is design a reaction to nature or inspired by nature

8/18/2019 Is Design a Reaction to Nature or Inspired by Nature

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Is Design a Reaction to Nature or is Design Inspired by Nature?

By

Thomas Collison

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Contents

List of Illustrations 2

Introduction

Chapter !ne" Design as a Reaction To Nature #

Chapter T$o" Design Inspired by Nature 11

Chapter Three" Design in Conte%t of Design 1#

Chapter &our" 'ynthesis 2(

Conclusion 2)

Imagery (*

Bibliography (+

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List of Illustrations

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Introduction

>aul EacFues 3rilloGs boo Form, Function and Design /1+8)0 he

loos at ho$ design is a product of natureGs forms :o$ $e ha-e

de-eloped from mans most instincti-e form of :omo Hrectus to

mans current state as :omo sapiens can be seen as a direct result

of natures impact on the e-olution of society through design This

piece of $riting $ill tae into account >hilosophers such as

Immanuel ;ant and Dennis Dutton as $ell as others to depict the

ourney of man made design and its relationship $ith nature Nature

has al$ays been seen as a source of inspiration for designers.

ho$e-er it has also been seen as a reaction to design The premise

of design is to nd solutions to problems and nature has often been

seen to produce problems to man and society /3rillo. 1+8)0

The rst chapter $ill e%plore the idea of ho$ cogniti-e thought has

aided mas ability design and creation Jsing theories of e-olution

from Charles Dar$in to the ideas of ;ant on ho$ humans are

rational beings. it $ill be determined ho$ $e ha-e used design as

an e-olutionary tool to protect society from the natural. This $ill

also tae into account the $ay in $hich man has become separated

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from nature and ho$ this has become a problem as $ell as a

solution

This shall be follo$ed by looing at ho$ man has created rules andregulations inspired by nature in chapter t$o. this $ill tae into

consideration $hat denes $hat is natural in design Looing at

theories about beauty and taste and the aspects of these. $hich

man desires and $ishes to create as they are seen $ithin nature

The t$o pre-ious chapters $ill be put into conte%t in the third

chapter using past and current practitioners from dierent cultures

If beauty is uni-ersal then $hat is seen in the east of the $orld

$ould be seen as $hat is seen as beautiful in the $est /Dutton.

2*1*0. ho$e-er this is not al$ays the case but nature is seen as

uni-ersal beautiful /;ant et al. 2*120 This chapter shall use the

premises of chapter one on ho$ design is a reaction to nature and

of chapter t$o on ho$ design is an inspiration to nature The

simplistic aesthetics of Eapanese design and 'candina-ian design

could be seen to be similar ho$ e-er the moti-es behind there

design could be more dierent This chapter $ill loo at the $ors of

6l-ar 6alto. =arcel Bruer comparing them to the $ors of 3eorge

Naashima and Toshio Taaeu and use the ideals of democratic

design and abi 'abi to distinguish ho$ nature moti-ates mans

designs

Jsing the principles of abi 'abi and democratic design the nal

chapter shall in-estigate ho$ these design principles can use nature

and tae into account the idea of $hat is authentic Nature in design

is a -ast topic. and these t$o principles of design ha-e been piced

due to the conKicting elements of $hat is a reaction to nature and

$hat is inspired by nature as they ha-e strong social and

philosophical groundings

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Chapter !ne" Design as a Reaction to Nature

This chapter $ill loo at ho$ our cogniti-e thought manifests it self

in our creation It $ill study ho$ man made creation and design is a

human e-olutionary tool intend to facilitate the necessities of life as

a direct reaction to the forces of nature hen Charles Dar$in

studied the 3alapagos nchGs he disco-ered ho$ the birds had

adapted to meet there needs to forage for food. the nches of the

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island all remained similar ho$ e-er their beas had adapted to

face the challenges of the dierent islands they inhabited /Dar$in

and Beer.1++#0 e too ha-e e-ol-ed to meet the needs of our

de-eloping society through design Jnlie animals are ability tothin situations through and create solutions is $hat has helped us

to e-ol-e Through the theories of Christine ;orsgaard and

Immanuel ;ant $e can understand ho$ being rational beings

separates us from other more instincti-e species. $hich co,inhabit

the $orld

;antGs Lectures on anthropology mae the point that as human are

conscious of their decisions due to moral -alues :e states that $e

ha-e animal instincts but due to social responsibility. $e also ha-e

rules to go-ern the human mind to pre-ent man acting on instinct

alone 6nimals do not ha-e this ability to understand their o$n

representation in the $orld They cannot identify them self as an IG.

ho$e-er they are still ha-e thoughts but they are more obsessed

$ith instincti-e factors such as mating and eating. they can not

begin to comprehend there reason for being as they act on intuition

alone /;ant et al. 2*120 It is our ability to Fuestion our sel-es that

allo$s us to de-elop our sel-es

This sho$s ho$ by identifying our sel-es $e can be rational, $e are

not purely instincti-e. $e understand our actions on a le-el greater

than pure instinct 6 modern -ie$. $hich e%tends this point. is that

of Christine ;orsgaard

e human animals turn our attention on to our perceptionsand desire themsel-es. on to our o$n mental acti-ities. and$e are conscious of them That is $hy $e canthin about themM6nd this sets us a problem that no otheranimal has It is the problem of the normati-e ThereKecti-e mind cannot settle for perception and desire. not ust as such It needs a reasonG/;oorsgard. 1++# cited in

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The idea of the normati-eG could be seen as $hat is e%pectable

$ithin a society much lie ;ants idea of rules. ho$e-er ;orsgaard

identies this idea of a normati-e more as a problem that $hich $e

loo to % This idea of taing a problem and using our thoughtprocess to come up $ith a solution rather than ust acting $ithout

thining of conseFuence is similar to ho$ $e function as designers

In >aul EacFues 3rilloGs boo Form, Function and Design /1+8)0 :e

suggests that design is an achie-ement if it is a solution. It should

tae in to account relati-e standards of style and tasteG /3rillo.

