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Use definition of biophilia to design a pavilion. The blurred line between the inside and outside = a glass cube? With two metal accents on the front and back ONLY. Then it might be worthwhile to mention that a square isn’t necessarily the most comforting shape and design so maybe something more curved or spherical? 

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Use definition of biophilia to design a pavilion. The blurred line between the inside and outside = a glass cube? With two metal accents on the front and back ONLY. Then it might be worthwhile to mention that a square isn’t necessarily the most comforting shape and design so maybe something more curved or spherical? 

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ADD WHITE SPLATTERS TO THE FLUIDITY PAINTINGS

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ADD WHITE SPLATTERS TO THE FLUIDITY PAINTINGS

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How do bees do it? The honeycombs in which they store their amber nectar are marvels of precision engineering, an array of prism-shaped cells with a perfectly hexagonal cross-section. The wax walls are made with a very precise thickness, the cells are gently tilted from the horizontal to prevent the viscous honey from running out, and the entire comb is aligned with the Earth's magnetic field. Yet this structure is made without any blueprint or foresight, by many bees working simultaneously and somehow coordinating their efforts to avoid mismatched cells.

The ancient Greek philosopher Pappus of Alexandria thought that the bees must be endowed with "a certain geometrical forethought." And who could have given them this wisdom, but God? According to William Kirby in 1852, bees are "Heaven-instructed mathematicians." Charles Darwin wasn't so sure, and he conducted experiments to establish whether bees are able to build perfect honeycombs using nothing but evolved and inherited instincts, as his theory of evolution would imply.

Why hexagons, though? It's a simple matter of geometry. If you want to pack together cells that are identical in shape and size so that they fill all of a flat plane, only three regular shapes (with all sides and angles identical) will work: equilateral triangles, squares, and hexagons. Of these, hexagonal cells require the least total length of wall, compared with triangles or squares of the same area. So it makes sense that bees would choose hexagons, since making wax costs them energy, and they will want to use up as little as possible-just as builders might want to save on the cost of bricks. This was understood in the 18th century, and Darwin declared that the hexagonal honeycomb is "absolutely perfect in economizing labor and wax."

Darwin thought that natural selection had endowed bees with instincts for making these wax chambers, which had the advantage of requiring less energy and time than those with other shapes. But even though bees do seem to possess specialized abilities to measure angles and wall thickness, not everyone agrees about how much they have to rely on them. That's because making hexagonal arrays of cells is something that nature does anyway.

If you blow a layer of bubbles on the surface of water-a so-called "bubble raft"-the bubbles become hexagonal, or almost so. You'll never find a raft of square bubbles: If four bubble walls come together, they instantly rearrange into three-wall junctions with more or less equal angles of 120 degrees between them, like the center of the Mercedes-Benz symbol.

Evidently there are no agents shaping these rafts as bees do with their combs. All that's guiding the pattern are the laws of physics. Those laws evidently have definite preferences, such as the bias toward three-way junctions of bubble walls. The same is true of more complicated foams. If you pile up bubbles in three dimensions by blowing through a straw into a bowl of soapy water you'll see that when bubble walls meet at a vertex, it's always a four-way union with angles between the intersecting films roughly equal to about 109 degrees-an angle related to the four-faceted geometric tetrahedron.

What determines these rules of soap-film junctions and bubble shapes? Nature is even more concerned about economy than the bees are. Bubbles and soap films are made of water (with a skin of soap molecules) and surface tension pulls at the liquid surface to give it as small an area as possible. That's why raindrops are spherical (more or less) as they fall: A sphere has less surface area than any other shape with the same volume. On a waxy leaf, droplets of water retract into little beads for the same reason.

This surface tension explains the patterns of bubble rafts and foams. The foam will seek to find the structure that has the lowest total surface tension, which means the least area of soap-film wall. But the configuration of bubble walls also has to be mechanically stable: The tugs in different directions at a junction have to balance perfectly, just as the forces must be balanced in the walls of a cathedral if the building is going to stand up. The three-way junction in a bubble raft, and the four-way junctions in foam, are the configurations that achieve this balance.

But those who think (as some do) that the honeycomb is just a solidified bubble raft of soft wax might have trouble explaining how the same hexagonal array of cells is found in the nests of paper wasps, who build not with wax but with chewed-up wads of fibrous wood and plant stem, from which they make a kind of paper. Not only can surface tension have little effect here, but it also seems clear that different types of wasp have different inherited instincts for their architectural designs, which can vary significantly from one species to another.

Although the geometry of soap-film junctions is dictated by this interplay of mechanical forces, it doesn't tell us what the shape of the foam will be. A typical foam contains polyhedral cells of many different shapes and sizes. Look closely and you'll see that their edges are rarely perfectly straight; they're a little curved. That's because the pressure of the gas inside a cell or bubble gets bigger as the bubble gets smaller, so the wall of a small bubble next to a larger one will bulge outward slightly. What's more, some facets have five sides, some six, and some just four or even three. With a little bending of the walls, all of these shapes can acquire four-way junctions close to the "tetrahedral" arrangement needed for mechanical stability. So there's a fair bit of flexibility (literally) in the shapes of the cells. Foams, while subject to geometrical rules, are rather disorderly.

