of the ocean. These abstract markings of the waves create a visualisation of the scene, picturing the dark, calm ocean, emitting this emotion into the atmosphere.

These findings made me re-assess my research question to fit better the purpose and intention of my practice and making; “How might taking the design theories of Positive Distraction and Biophilic, leveraging their calming materiality and atmospheric practices in relation to a Telehealth Consultation space, re-imagine the daunting healthcare encounter to a safe and therapeutic experience for local communities?”

From these discoveries of using materials as emotions and emitting emotions of a natural scene into spaces through embodiments, I developed this method within my practice. Using my ideology of Biophilia and Biomimicry, I worked with creating resemblance and layering from water scenes as emotions through varying materials.
I began with creating markings and forms of water with emotions undertaken in medical spaces, each taking 10 minutes. The work that effected my emotions the most was the depiction of repose in water, creating dripping forms similar to water ripples and currents.
I then explored my new practice within different materials and explored how wire and materiality/fabric could depict this reposed emotion within the constraint of 30 minutes. These structures created an intricate experience of movement and reflection of water ripple and currents.

I began exploring the emotion through clay to imagine the almost soft and smooth nature of the ripples, specifically as a fabric. The work’s incorporation of tactility had the most soothing effects on the viewer. I began to create sequences of these rippling shapes to capture the authentic experience of the work. I then considered the spatial element of the work, with an understanding of the scale and physical interaction of the structure.
The overall design of the rippled sequence depicts the abstract embodiment of the calm ocean, displaying six forms hanging horizontally down the side of a wall, fitting with a scale around 10 by 10 cm per drip, creating the perfect size to touch and feel the forms, imaging the nature and experience of the design. The form’s currents interact with the movement and pathway of the user’s mind and the light of the space, creating a distraction from one’s worries but not the entire mind.

References:

M McCuskey, S. (2006). The Role of Positive Distraction in Neonatal Intensive Care Unit Settings. Center
for Health Systems and Design.
Sames, H. (2020). Careful Painting. Auckland University of Technology.
Communication in Colour, (Auckland University of Technology 2019).
Applying the benefits of biophilic theory to hospital design, (City Territ Archit 2018). https://doi.
org/10.1186/s40410-018-0077-5
Lisa Cahill, Escarpment, 2020, kiln formed and enamelled glass wall panel, 100 h x 185 w x 20mm d
Ulrich, R. S. (1984). View Through a Window May Influence Recovery from Surgery. Science, Vol 223(Issue
4647), 420–421.
Wikaire, E., & Hardwood, M. (2022). Reducing healthcare inequities for Maori using Telehealth during
Covid-19. NZMA, New Zealand Medical Journal Te ara tika o te hauora hapor.

Bibliography: https://lineardesign.blog/bibliography/

Design practice Two Summative