1+8) page 110 These relati-e standards of style and taste suggest

that normati-eG $ithin dierent societies is not a %ed concept and

that our ability to design is relati-e to our particular situation and

circumstances

6 comparison could be made bet$een the beas of the Dar$inGs

3alapagos nchGs as a tool of sur-i-al. and cogniti-e thought as the

human tool of sur-i-al 'uanna :erculano,:ouel gi-es a good

e%ample of ho$ our mental abilities are responsible for our sur-i-al

In 2**1( she ga-e a Ted Talk that stated humans ha-e a large brain

in proportion to the body. but $e do not ha-e to eat as many hours

of the day as other animals !ur fore,fathers disco-ered ho$ to

coo this allo$ed us to predigest our food and consume more

calories allo$ing for greater brain function and less time spent

eating Cogniti-e ability has allo$ed us to create methods to aid the

e-olution of man &or instance by not thining about eating all day

$e ha-e been able to adapt our shelter from ca-es to man made

structures :erculano,:ouel categorical list our adaption through

food"

Ra$ food. Cooing. Culture. 6griculture. Ci-ilisation.

3rocery 'tores. Hlectricity. Refrigerators and no$ ironically

$e ha-e come full circle and loo for the solutions of our

dietary needs in ra$ foodsG /:erculano,:ouel 2*1(0

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This idea of using the human mind to mae and further human

e-olution is arguably the $hole basis for designing

=uch lie the e-olution of cooing $e can no$ see a similar practice

being carried out in manmade design. $hich is once again returning

to nature for the ans$ers In fact it could be said that $e ha-e

started to design nature The combined eort of creating manmade

en-ironments and taing natural resources has left us some$hat

remo-ed from our original natural habitat Eoseph >ine pointed out

ho$ diOcult it is no$ to mae a physical connection $ith nature

$ithout encountering the manmade in his Ted Talk on the subect of

authentic e%periences

H-en if you go for a $al in the pro-erbial $oods. there is

a company that manufactured the car that deli-ered you

to the edge of the $oods thereGs a company the shoes

that you ha-e to protect yourself from the gound of the

$oods ThereGs a company that pro-ides a cell phone

ser-ice you ha-e in case you get lost in the $oodsM 6ll of

those are man,made. articially brought into the $oods by

you. and by the -ery nature of being thereG />ine. 2**0

hat >ine is discussing here is ho$ $e ha-e become so embedded

in our o$n consumption of the manmade. that $e can no$ sell

nature as an e%perience that $e need to consume e no longer

feel it instincti-e to ust go outside and be $ith nature. $e must rst

adorn oursel-es and prepare This a further e%ample of ho$

remo-ed $e are from the natural by our o$n design This could be

seen a human defence as humans fear nature and $hen humans

fear something they shy a$ay from it and detach them self from it

!ur misplaced fear in nature may be $hy $e ha-e created so many

barriers from being around it. but instead $e choose to control it by

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creating national pars or adorn our sel-es in defensi-e

mechanisms to concurG the $ild

6s a result $e ha-e begun designing nature according to trendmagaine =i%. 2*1"

more than half the $orldGs population li-e in urban areas

it predicts that by 2*)* this $ill gro$ to 8 out of ten

people This presents the problem of lac of contact of

nature as it is said to impro-e an indi-idualGs cogniti-e

function and $ell,beingG/;ings$ell. 2*10

=i% magaine suggests that the $ay for$ard is the Increasingly

sophisticated manmade replications of natureG /;ings$ell. 2*10

6fter $e ha-e used our natural resources creating an unnatural

en-ironment. $e are relying on creating designed natural materials

This trend could be due to the fact that $e are losing our innate

relationship $ith nature

e dream of something real. something unmitigated by

the lter of prot,maing portals and franchise e $ant

the as,$as. the erst$hile e languish for the non,

mechanical and the pre, or post,industrial e are

pilgrims seeing the past. the genuine the

indi-idualG/&rPger. 2*120

&rPger is suggesting that $e $ant to mae contact $ith the real and

that $e are no longer satised by $hat $e ha-e created If $e are

too loo at this in terms of design reacting to nature. $e can begin

to understand ho$ our natural en-ironment is ey to our e-olution

in design The problem $e ha-e created is that through creating $e

ha-e impaired our o$n ability to be at one $ith $hat is good for

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man Ironically this is no$ impairing cogniti-e thought. the thing

that allo$ed us to e-ol-e in the rst place

The issue of design has come from the instincti-e needs of peoplefor food. $ater. air. shelter and clothing to protect us from

inclement $eather /Roughley.2***0 To obtain the basics needs $e

ha-e designed $ays to obtain them or create them from this design

has not stopped e-ol-ing and it has become inherent in e-erything

$e do"

e are all designers e are all being in theQ$orld that

perform actions $hich ha-e real. material. conseFuences

in the $orldM$hene-er $e bring something into being $e

also destroy something the omelette at the cost of the

egg. the table at the cost of the tree />ere de 9ega.

2*10G

This has come about as a reaction of nature and lie all other

animals on earth =an must use earthGs resources to maintain the

human race 6s humans $e ha-e become ent$ined $ith material

matter. $hat $as once man and nature is no$ man and man made

In Raymond illiams boo Culture and Materialism. 2**) he denes

nature as a stateG. he compares this $ith the idea of human

society. $hich he says are $holly articial and madeG /illiams.