Suppose that you could make a "perfect" foam in which all the bubbles are the same size. What then is the ideal cell shape that makes the total bubble wall area as small as possible while satisfying the demands for the angles at the junctions? That has been debated for many years, and for a long time it was thought that the ideal cell shape was a 14-sided polyhedron with square and hexagonal faces. But in 1993 a slightly more economical-although less orderly-structure was discovered, consisting of a repeating group of eight different cell shapes. This more complex pattern was used as the inspiration for the foam-like design of the swimming stadium of the 2008 Olympic Games in Beijing.

The rules of cell shapes in foams also control some of the patterns seen in living cells. Not only does a fly's compound eye show the same hexagonal packing of facets as a bubble raft, but the light-sensitive cells within each of the individual lenses are also clustered in groups of four that look just like soap bubbles. In mutant flies with more than four of these cells per cluster, the arrangements are also more or less identical to those that bubbles would adopt.

Because of surface tension, a soap film stretching across a loop of wire is pulled flat like the springy membrane of a trampoline. If the wire frame is bent, the film also bends with an elegant contour that automatically tells you the most economical way, in terms of material, to cover over the space enclosed by the frame. That can show an architect how to make a roof for a complicated structure using the least amount of material. However, it's as much because of the beauty and elegance of these so-called "minimal surfaces," as because of their economy that architects such as Frei Otto have used them in their buildings.

These surfaces minimize not only their surface area, but also their total curvature. The tighter the bend, the greater the curvature. Curvature can be positive (bulges) or negative (dips, depressions, and saddles). A curved surface can therefore have zero mean curvature so long as the positives and negatives cancel each other out.

So a sheet can be full of curvature and yet have very little or even no mean curvature. Such a minimally curved surface can divide up space into an orderly labyrinth of passageways and channels-a network. These are called periodic minimal surfaces. (Periodic just means a structure that repeats identically again and again, or in other words, a regular pattern.) When such patterns were discovered in the 19th century, they seemed to be just a mathematical curiosity. But now we know that nature makes use of them.

The cells of many different types of organisms, from plants to lampreys to rats, contain membranes with microscopic structures like this. No one knows what they are for, but they are so widespread that it's fair to assume they have some sort of useful role. Perhaps they isolate one biochemical process from another, avoiding crosstalk and interference. Or maybe they are just an efficient way of creating lots of "work surface," since many biochemical processes take place at the surface of membranes, where enzymes and other active molecules may be embedded. Whatever its function, you don't need complicated genetic instructions to create such a labyrinth: The laws of physics will do it for you.

Some butterflies, such as the European green hairstreak and the emerald-patched cattleheart, have wing scales containing an orderly labyrinth of the tough material called chitin, shaped like a particular periodic minimal surface called the gyroid. Interference between light waves bouncing regular arrays of ridges and other structures on the wing-scale surface causes some wavelengths-that is, some colors-to disappear while others reinforce each other. So here the patterns offer a means of producing animal color.

The skeleton of the sea urchin Cidaris rugosa is a porous mesh with the shape of another kind of periodic minimal surface. It's actually an exoskeleton, sitting outside the organism's soft tissue, a protective shell that sprouts dangerous-looking spines made from the same mineral as chalk and marble. The open lattice structure means that the material is strong without being too heavy, rather like the metal foams used for building aircraft.

To make orderly networks from hard, stiff mineral, these organisms apparently make a mold from soft, flexible membranes and then crystallize the hard material inside one of the interpenetrating networks. Other creatures may cast orderly mineral foams this way for more sophisticated purposes. Because of the way that light bounces off the elements of the patterned structure, such trellises can act rather like mirrors to confine and guide light. A honeycomb arrangement of hollow microscopic channels within the chitin spines of a peculiar marine worm known as the sea mouse turns these hair-like structures into natural optical fibers that can channel light, making the creature change from red to bluish green depending on the direction of the illumination. This color change might serve to deter predators.

This principle of using soft tissues and membranes as molds for forming patterned mineral exoskeletons is widely used in the sea. Some sponges have exoskeletons made of bars of mineral linked like climbing frames, which look remarkably similar to the patterns formed by the edges and junctions of soap films in foam-no coincidence, if surface tension dictates the architecture.

Such processes, known as biomineralization, generate spectacular results in marine organisms called radiolarians and diatoms. Some of these have delicately patterned exoskeletons made from a mesh of mineral hexagons and pentagons: You might call them the honeycombs of the sea. When the German biologist (and talented artist) Ernst Haeckel first saw their shapes in a microscope in the late 19th century, he made them the star attraction of a portfolio of drawings called Art Forms in Nature, which were very influential among artists of the early 20th century and still inspire admiration today. To Haeckel, they seemed to offer evidence of a fundamental creativity and artistry in the natural world-a preference for order and pattern built into the very laws of nature. Even if we don't subscribe to that notion now, there's something in Haeckel's conviction that patterns are an irrepressible impulse of the natural world-one that we have every right to find beautiful.

Philip Ball is the author of Invisible: The Dangerous Allure of the Unseen and many books on science and art.