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e-er found piece of design is no$n as the 6cheulean hand a%e

These thin stone hand a%es made by homo,sapiens forefathers.

homo erectus. $ere made before $e hand the ability to tal hen

these artefacts $ere dug up. some sho$ed little $are and in somecases $ere too big to actually use as tools for hunting or chopping

Instead it is said that they $ere used as tools of attraction In the

same $ay in $hich a >eacoc attracts a >eahen $ith an impressi-e

tail. the hand a%es demonstrated access to rare materials. good

motor sills and impressi-e craftsmanship These tness signals

aided our de-elopment through se%ual selectionG /Dutton. 2*1*0

e can understand from this the idea of ho$ the ability to

communicate de-eloped through our o$n design Not only does it

sho$ design as an instinctual tool or reaction to issues it says

something about human nature that $e nd beauty in something

done $ell. This is perhaps $hy $e ha-e such an intrinsic fascination

$ith nature as it holds so much mystery

&rom this chapter $e can tae the idea that humans ha-e e-ol-ed

through the means of design !ur cogniti-e thought de-eloped from

thining about oursel-es. to being able to sol-e problems. to

designing Design started as a means to gaining our basic

necessities and has e%tended to an e-eryday tool It $as $hat

allo$ed us to e-ol-e and is a reaction to our natural en-ironment

e can begin to understand that $e do not ust see nature as an

obstacle and it is in fact a sensiti-e thing. $hich $e are reliant

upon

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Chapter T$o" Design Inspired by Nature

Chapter one looed at ho$ human design has e-ol-ed as a reaction

to nature Chapter t$o shall loo at $hy $e design in association to

nature the $ay $e do This Chapter $ill tae into account the

reasoning behind our aesthetic udgments and try to understand

$hy $e nd the $ays of nature so intriguing

It is not instincti-e for us to copy nature as $e see it but instead

tae $hat $e nd most satisfying from it &or instance if you $ere to

mae a young child dra$ their rst initial instinct $ould be more

concerned $ith actual maing a mar than dra$ing from nature

!nce a mar is made they $ould begin to mae basic shapes. as

this de-eloped it $ould probably de-elop into a repetiti-e pattern of

a geometric shape or circle e do this as it is intrinsically

satisfying" $e ha-e a preference for order o-er disorder :umans

respond positi-ely to order. structure and predictability 3eometric

patterns of preciseness may be present in microscopic organism but

these are not -isible to the naed eye /Dissanayae.1++20

This could be $hy $e often try to mae logical order of nature to

create rules for us to abide by $hen designing and $hy seFuences

such as the &ibonacci numbers e%ist BrieKy put the &ibonacci

numbers are numbers found $ith in natural patterns such as the

cross section of seeds on a sunKo$er or the cross section of a

pineapple along $ith other cross,hatched forms Reoccurring

numbers $ere iminant in these counts. $hen put into logical order a

pattern occurs. It goes 1.1.2.(.).


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aesthetically pleasing. portioned rectangle /Burger and

'tarbird.1+#(0 This theory could be seen as a self,fullling

prophecy It is $ithin human nature to nd order intrinsically

satisfying so to ustify nature. =aths is a man made thing. madepossible through the ability of language In the case that these

numbers $ere to mean something $hy $ould they go into a logical

order starting from lo$ to high rather than a sporadic order to

match the organic madness of nature The theory has been used to

create. the &ibonacci spiral see fgure 1 by placing cubes /each side

the sie of the number $ithin the seFuence0 ne%t to each other If

you $ere to then tae this spiral and compare it to many things.

/$hich may be a coincidence0 furthermore. could be seen as

e-idence that the numbers are a golden rule proportion in nature

Rather than looing at the theory its primarily. $e should loo at the

moti-ation behind the theory =an is not satised $ith the ho$

sporadic nature is. the idea that $e loo for order in nature must

mean that $e thin its comple%ities must contain order It could be

seen that designers use the &ibonacci seFuence as a blac and

$hite rule that must be right because the higher po$er of nature

says so If design fulls this it is seen to be fullling natureGs blue

print set out for us

Deyan 'udic director of the design museum taes an interesting

stance on perhaps $hat could be seen as the blue print for design

and order $ith in design e see disorder in nature but $e also see

consistency and it is from consistency $e nd inspiration

6 tree has consistency" the outline of its silhouette. the

shape of a leaf. the rings on its trun. the shape of its

roots are all formed by the same DN6 and they are all of

a piece 6nd at some le-el $e loo for man,made obects

to reKect. or mimic. this Fuality hen they are re-ealed

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not to ha-e it. $e are disappointedG /'udic. 2**+. p1#,

180

This stance $ould e%plain $hy $e do not loo for e%actness innature instead a loose formation and can appreciate its organic

form It suggests rather than looing for a strict mathematical

ustication for aesthetic udgement. $e should instead understand

that design can be loose and free as long as it is consistent $ithin

itself

This idea of holistic consistency $as true of designers of the

inter$ar period. creating their o$n aesthetic code. they $ould base

udgments on the materials they $ould use based on the truth of

the Fualities of materials ou do not need to state the attributes of

an obect if the material is recognisable as one $ith positi-e

Fualities Natural materials $ere often used as it created a dialogue

bet$een $here the obect came from. the crafts man and the craft

itself /'aito. 2**80 This loos beyond the use of the natural

characteristic of materials and suggests that there is a spiritual

element and a connection to nature $ithin the $or. that $e should

be grateful that nature has gi-en man this material to create $ith

and because of this $e should not tae a$ay its remaining natural

aesthetic as it sho$s the nature of the craft

Harlier $e looed at the idea of 6cheulean hand a%es and ho$ $e

nd something done $ell beautifulG /Dutton. 2*1*0 the ability to

create something beautiful has al$ays been a $ay of

communicating and e%plains so much of $hy $e choose to replicate

natureGs beauty Nature is not human. but it is a human need to

create so $e choose to create $hat is not obtainable much lie the

:omo erectus $ould choose to create obects of desire that $ere

not comprehendible for the opposite se% to create !ur o$n

inabilities attract us to others $ith said abilities. $hich $e do not

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ha-e This unobtainability could be something $hich attracts us to

nature In a sense $e are attracted to our lac of understanding of

this. its mystery inects fear. $hich $e see as beautiful

3erman philosopher Immanuel ;ant stated that udgments of

taste are both subecti-e and uni-ersal" subecti-e in that they

are responses of pleasure. and do not essentially in-ol-e any claims

about the properties of the obect itself uni-ersal in that they

are not merely personal. but instead $e are disinterested :e

di-ided the inds of aesthetic response into those of

The BeautifulG /a pleasure in order. harmony. delicacy and the lie0

and the 'ublime a response of a$e before the innite or the

o-er$helmingG /;ant. 18+* cited in =astin. 2**


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This is not often the case as $e see t to pic and choose $hat $e

feel is beautiful $ithin nature in some cases this can lead to $hat

$e feel deser-es to sur-i-e in nature hen $e replicate nature $e

ha-e a preference for $hat loos most cute or po$erful To say thathumans nd all of nature beautiful $ould be a mistae 6 good

e%ample of this $ould be the Bambi 'yndromeG In urio 'aitoGs

boo H-eryday 6esthetic. she references ho$ the image of a dear is

no$ sentimental to us due to the Disney lm Bambi and the fact

that since the lm it has been hard to con-ince people that deer

populations need to be culled in areas It also plays the part. $hen it

comes to the impacts on discussions around species conser-ation.

fa-ouring large mammals o-er rodents. insects or lichen $hen this

might in fact be less benecial to us as a $hole /'aito. 2**8. p#*,

#10 e dictate $hat needs to sur-i-e by its appearance This leads

to the Fuestion hether $e replicate things because they are

beautiful or are they beautiful because $e ha-e replicated and

animated them?

This -ie$ that man should pic and choose $hat is in nature could

lin bac to the constant need for the order and control $e stri-e for

in nature /Dissanayae.1++20 It could also be seen as more

hedonistic and that $e feel our instincti-e notion of beauty allo$s

us to dictate right and $rong through pleasure as it taes little

cogniti-e thought for us to process $hat is beautiful and $hat is

not. meaning that our action $hen it comes to beauty could be

Fuestionable is it allo$s for little reKection

Beauty is -ery pleasing to the senses. and perhapspleasing in an immediate $ay that taes little cogniti-e ortemporal de-elopmentG /&enner. D 2**( p1*(0

This suggests that $hen it comes to beauty $e are more instincti-e

in our udgments $e thin less and go $ith sensual pleasure If $e

refer bac to ;antGs idea of beauty and taste $e could perhaps

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understand that taste is perhaps something that reFuires cogniti-e

thought due to our pre conditioning. $hereas beauty is arguably

something more animalistic

Throughout this chapter $e ha-e looed at ho$ nature can be used

as an inspiration. not only because of its beauty but also through

natural order and human preference for consistency &uchtermore

the basis of this idea of the essence of the beauty and form of

nature and from in the pre-ious chapter on ho$ $e ha-e de-eloped

through designing as a reaction to nature. $e can no$ begin to

understand ho$ design theories ha-e formed and ha-e shaped

national identities

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Chapter Three" Nature in Conte%t of Design

This chapter $ill pro-ide a response to. and e%amples of. issues

discussed in C1 and 2 6cno$ledging that all cultures ha-e natural

inKuences on their design. this $ritings focus on natural inKuences

of design in Eapanese and 'candina-ian design due to the fact both

ha-e contrasting approaches to dealing $ith these issues The basis

of Eapanese design comes from this idea of being inspired by

natureGs beauty and authenticity due to transcendence

Transcendence is a ourney. the notion that the design aesthetic

reKects the mars left through the life cycle of an obect It reKects

almost the birth life and ageing of an obect in the same $ay that

the human body reKect this ourney Because of this philosophy.

each piece of design is usually indi-idually hand crafted to gi-e it its

o$n character /Euniper. 2*110

In contrast 'candina-ian design is of interest $hen looing at

design as a reaction of nature due to the fact of its e%treme lighting

leading to poor gro$ing conditions. The north of HuropeGs landscape

$as bare in the inter $ar and post $ar periods This meant that

design $as minimal due to a mae doG attitude. $oring only $ith

$hat little materials people had /HyVWrsdWttir. 2*110 6 great

e%ample of this is gi-en by one of the $orldGs biggest multinational

companies IKEA in a statement on The Values that Characterise

IKEA:

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The harsh conditions that 'mXland fol ha-e traditionally had

to struggle $ith elds stre$n $ith boulders and thin soil pro-iding

meagre yields for farmers ha-e forced the people in this part of

'$eden to li-e on their $itsG /Hd$ards. 2**80

The Long dar periods in the $inter has led to a strong interior

design aesthetic of light colours and $ood from surrounding forests

The 'candina-ian home sho$cased simplistic design that $as

inspired by the e%treme climate and beautiful countryside of

northern Hurope /HyVWrsdWttir. 2*110 This idea of bringing the

outside in is one often used by &innish architects as it is felt to

promote positi-e thining This idea is a result of the social

democratic design in the 1+(*s in 'candina-ia to promote a more

humanist $ay of life /Hd$ards. 2**80 The $hite $alls of the

modernist interior are no$ Fuite iconic of this era This $as due to

the fact that people $ere literally $hite$ashing the 9ictorian

approach to class ridden interiors to mae $ay for a ne$

democratic era /&allan. 2*120 This has remained a big part of the

'candina-ian aesthetic this may be due to the fact it matches the

simplicity of their design or because it brings light to a space in the

dar $inters

6l-ar 6alto is one of &inlandGs most reno$ned product designers and

architects In 1+() he ga-e a speech to the '$edish design council

stating the importance of looing at psychological reFuirements as

a rational method of e%cluding inhuman resultsG This $as a -ery

rational re-elation that to mae obects for the people you ha-e to

thin of $hat is human

>sychology and human comfort $ere high priorities for designers of

'$eden and &inland This sets out the point that humans create for

humans e can design to only tae into account oursel-es but

humans rely on other factors such as nature 6 prime e%ample of a

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design as a reaction to nature is 6l-ar 6altoGs >aimo 'anatorium.