Reprinted with permission from Patterns in Nature: Why the Natural World Looks the Way It Does, by Philip Ball, published by The University of Chicago Press. © 2016 by Marshall Editions. All rights reserved.

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Why Nature Prefers Hexagons - Issue 35: Boundaries - Nautilus

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How do bees do it? The honeycombs in which they store their amber nectar are marvels of precision engineering, an array of prism-shaped cells with a perfectly hexagonal cross-section. The wax walls are made with a very precise thickness, the cells are gently tilted from the horizontal to prevent the viscous honey from running out, and the entire comb is aligned with the Earth's magnetic field.

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Behind the Beehive - The Code - Episode 2 - BBC Two

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London's Central Saint Martins (CSM) college has announced a new masters degree in Biodesign to promote sustainable innovation, which is set to start in September 2019.

The new two-year masters program has been billed as the first of its kind, and will explore bio-informed design strategies in a bid to encourage more eco-friendly focused innovation.

The main aim of the course is to rethink the approach to design and manufacturing by engaging with biological systems in architecture, product design, jewellery, fashion or textiles.
CSM is first to launch MA in Biodesign
Students undertaking the masters program will learn about biomimicry principles, synthetic biology protocols, biocomputation and biofabrication methods.

It is hoped this will allow students to develop new design propositions that can "redefine energy, water, air, waste and materials and how we design and make in the future".

"We believe that in order to tackle contemporary environmental and societal challenges, there is an increased need for hybrid models of education between design and science," course leader Nancy Diniz told Dezeen.

"We are already witnessing an energetic movement of start-ups and young entrepreneurs focusing on developing products and services on circular design, zero waste, sustainable materials and low-energy manufacturing, for example," she added.

According to Diniz, the decision to launch the MA in Biodesign is the result of a decade of pioneering educational design and research in the field of sustainable innovation practices at CSM.

This included the driving force of Professor Carole Collet, who founded the MA in Textiles Futures which later became the MA in Material Futures.

"The launch of the new Masters in Biodesign is a natural development of these initiatives and it aims towards the delivery of a focused program on biodesign with a curriculum that provides the equal integration of biological and design skills," said Diniz.
Merging design and science is necessary
A new bio-laboratory facility called the Grow Lab has been installed at the institution to assist students on the course, who will be supported by a team of both designers, biologists and bio-lab technicians.

According to Diniz, the course leaders are also looking at entering into partnerships with science-based institutions, to offer more support with specific pedagogical agendas and industry-based projects as part of the program.

"It's your duty" as a designer to promote sustainability says Ross Lovegrove

In a recent interview with Dezeen, British designer Ross Lovegrove shared his belief that it is the duty of designers to set an example when it comes to environmental responsibility.

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Central Saint Martins launches "world's first" masters course in biodesign

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London's Central Saint Martins (CSM) college has announced a new masters degree in Biodesign to promote sustainable innovation, which is set to start in September 2019. The new two-year masters program has been billed as the first of its kind, and will explore bio-informed design strategies in a bid to encourage more eco-friendly focused innovation.

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Visit an existing pavilion -White City Station 

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Visit an existing pavilion -White City Station 

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The artist who 'paints' with recycled plastic

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The materials needed to make art can be expensive, too expensive for some. But one artist in South Africa has found away to combine his artistic passion and his love of recycling. Mbongeni Buthelezi collects plastic bags from the streets around his Johannesburg studio and melts them to create a unique kind of art - he calls it "plastic fantastic".

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DIY FLUID ART - using $2 paint and dish soap | viviannnv

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Emma Kunz - Visionary Drawings: An exhibition conceived with Christodoulos Panayiotou

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Meet the Sonic Artist Making Music with Plants: Sound Builders

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Glossy eyelid mixed with colours over the holiday 

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Glossy eyelid mixed with colours over the holiday 

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View this post on Instagram

A post shared by IMATS (@imatsofficial)

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Decided to make four mirror glaze mousse cakes! 💁🏻‍♀️:

— Ocean 🌊
— Emerald 💚
— Summer 🌺
— Galaxy 🌌

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Decided to make four mirror glaze mousse cakes! 💁🏻‍♀️:

— Ocean 🌊
— Emerald 💚
— Summer 🌺
— Galaxy 🌌 https://t.co/eYeVjXu2BB

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Had the privilege of making a 3-tier royal blue, white & gold rainbow cake for the lovely @MayaJama! 💁🏻‍♀️💙🌈 https://t.co/o1A4gqNJHS

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Decided to make four mirror glaze mousse cakes! 💁🏻‍♀️:

— Ocean 🌊
— Emerald 💚
— Summer 🌺
— Galaxy 🌌 pic.twitter.com/eYeVjXu2BB
— ARLI (@eatwitharli) August 12, 2018

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Decided to make four mirror glaze mousse cakes! 💁🏻‍♀️:

— Ocean 🌊
— Emerald 💚
— Summer 🌺
— Galaxy 🌌 https://t.co/eYeVjXu2BB

# data[].attributes.attachment_link.metadata.attachment_props_source.includes.tweets[].text
Had the privilege of making a 3-tier royal blue, white & gold rainbow cake for the lovely @MayaJama! 💁🏻‍♀️💙🌈 https://t.co/o1A4gqNJHS