before this the only places $here nature $as used as a healing

process $ere spas and sanctuaries This $as a hospital designed by

6alto from1+2+ to 1+(( $hich used nature as a cure fortuberculosis The structure of the building $as designed to capture

the sun and gi-e the patients -ie$s of the surrounding forest the

roof tops had sundecs for patients to $al on. as $ell as large

gardens for the patients to spend a lot of time outside The name

>aimo 'anatorium comes from the place >aimo. &inland and the fact

that each unit had a large solarium at the end $hich ga-e the

occupants fresh mountain air /'olomon. 2**


23/52

The idea of 'candina-ian design once again underlies the aesthetic

that good design is design that can be reproduced for e-eryone

6alto originally $anted the -ase to be made $ith steel mould so it

$as easy to mass produce Due to the organicG shapes of the -aseit had to be made in a cur-ed out $ooden mould until they later

disco-ered they could use a cast iron mould If you $ere to loo at

the $ooden mould /gure 0 it $ould be understandable to see ho$

you could thin the shape $as a cross section of a tree or car-ed

from the rings of a tree These tree truns could not be used so $ell

for mass production as they had to be ept constantly $et so the

glass $ould not stic

The 9ases that ha-e been created using the tree trun mould are

no$ -aluable collectables as they ha-e a uniFue surface similar to

that of the tree. this aesthetic is said to gi-e the glass a real

grounding to $here it came from the &innish $oods The popularity

of these pieces says something about ho$ as humans $e enoy

nature and no$ing $here our pieces of $or ha-e come from. this

refers again bac to the idea of holistic design and a piece being

authentic if $e can see ho$ it is formed e $ant to no$

something of its creation is e-ident in the nal outcome. e-en in

this case if that $as not the designerGs original intentions /Lauttia.

2*110

The piece is designed as an entry for a competition for Iittala $lass

in 1+(# It $as originally designed as part of a set of table$are. but

the -ase itself $as used as an indi-idual item to decorate the

interior of the 'a-oy restraint in nland. and $as renamed the

a!o" Vase due to this In a similar manner to his %aimo anotorium

6alto seems to $ant to control nature in his design as the idea is to

put Ko$ers in the -ase and they $ill face out$ards to the occupants

of the table due to the many cur-es of the design

2(


24/52

By looing at =arcel BruerGs chairs /1+2)0 $e can gain a better

understanding of 6altoGs design inKuences see fgures &,'( These

are a product of the mid 1+2*Gs BauhausG and the modernist

mo-ement These chairs are designed in a functional manner asthey are supposed to be more ergonomically as they ele-ate your

nees abo-e your $aste /=o=6. nd0

If you are to mae the lin bet$een these armchairs and 6altoGs

laminated birch and ply$ood chair no$n as the %aimmo Chair see

fgure ' you $ill see that both ha-e a similar style of tubing and

ergonomic focus 6alto has taen something Fuite sti and

industrial and found a $ay to mae it seem more free form and

organic :e has used a natural material and steam bent it so it $ill

mo-e as he $ishes around a mould It is possible to see can see

ho$ the cur-es of the chair could be seen as an inKuence for the

)a!o" Vase once again playing around $ith the idea of the Kuid

and the solid This idea of mae do $ith $hat is a-ailable is present

her as it is said that 6alto preferred to use his nati-e birch pines to

industrial materials /Raiman. 2**( 2*1,2*(0

The 'candina-ian ideal democratic design and creating $ith $hat is

a-ailable is clearly centred on human beings needs. 3eorge

Naashima Eapanese born $ood $orer disagrees $ith the idea of

mass production In his boo the The 'oul of a TreeG Naashima

e%presses a dispassion to$ards the cheap. easy and Fuic methods

of the mass,produced and says that it is the do$nfall of furniture

today /Naashima. 3 in 6damson. 3. 2*1* Naashima taes a

completely opposing stance and feels that design should not be

human centred instead it should focus on the material

the purpose is usefulness. but $ith a lyrical FualityG /Naashima. 3

in 6damson. 3. 2*1*. page" 21


25/52

The lyrical Fuality he speas of refers to the importance he places

on choosing pieces of $ood Naashima feels that each piece of

$ood has a purpose and for a piece of $or to be a success the

maer must relate to the $ood and nd its rightful function The$ood says a lot through colour and depth of grain. the $ood itself

presents its purpose through this /Naashima. 3 in 6damson. 3.

2*1*0

This uniFue process of picing $ood suggests that the material

should form the obect. not the con-entional $ay of designing

$here the material is piced once the obect is no$n This is a

direct inKuence of nature on his design process he is trying to

e%tend natures direction in his o$n creation This $ay of $oring

encapsulates the idea of holistic design from the picing of the tree

to the creation of the nal outcome it is all and about the material

The process matches the consistency of nature

This form of design shies a$ay from the actual idea of looing at

maing furniture. it focuses on craft and material and gi-ing art

purpose In an inter-ie$ of 3eorge Naishima for the *ational

$eogra+hic he e%plains that by cutting do$n a tree he has changed

the circle of life and death by reusing the tree he has gi-en the tree

a second life $hich $ill allo$ it to last for e-er if it is treated right

/National 3eographic. 2*10 :e is e%tending natureGs path and

$oring $ith nature to create design This form of design relates to

no time era or period. it does not follo$ trends or fashion as it is of

nature itself

This -ie$ of e%tending natureGs path rather than attempting to

mimic it coincides $ith the ancient Eapanese ideal of abi 'abiG

This is a set of -alues $hich informs the idea of beauty abi 'abi

begins $ith looing at impermanence and the natural Ku% of life.

e-erything is permanently mo-ing through life and $ill someday

2)


26/52

die. $e should ne-er get too attached to $hat is happening at the

time only the mo-ement through time The main principles are

impermanence. humility. asymmetry and imperfectionG /Euniper 6.

1+#8 p20

Naashima does not incorporate the usual ideals of abi 'abi as his

oinery sills are precise and perfected :o$e-er these sills are

more an aid to display the pieces of $ood. and these pieces of $ood

are his $ay of presenting a abi 'abi as an art form The creati-e

director of Naishima $ood$or. =ira Naishima $as ased $hether

her fatherGs $or $as abi 'abi :er response $as that the $or

itself entirely depends on the asymmetrical shapes and colours of

the $ood to inspire its outcome This is $hy it ne-er has any nish

other than oil /!HN.2*120 This strongly suggests that for Naishima

it is the $ood that is abi 'abi. and that the sills are part of the

artistic human interaction $ith the $ood $hich frames the

transcendent life of the $ood

abi 'abi loos at understanding ho$ natureGs forms and patterns

are created It uses the constraints and amenities of nature and

attempts to sho$ the temporal ourney of nature by using natural

materials and natural processes such as gaining and $eathering to

get the aesthetic of natureGs ourney /Euniper 6. 1+#80 In the

documentary by the national geographic about 3eorge Naashima

titled The Elegant Cratsman $e see him and his assistants attempt

to sa$ through an old tree that has gro$n around some clay piping

hiding it beneath the bar"

Trees cannot hide from men. instead they stoically submit to and

absorb the Keeting presents of each human generation they out

li-e. anchoring hoos from forgotten clothes lines bullets from $ar

are all secrets hidden beneath the barG /National 3eographic.

2*10

2#


27/52

This gi-es an interesting insight into the treeGs ourney through life

and ho$ the mars left in the tree $ere inKuenced by man. not after

its death but $hilst it is still gro$ing The secrets of the tree arepresented to us in NaashimaGs $or Looing at The Conoid Co-ee

Ta.le,1/'0 /g 80 'ome of NaashimaGs larger $ors they are

e%tremely humbling due to the large scale lea-ing the -ie$er $ith a

sublime feeling. this could be due to the fact that for a piece of

$ood to be so large it $ould be at an age that $e cannot

comprehend The tree contains such mystery and his display of it

helps to understand ho$ $e $ill ne-er truly be able to understand

nature. as it is so perfectly imperfect abi sabi is said to

resonate $ith a profound philosophical consistency aconsistency $ith great historical depth little aected bythe changing fads and fashionsG /Euniper. 2**( page (0

This really outlines the idea of ho$ human society is ust a social

construct as stated earlier by Raymond illiams. and helps put

manGs place amongst nature into perspecti-e Nature $ill al$ays

out li-e the life span of man due to the fact it $as present before us

and if man is responsible it $ill be there $hen $e are gone It

cannot conform to the relati-e constructs of society and taste. as it

is inherent of beauty $ith in its o$n right. If anything this is $hat $e

should try and tae from nature. furthermore something $hich abi

'abi does

Toshio Taaeu is another Eapanese born artist $hose $or

contains the essence of abi 'abi 'he spent some time in Eapan

studying Yen Buddhism 'he regarded her $or as an outgro$th of

nature /3rimes. 2*110( er $or has de-eloped through her life

from open -essels to close forms. her $or has al$ays had a noise

to it $hen tapped she feels this is the air inside it gi-ing it a li-ing

element as $hen you play $ith the shape it eects the noise

28


28/52

/'tate!fThe6rts. 2*1(0 This is much lie the essence of a soul

Naashima tals about $ith the $ood. although the soul in his $or

is more to do $ith the mars left $hilst the tree $as ali-e $hich

speas of the character /Naashima. 3 in 6damson. 3. 2*1*0 Taaeus $or has a form of life due to the shape she has created

:er Closed Formes: Tri+t"ch, 1//0/g


29/52

contrast $e ha-e seen ho$ the essence of natureGs $ays can

inKuence a more organic form of design

Chapter 0 'ynthesis

Through the last three chapters $e ha-e e%plored the e-er,

changing comple% relationship bet$een man. design and nature 6s

a practical e%ploration of these ideas. this chapter $ill further

e%plore the practical elements of 'candina-ian design. abi sabi.

Instinct and 6uthenticity

The rst study is concerned $ith DissanayaeGs theory of instincti-e

dra$ing. $hich describes ho$ it is instincti-e to mae basic

shapes7mars rather than dra$ing obects. 'he speas about ho$

intrinsically satisfyingG to dra$ for the rst time $ith out the

a$areness of $hat a dra$ing should loo lie /Dissanayae.1++20

The $or Ink Cur!es /g 1*0 are a collections of dra$ings made as a

response to the notion of $hat is instincti-e to do $hen a person

pics up dra$ings materials in this case in and a brush The

mo-ements of the brush come from satisfactory feelings as the in

absorbs into the paper

This refers bac to the idea of gi-ing a child dra$ing materials for

the rst time and $hat they $ould produce. rather than creating an

image that replicates anything from the $orld. instead they $ill

$or out ho$ the material $ors and $hat feels right it is more

emoti-e and a satisfaction $ith in than something to appease

others The mars depict an e%pression of an instincti-e process

2+


30/52

they ha-e no purpose or symbolism but come from the properties

the materials ha-e to oer These are all characteristic that full the

design criteria of abi 'abi as it occurs naturally not in a forced

manner and has an artlessness about it as it is not produced toplease anyone /Euniper. 2**(0

In contrast to the free form organic lines used in Ink Cur!es /g

110 and as a further in-estigation in to DissyanayaeGs theory.