# data[].attributes.attachment_link.metadata.attachment_props.original_text
Decided to make four mirror glaze mousse cakes! 💁🏻‍♀️:

— Ocean 🌊
— Emerald 💚
— Summer 🌺
— Galaxy 🌌 https://t.co/eYeVjXu2BB

# data[].attributes.attachment_link.metadata.attachment_props.text
Decided to make four mirror glaze mousse cakes! 💁🏻‍♀️:

— Ocean 🌊
— Emerald 💚
— Summer 🌺
— Galaxy 🌌

# data[].attributes.attachment_link.metadata.attachment_props.referenced_tweets[].text
Had the privilege of making a 3-tier royal blue, white & gold rainbow cake for the lovely @MayaJama! 💁🏻‍♀️💙🌈 https://t.co/o1A4gqNJHS

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Banana Leaf, Monstera, Palm Leaf Prints, Set Of 4, Tropical Palm Leaves, 8 x 10 Inches, Unframed

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Tropical Prints - perfect for the home! This makes a great wedding gift, anniversary gift, housewarming gift or a special print just for yourself. This print is professionally printed on high quality professional paper, giving it a slightly glossy sheen and crisp colors. All prints are shipped in...

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Monstera Leaf Print Cotton Napkin, 22" x 22"

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Tropical Monstera Palm Leaf Collage Print 100% Cotton Twill Napkin 22" x 22"; featuring watercolor palm leaves printed on one side. Hemmed edges. Coordinates with our Tropical Leaf Dinnerware and Serveware. Cloth cotton twill napkins with a pretty design are an environmentally friendly alternative to disposable paper n

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PATTERNITY inspire curious, collaborative and connected ways of living. We are global pioneers on a mission; to create positive change through the wisdom and wonder of pattern

A Reflection On The Power of Interconnectivity

PATTERN EDUCATION + EXPERIENCES HAPPENING THIS JUNE

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EXPLORE OUR LATEST UPDATES

An Immersive Installation Designed for Connection and Contemplation London Design Festival '19

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Exploring the Patterns Shaping Our Planet with Penguin Vintage Classics

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PATTERNITY inspire curious, collaborative and connected ways of living. We are global pioneers on a mission; to create positive change through pattern

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contemporary parametric design pavillion - Google Search

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contemporary parametric design pavilion contemporary parametric design pavillion

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Visitors can play in the rain without getting wet in this installation by interactive designers rAndom International at the Barbican in London (+ slideshow).

Located in The Curve gallery, Rain Room is a perpetual rain shower which lets visitors feel the moisture in the air and hear the sound of rain while remaining untouched by drops of water.

Cameras installed around the room detect human movements and send instructions to the rain drops to continually move away from visitors.

The water drips through a grid in the floor where it is treated before being sent back up to the ceiling to fall again.

Formed in 2005 by former Royal College of Art students Hannes Koch, Florian Ortkrass and Stuart Wood, rAndom International has created a number of installations involving audience participation.

"Rain Room is the first time that we've extended the level of our experimentation to the huge public space that is The Curve at the Barbican," rAndom International told Dezeen.

"Our other work has performed on a more intimate scale in terms of size and engagement, but what's common to most of our projects is that they extract interesting behaviour from the viewers," they added.

Their proposal to create a rain shower inside the gallery didn't faze the curators. "The curatorial team around Jane Alison has not blinked once in view of the actual implications of realising the Rain Room at The Curve - a never-done-before project featuring thousands of litres of water above a BBC recording studio and right next to a theatre and concert hall in a public art gallery."

The designers have also collaborated again with British choreographer Wayne McGregor, whose Random Dance company will perform short 'interventions' in the Rain Room to a score by Max Richter on selected Sundays during the exhibition.

"Working with Wayne and Random Dance has always been very rewarding, as his perspective seems to complement our way of working extremely well," said the designers. Earlier this year Dezeen featured their collaboration for the Future Self project at MADE in Berlin, in which a lighting installation mapped and replicated human movement.

Rain Room isn't the first weather-related art installation to appear on Dezeen - we've also featured a moving cloud of raindrops in a Singapore airport and an LED sign in a London park displaying yesterday's weather.

See all our stories about weather "
See all our stories about art "
See all our stories about the Barbican "

Photographs are by Felix Clay.

Here's the full press release from the Barbican:

Rain Room by rAndom International at The Curve, Barbican Centre, London
Admission Free
4 October 2012 - 3 March 2013

The exhibition is supported by Arts Council England. Rain Room has been made possible through the generous support of the Maxine and Stuart Frankel Foundation for Art.

Known for their distinctive approach to digital-based contemporary art, rAndom International's experimental artworks come alive through audience interaction. Their largest and most ambitious installation yet, Rain Room is a 100 square metre field of falling water for visitors to walk through and experience how it might feel to control the rain. On entering The Curve the visitor hears the sound of water and feels moisture in the air before discovering the thousands of falling droplets that respond to their presence and movement. Rain Room opens in The Curve on 4 October 2012.

Kate Bush, Head of Art Galleries, Barbican Centre, said: The Curve has previously played host to guitar-playing finches, a World War II bunker and a digital bowling alley. rAndom International have created a new work every bit as audacious and compelling - Rain Room surpasses all our expectations.

At the cutting edge of digital technology, Rain Room is a carefully choreographed downpour - a monumental installation that encourages people to become performers on an unexpected stage, while creating an intimate atmosphere of contemplation. The work also invites us to explore what role science, technology and human ingenuity might play in stabilising our environment by rehearsing the possibilities of human adaptation.

rAndom International said: Rain Room is the latest in a series of projects that specifically explore the behaviour of the viewer and viewers: pushing people outside their comfort zones, extracting their base auto-responses and playing with intuition. Observing how these unpredictable outcomes will manifest themselves, and the experimentation with this world of often barely perceptible behaviour and its simulation is our main driving force.

Finding a common purpose as students at the Royal College of Art, rAndom International was founded in 2005 by Hannes Koch, Florian Ortkrass and Stuart Wood. Today the studio is based in Chelsea - with an outpost in Berlin - and includes a growing team of diverse talent. With an ethos of experimentation into human behaviour and interaction, they employ new technologies in radical, often unexpected ways to create work which also draws on op art, kinetics and post-minimalism.

rAndom International have gained international recognition, inspiring audiences from broad multidisciplinary interests. A breakthrough work of 2008, Audience, marked rAndom's first installation with audience participation. Motorised mirrors disconcertingly respond to human activity in their midst in inquisitive, synchronised movements, with the viewer becoming both active agent and subject of the piece. Swarm, a light work of 2010, emulates the behaviour of birds in flight: the sound created by the presence of visitors causes the abundant individual light sources to respond in swarm-like formations. With Future Self, a new commission by MADE Berlin in 2012, the studio explores the direct interaction of the viewer with the full body image of the self, represented in light in three-dimensions.

Other notable commissions include Reflex, a large scale light installation that inhabited the windows of London's Wellcome Trust for one year, and the studio's scenography for Wayne McGregor's production, FAR, presently on world tour. rAndom International's kinetically responsive sculpture Fly was premiered at the last Moscow Biennale of Contemporary Art, while intelligent light installation Swarm Study / III is on display permanently at the Victoria & Albert Museum, London.

rAndom International are represented by Carpenters Workshop Gallery, London and Paris. An overview of their work, Before the Rain, is on show in Paris 8 September - 21 December 2012. Prior to this they have exhibited at Tate Studio at Tate Modern, Pinakothek Der Moderne, Munich and Museum of Modern Art, New York. They have won a number of awards including Designer of the Future 2010, Prix Ars Electronica - Honourable Mention, CR - Creative Futures Award, Wallpaper* Award and were listed in the Observer's Top Ten Creative Talent in the UK. Earlier works form part of the permanent collections at the Frankel Foundation for Art, the Victoria & Albert Museum and the Museum of Modern Art, New York.

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Rain Room installation by rAndom International at the Barbican

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Visitors can play in the rain without getting wet in this installation by interactive designers rAndom International at the Barbican in London (+ slideshow). Located in The Curve gallery, Rain Room is a perpetual rain shower which lets visitors feel the moisture in the air and hear the sound of rain while remaining untouched by drops of water.

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The term ' flooring' refers to the lower enclosing surface of spaces within buildings. This may be part of the floor structure, such as the upper surface of a concrete slab or floor boards, but typically it is a permanent covering laid over the floor. ' Flooring' can also be used to describe the process of laying flooring material.

There is a wide range of flooring materials available:

Given that each piece is different, the unique aesthetic of timber is one of the main appeals for its use as flooring. It can also be very durable although it may scratch and is prone to movement. As timber is hygroscopic (sponge-like), it can unsuitable for use in rooms that may be exposed to humidity or moisture, although treatment of the timber can make it resistant to moisture.

There are several options for finishing timber, such as wax, oil or lacquer. The two main types of timber flooring are:

Solid: Each board is made from a single piece of wood, typically 18-20mm thick, usually fitted using tongue-and-groove.

Engineered: Each board consists of three or four layers of laminated timber, held together at right angles by glue to create a plank typically of around 14mm thickness.

Laminate flooring is a compressed fibreboard plank covered with an image of a material such as timber, stone, tiles and so on that is then given a protective coating. Laminates can be suitable for rooms that wish to benefit from the aesthetics of a 'natural' floor but at a lower cost, with easier installation, and without the risk of being damaged by scratching. Good quality laminates are durable and may have a 20-year warranty. They require minimal maintenance and may be installed with under- floor heating.

For more information, see Laminate flooring.

Vinyl flooring can be supplied in rolls or tiles and is generally fixed by gluing. It can be manufactured in a very wide range of colours and profiles (for example studded) and as with laminate flooring can simulate the appearance of other materials.

The advantages of using vinyl flooring include:

It is durable.

It is easy to maintain and keep clean.

It is capable of getting wet without buckling, making it suitable for use in bathrooms, kitchens, and so on.

It is easy to instal.

It can be relatively inexpensive.

For more information, see Vinyl flooring.

Rather than being wood, this is grass that has been compressed into a floor material, and is nailed down or glued together. It has the advantage of being a renewable resource and water resistant.