Cracked 2ines /g 110 Loos at ho$ order is only found in nature

if $e loo at the build up of micro structures. Instead $e create

order as it is intrinsically satisfying to us /Dissanayae.1++20 e

begin to create more order as the dra$ing process de-elops and

$e become more a$are of the order in our surroundings

Cracked 2ines /g 110 is a direct imitation of mars left by nature.

as it is a direct copy of the physical $orld $e are able to compare

it against something real and can remar upon $hether the

dra$ing is right or $rong

Christine ;orsgaard tals about the normati-e of society to

enable to understand $hat is morally right and $rong Cracked

2ines /g 110 in a similar sense there could be a normati-e in

copying a dra$ing $hich $ould be determined by if it looed the

same or if it looed completely dierent. by fullling the criteria

of $hat a dra$ing is you are satisfying the normati-e The

moti-ation behind these dra$ings are completely dierent and

satisfaction is gained from both but in dierent $ays. one form of

satisfaction comes from follo$ing instinct and doing $hat feels

good. the other form of satisfaction comes from an acceptance of

social normati-e The moti-es behind Cracked 2ines /g 110 are

the same as the moti-es behind the moti-es of the &ibonacci

seFuence The idea of the &ibonacci seFuence is to nd a

normati-e to design from. using the seFuence doesnGt al$ays

mae something more beautiful as $e discuss earlier matters of

(*


31/52

beauty and taste are subect to interest and social condition. but

it fulls a criteria gi-ing the subect order

e earlier compared the dra$ing of Ink Cur!es /g 1*0 to theideals of abi 'abi. the idea of cracs and aging are often

associated $ith abi 'abi as it sho$s transcendence of an

obects e%perience. :o$e-er the $ors Cracked 2ines depicting

aging do not encapsulate the essence of abi 'abi as they

contain a symbolic formation of something that e%ists. it is

arguable that they are asymmetrical but this is only due to them

being a copy of another imageryGs asymmetry due to the original

artefacts transcendent ourney

In a similar sense if $e loo at Ink Cur!es on to o *ature D"es

/g 120 the replication of the dra$ing through screen,printing

$ould mean that the process $asnGt sho$ing its o$n passage in

time but instead replicating another dra$ings passage The

moti-ation behind the piece is shallo$er and to meet a normati-e

therefore maing the piece less consistent $ith the original

-alues of Ink Cur!es /g 1*0( :o$e-er if $e are to loo at Ink

Cur!es 3ith *atural D"es /g 1(0, the moti-ations are dierent

the replication of the original Ink Cur!es /g 1*0 taes on a life of

its o$n and the surface of the mar created sho$s its o$n

temporal ourney as it has been dyed post printing 'o no$ the

original the piece has its o$n mars and its o$n de-elopment

due to a completely dierent process The moti-ation $as not to

replicate the mar it $as to use it to create a reaction $ith the

dyes and a ne$ e%pression of material This could be compared

to the $ay in $hich Naashima uses a set of precise sills $hich

do not display a sense of $abi sabi. to display ho$ a piece of

$oods gro$th and aging Both pieces of $or. The Conoid Co-ee

Ta.le, 1+#* /g 80 and Ink Cur!es 3ith *atural D"es /g 1(0 use

(1


32/52

con-entional processes of silled craft to display a sense of abi

'abi

In contrast 6l-ar 6alto acti-ely chose not to sho$ the ourney ofthe a!o" $lasses production in its surface. by opting for a metal

mould. $hich gi-es the glass a Kat smooth surface o-er a

$ooden mould. $hich $ould ha-e contained the ridges and

une-en surface of the tree It terms of the consistency of the

product 6alto had a diOcult aesthetic choice to mae" The choice

of glass moulded by $ood $ould be consistent $ith its organic

form as the shape clearly resembles the cross section of a tree

and is said to of been inKuenced by the natural nish landscape

:o$e-er his choice of casting the -ase in metal $as more

consistent $ith the morals of &innish design and democratic

design as it $as easier and cheaper to mass,produce In this

sense both pieces are consistent

The $ors Mountain k" Madder /g 10 taes this idea of

consistency in to account By using natural materials such as

linen. Iron and =adder. the choice of material ha-e been

carefully chosen to represent that of $hat is natural If $e are to

tae into account Dayan 'udicGs Fuote on consistency That $e

are only satised $ith $hat is consistent as it reKects that of

nature. then the nature of the $or should be represented in

choice of material and $hat it chooses to present Mountain k"

Madder /see gif 10 does this as it taes into account the factors

of natural materials it reKects the tonal gradients of the

mountains $ith the sy This $as a natural de-elopment through

playing $ith the process. it in-ol-ed changing the >h balance of

linen using iron a natural mordant by using dierent torn paper

stencils. $hen put into a natural dye. creates a reaction gi-ing

dierent tones This again is an interesting $ay of controlling

nature although the result are for the most part unpredictable It

(2


33/52

$as not a conscious eort to copy the mountains form but more

an eort to de-elop the essence of the natural. yet $hen

comparisons are made to the mountains /see g 1)0 there is a

striing similarity

Toshio Taaeu $or $as said to tae inspiration from her

surroundings $ithout being directly inKuenced by them. she said

she once too a $al in the de-astation forest in :a$aii and a

fe$ days later her found herself producing long tubular pieces of

ceramics on her iln $hich she called Tree4Man Forest,1/56 # g

+ 7, 'he later realised that these $ere similar to the trees she had

seen in the forest. it $as not a conscious choice to copy the

forms of the trees she had seen but instead a subconscious eort

to reproduce $hat she had been inspired by In $ay this is the

essence of $hat abi 'abi is about. an un,conscious eort to

e%tend $hat $e ha-e taen from nature and putting it bac into

the $orld through creati-e process

The 8a.i a.i 3atches /g 1#0 ha-e a recognisable Eapanese

aesthetic this incorporates the idea that 3rillo speas of that design

is relati-e standards of style and tasteG /3rillo. 1+8) page 110 In

dierent cultures $e ha-e dierent standards of beauty. e-en ;ant

states that taste is subecti-e as for matters of taste a person can

merely be disinterested These ideas ha-e shaped cultural identities

and it is interesting that no$ man can create identities of dierent

cultures The use of natural dyes and materials incorporates the

traditional -alues of Eapanese te%tiles"

traditional natural dyes such as persimmon. tea. saron.onion. indigo These dyes are applied to such materials ashemp. sil. linen and cottonM$abi sabi,style result is bestachie-ed by allo$ing a degree of randomness in theprocessM unpredictable stream of colour changeG/Euniper.