For more information see Bamboo flooring.

Cork is a water-resistant, renewable material that is suitable for a range of spaces, including basement and bathroom installations. Cork can be clicked together in the same way as laminates or can be glued. Cork floors are warm and flexible although they can be damaged easily by sharp objects.

For more information, see Cork flooring.

There are many options in terms of colour, texture, shape and finishes of tiles. Because of their hardness they are difficult to scratch or dent, and are also suited to wet environments. However, they are difficult to instal and can break if there is a lack of support beneath the tiles.

These are generally more expensive than porcelain or ceramic options, but can be more aesthetically pleasing. They need to be properly sealed when installed, a process that will need repeating occasionally to keep the tiles protected.

Carpet is made of an upper layer of pile attached to a backing. The pile is usually wool or fibres such as nylon, polyester or polypropylene that are heat-treated after having been twisted together into tufts or woven. There are many varieties of texture, style and colour available and generally carpet is both durable and easy to maintain. Carpet also has insulating properties in terms of both heat and sound. However, carpets can stain quite easily and can be damaged by water and damp.

For more information, see Types of carpet.

Rubber flooring is made from natural or synthetic materials, including recycled rubber tyres. It is categorised as a type of resilient flooring, since it exhibits characteristics of elasticity or 'bounce'. This also makes it suitable for dance floors, restaurants or other high traffic areas where foot fatigue and slippage can occur.

Rubber flooring is also becoming a popular option for domestic installations. It's being used for children's playrooms, shower and bath rooms, garages, home gymnasiums and other applications that tend to require moisture and stain resistance, sound absorption, durability, elasticity and temperature stability.

For more information, see Rubber flooring.

Mastic asphalt and polymeric floors are poured as liquids and spread out across surfaces to harden and cure. This creates a finish without seams. While asphalt and polymer flooring options are not especially common, they do have advantages in both commercial (especially industrial) and domestic applications where water protection and durability are high priorities.

For more information, see Mastic asphalt flooring and Polymeric flooring.

It is most common for domestic flooring to be installed on a room-by-room basis rather than using one material throughout. Different rooms have different requirements from their floorings.

The most common types of flooring used in commercial buildings are:

Easy to maintain, and unlike tile floors, there is no grouting involved. This means that it is good in terms of maintaining hygiene levels, making it a popular choice for hospitals, care homes, and so on. Due to vinyl's hard wearing quality, it can withstand large amounts of foot traffic, making it suitable for a wide range of commercial environments.

This is a form of flexible, heavy duty, high grade vinyl or rubber flooring with slip resistant grains included. Essential for many industries to create a safe working environment. This flooring is easy to maintain and keep clean. As the most common cause of workplace injuries are slips, trips and falls, this flooring's slip resistant quality makes it suitable for many workplace environments.

These are popular for many businesses due to the aesthetic quality that can be achieved. Carpet tiles are common in offices because instead of laying down a large role of carpet, the individual tiles can be laid down and removed as required, giving flexibility, access to raised floors and saving on wastage.

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Types of flooring - Designing Buildings Wiki - Share your construction industry knowledge. The term 'flooring' refers to the lower enclosing surface of spaces within buildings. This may be part of the floor structure, such as the upper surface of a concrete slab or floor boards, but typically it is a permanent covering laid over the floor.

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Retail company Amazon has completed a set of glass orbs filled with "cloud forest" gardens for its headquarters in Seattle, providing work areas for employees and green space for the public.

The Spheres comprises a trio on connected glass domes, located in the centre of Amazon-occupied office towers in Downtown Seattle.

Amazon founder and CEO, Jeff Bezos, officially opened the project on 29 January 2018, by giving a voice command to the company's digital assistant, Alexa.

The structure was designed by American architecture firm NBBJ, which gained approval for the project in 2013.

"This particular design was chosen due to its natural occurrence in nature and as a nod to historic conservatories, like Kew Gardens [in southwest London]," said an announcement on Amazon's blog. Similar projects also include the Eden Project in Cornwall, UK, and the cooled conservatories at Singapore's Gardens by the Bay.

In Seattle, the three glazed orbs are constructed from 620 tons of steel and supported on a thick concrete base. All three units share an open-plan indoor area that is filled with thousands of plants, which can be viewed from multiple vantage points.

Of the trio, the largest "sphere" measures approximately 90 feet (27 metres) tall and 130 feet (39 metres) in diameter. The entire structure is covered in 2,643 panes of clear glass, tessellated to form a seemingly curved surface.

The facade's geometric pattern is derived from a shape found in nature, known as a Catalan solid. Underneath the glass, a layer of film helps to limit the level of infrared radiation that enters and therefore keep the interiors cool.

Over 40,000 individual plants from all over the world fill the building, which provides work areas and meeting places for Amazon employees away from its traditional office towers in the city.

The company described The Spheres as "a direct link to nature" for employees, who can make use of a "treehouse" meeting room. The layout is guided by timber decking, floating staircases, terraces and water features, and includes a four-storey wall covered in living organisms.

"Studies suggest that spaces that embrace biophilic design can inspire creativity and even improve brain function," said Amazon's blogpost.

Other offices that are designed around plants include Italian furniture manufacturer Cassina's headquarters in northern Italy by Patricia Urquiola, the all-female co-working club The Wing in New York City, and co-working spaces by Sella Concept in east London.

Many of the plant species at The Spheres are from cloud-forest ecosystems, which are typified by cool, humid conditions. The collection includes specimens from The University of Washington and Atlanta Botanical Garden, as well as a Ficus rubiginosa names Rubi - the tallest plant inside - which was planted in California in 1969, measures 55 feet (17 metres) tall.

"The Spheres operate on a diurnal cycle - the daytime temperature inside will average 72 degrees with humidity around 60 percent, and the nighttime temperature will average 55 degrees with humidity around 85 percent," said a statement from Amazon.

The Spheres is also open year-round to the public, who can access an areas at the base of the garden called Understory, which acts as a visitor centre.

"Our goal with The Spheres was to create a unique gathering place where employees could collaborate and innovate together, and where the Seattle community could gather to experience biodiversity in the centre of the city," said John Schoettler, Amazon's vice president of global real estate and facilities.

The company has invested heavily in Seattle, reportedly adding $38 billion to the city's economy from 2010 to 2016, and is also using its home to test new ideas for the future of retail.

Earlier this month, Amazon opened a cashier-free store in the city, where customers enter via an app and simply walk out with their groceries.

The retail giant's search for a second headquarters in North America, nicknamed HQ2, has also sparked a bidding war between cities eager to entice the company and reap similar finanicial benefits.

Non-Instagram photography is by Amazon.

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Plant-filled spheres open at Amazon headquarters in Seattle

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Retail company Amazon has completed a set of glass orbs filled with "cloud forest" gardens for its headquarters in Seattle, providing work areas for employees and green space for the public. The Spheres comprises a trio on connected glass domes, located in the centre of Amazon-occupied office towers in Downtown Seattle.

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4 metal posts encompassing the space kinda like this

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4 metal posts encompassing the space kinda like this

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Fungal flowers coated in metal and a sofa upholstered with fake grass are among the pieces in a solo show of work by Japanese botanical artist Makoto Azuma in New York (+ slideshow).

The exhibition at Manhattan's Chamber gallery showcases new sculptures alongside older pieces by the Tokyo-based artist, whose work has been described as a fusion of art and science.

Azuma is known for creating expressive sculptures and installations using flowers and plants.

"No other artist has made us so radically reconsider the power of flowers, plants and ultimately nature, in such an insightful and seductive way," said Juan Garcia Mosqueda, who founded the Chamber gallery in 2014.

"We're thrilled to be able to expose the spectra of his work in a gallery in New York for the first time."

The artist said his work follows a long tradition of man "depicting his relationship to nature".

Steven Holl, Levenbetts and Leong Leong "unpack the cube" for a New York exhibition

"His position within the natural world is like a mirror reflecting the era," said Azuma.

"The pieces in this collection speak to the theme of Human|Nature, and reflect a series of manmade interventions in materials, forms and principles from the natural world."

For the New York show, he has debuted his new Polypore sculptures, which are made of mushroom-like growths extracted from tree trunks and then coated in metal.

The artist collected the fungi from different areas of Japan.

Six Polypore sculptures are featured in the show, two of which are still connected to a tree trunk.

"With his Polypore series, Makoto introduces a new language of permanence to his work, combining gold, platinum and copper with polypores - shelf-like fungi that grow on old tree trunks," the gallery explained.

"In the polypore, Makoto has found a raw material that thrives on the decomposition of nature, yet when removed from its natural habitat, is hardened like wood."

The Chamber show also marks the debut of two pieces in the artist's Shiki 1 collection, which consists of small pine trees suspended by wire within steel frames.

The series is "part of the artist's ongoing exploration of the essence of the pine tree through experimental ikebana", the gallery said, referring to the Japanese art of flower arranging.

The show also features photographs of Shiki sculptures floating in space, a project called Exobiotanica that was staged in 2014.

The artist teamed up with the California-based company JP Aerospace to launch two of the sculptures into the stratosphere and then photograph them.

One sculpture consisted of a Japanese white pine bonsai, and the other contained an arrangement of flowers such as orchids, hydrangeas and lilies.

The sculptures were launched from a site in Nevada using helium balloons and floated in space for several hours.

A sofa, table and bicycle from the artist's Botanical series, which consists of objects covered in AstroTurf, are also featured in the Chamber exhibition.

"Fictional moss camouflaged as everyday objects playfully enables the semblance of nature to infiltrate our lives," said the gallery.

Pieces from Azuma's Crystal Seedcases collection, unveiled in 2006, are also on view.

The glass containers are shaped like an amaryllis, a sunflower, a soybean and an avocado, and each contains a seed or group of seeds.

"For Makoto, these repositories are meant as life-saving first aid kits with which we will regenerate food-stuffs and plant life in a post-apocalyptic world," the gallery said.

The show runs from 17 March to 30 April 2016.

This is the fifth capsule show offered at Chamber. It was curated by artist Andrew Zuckerman as part of his year-long exploration for the gallery into the intersections between human and nature.