2**( page 1()0

((


34/52

The unpredictability and clashes of colour created through

changing streams of colour are $hat mae these $ors of

8a.i a.i 3athes /g 1#0 recognisable as inspired by the

Eapanese aesthetic If $e are to compare these to Tonal Colour3atches /g 180, $hich ha-e a more $estern aesthetic due to

the fact they are bloc colours $ith controlled conditions of

dying $hich is used more in $estern society to aid the use of

mass production and democratic design in a reaction to nature

This chapter has in-estigated the ideas of ho$ the authenticity

of $or through practical means has a direct inKuence from

nature e can see ho$ design can be authentic of nature by

follo$ing its process of gro$th and aging and ho$ this

contrasts $ith manGs relationship to design as a means to

support the masses Nature does not ha-e a normati-eG that

needs to be lled $hen designing from it as inspiration. it is

more about a nature organic Ko$. $hereas design for man is

more shaped by the ability to reproduce a product. and cannot

contain the natural authenticity $ithin the process of design

(


35/52

Conclusion

This study set out to determine $hether design could be considered

as a reaction to nature or $hether it $as an inspiration The

theories from the study ha-e looed at the discussion on natureGs

relationship $ith man,made design Through the three chapters

there has been a constant argument de-eloping of $hether man is

trying to control or embrace nature

e ha-e de-eloped as a society through our ability to design

ho$e-er this de-elopment has lead to a separation to$ards nature

Raymond illiams /2**)0 dened nature as $hat is not human

/illiams. 2**)0 this is arguably $hy $e are in a constant battle to

tame and control nature and has allo$ed for us to become so

separate from it It has been clear through the earlier studies of

design that this separation has only made our need for nature

()


36/52

greater 6l-ar 6altoGs %aimo anatorium./1+22,1+2(0 is a clear

display that man needs nature to sur-i-e as it is an instincti-e part

of mans biological mae up

Dissanaye sho$s that it is instincti-e for us to choose order o-er

disorder and that man does not nd order in nature Instead it could

be seen that $e create order as a reaction to natureGs chaos

/Dissanaye. 1++20 This has lead man to loo for order in the chaos

of nature. as a result man has formed theories such as the &ibonacci

seFuence. although this is said to be of natural origin and lead to

intrinsic satisfaction it contains no real grounds of the essence of

nature. in fact it opposes its natures chaos It could be argued that

instead of looing for order to inKuence design man should tae into

account natureGs consistency in its gro$th. as it has a more direct

lin to natureGs beauty /'udic. 2**+0

Natures beauty is self contained it is of its o$n creation so matters

of natures beauty are not for man to decide. this is $hy it can been

seen uni-ersally as beautiful :o$e-er matters of the man made

are subect to the matter of personal taste due to the fact the fact

the creator is of the same being as the critic /;ant. 18+* cited in

=astin. 2**


37/52

This contrasts $ith the -alues of 'candina-ian design. $hich uses

the man made to design for man :o$e-er it does tae into account

nature as inspiration but more as an eort to control the natural It

could be seen as consistent in its -alues as it is man,made design.made $ith man in mind

This is a -ast topic matter due to the subects of nature. design and

$hat is human being such large subects and at times ha-ing

directly opposing -alues In summary it could be said that e-ery

designer has there o$n moti-es behind there design. but it could be

argued that if there design is consistent $ith its -alues and process

then it taes inspiration from natures consistency e cannot rule

out the fact that design is a reaction to nature. but instead it could

be said that design $as once a direct reaction to nature as means

to gain necessities Dependent on the function of a design it could

still be a reaction to nature. but $e ha-e come so far as a society

not all designGs function is to pre-ent nature. in some cases it is not

needed to tae in to consideration

Imagery

(8


38/52

&igure 1,

Li-e 'cience. /2*1(0 hat is the 3olden Ratio

&igure 2,

6l-ar. 6 /1+(#0 'a-oy 9ase

(


39/52

&igure (,

6alto. 6 /1+(#0 'a-oy 9ase Dra$ing

&igure ,

Iittala /2*110 'a-oy 9ase ooden =ould

(+


40/52

&igure ) ,

Breuer. = /1+2)0 B(. aissly 6rm Chair

&igure #,

6alto. 6 /1+(20 >aimo Chair

*


41/52

&igure 8,

Naashima. 3 /1+#*0 The Conoid Coee Table

&igure


42/52

&igure +,

Taaeu. T /1+


43/52

&igure 11,

Collison. T /2*10 Craced Lines

&igure 12,

Collison. T /2*10 In Cur-es on to Natural Dyes

&igure 1(,

(


44/52

Collison. T /2*10 In Cur-es Naturall dyed

&igure 1,

Collison. T /2*10 =ountain 'y =adder

&igure 1),


45/52

Collison. T /2*10 >hotographic Comparison

&igure 1#,

Collison. T /2*10 abi 'abi '$atches

&igure 18,

)


46/52

Collison. T /2*10 Tonal Colour '$atches

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is design a reaction to nature or inspired by nature

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