Prior shows at Chamber include Unpacking the Cube, which featured sculptures by Steven Holl, Leong Leong and Levenbetts, and This is Not a Duet, which presented work by Sung Jang and Gala Fernandez Montero.

Photography is by Shiinoke courtesy of AMKK.

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Makoto Azuma's New York exhibition features botanical design

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Fungal flowers coated in metal and a sofa upholstered with fake grass are among the pieces in a solo show of work by Japanese botanical artist Makoto Azuma in New York (+ slideshow). The exhibition at Manhattan's Chamber gallery showcases new sculptures alongside older pieces by the Tokyo-based artist, whose work has been described as a fusion of art and science.

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Te Kura Whare is the centre of governance and meeting place for the Ngāi Tūhoe in Taneatua, near Whakatane, New Zealand. The 15th certified Living Building in the world, it is New Zealand's most advanced sustainable building.

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The Khoo Teck Puat Hospital is the winner of the first-ever Stephen R. Kellert Biophilic Design Award.
Driven by the Ex-CEO's request that the hospital be designed so that "one's blood pressure lowers when he/she enters the hospital grounds." The hospital achieves that by seamlessly integrating with nature to:

1. Help patients forget their pain and improve their rate of recovery by immersing them in a natural healing environment.

2. Create an invigorating park-like ambiance for Caregivers and the general public.

3. Enhance views and access to nature to create a conducive working environment for staff.

Designed as a V-shaped configuration of blocks, delineating a central court. The 'V' opened to the north, letting in breezes that first, skim over an existing storm-water pond, adjacent to the hospital site. To tap into this natural airflow, the envelope of the buildings had to calibrate permeability and shade. The goal was to allow patients access to natural light, cooling breezes and views, without risk of solar glare or rain entry.

Designed to be 'forest-like', water features with aquatic species, and plants that attract birds and butterflies were introduced. Greenery extended from the central courtyard to upper levels of the buildings and down into the open-to-sky basement, creating the impression of architecture deeply enmeshed in a garden. At the upper levels, balconies with scented plants bring the experience to the patient's bedside.

Remarkably for a development located in a dense urban setting, KTPH managed to achieve a green plot ratio of 3.92; this meant that the total surface area of horizontal and vertical greenery is almost four times the size of the land that the hospital sits on. In addition, 18% of the hospital's floor area account for blue-green spaces and 40% of all such spaces are publicly accessible.

In 2005, mid-way through design, the KTPH team expanded the hospital's blue-green footprint by 'adopting' the adjacent storm water pond. Collaborating with other government agencies, the hospital team worked out a cost-sharing arrangement whereby the pond redesigned as a park would serve multiple groups within Yishun. The concrete edges of the pond were deconstructed and aquatic plants were introduced to clean the water and create habitats. A walking trail was added, linking the park to the hospital and a nearby residential estate. Following the incorporation of the pond, total blue-green space available to KTPH patients and visitors increased by 400%.

The site for the hospital was chosen for its proximity to Yishun Pond. In response, the massing designed to open up to and 'embrace' the pond, 'drawing in' greenery and water into the heart of the hospital. Thereby making the hospital and pond an integrated entity. The water feature weaves through the landscaped courtyard at level-1 and cascades through a waterfall into the basement creating an illusion that water was drawn from the pond. The lushly landscaped basement courtyard brings in daylight and natural ventilation.

To suit the local climate, indigenous tropical plant were chosen for ease of maintenance. By providing host plants and various habitats within the hospital grounds, the hospital becomes part of the larger ecosystem encompassing various green patches throughout the north of Singapore.

Its success is evident in the increasing number of butterfly species sighted in the hospital grounds (increasing from 3 to 83 as of now). In response to the tropical climate, natural ventilation is optimized in the subsidized wards to enhance patient comfort. Common areas such as the main lobby and public corridors were specially designed for optimal natural ventilation thereby reducing the need for mechanical ventilation and energy consumption. By orientating the subsidized ward tower to 'capture' the prevailing North and South East winds, an optimal wind speed is achieved which would provide adequate thermal comfort for the patients. By reducing the hospital's reliance on mechanical ventilation for by approximately 60%, savings can be achieved in energy consumption.

Aluminium fins or "Wing walls" along the building's walls were designed to channel the prevailing winds into the building by increasing the wind pressure build up on the façade. Wind tunnel tests conducted at the National University of Singapore (NUS) found that these fins would enhance the air flow by 20 to 30%.

To make the hospital a "biophilic environment", every available surface had to be maximized for the creation of therapeutic green spaces. Extensive landscaping at every floor ensures that patients and staff are in close proximity to the calming and rejuvenating environment so they can be constantly treated to garden views from multiple angles.

Each unique roof garden is engaging and educational. The rooftop farm at the Specialist Outpatient Clinic Block has 100 species of fruit trees, 50 species of vegetables and 50 species of herbs. Run by volunteers from the nearby neighborhood, the farm is also a source of organic produce for the hospital kitchen. This creates an educational opportunity to for visitors whom might not know how their food is grown in urban Singapore.

Other roof gardens catered to specific patient needs. The access to the Dementia garden at level 4 next to the Geriatric clinic is controlled by staff to keep the patients safe as they enjoy the lush garden landscape.

Another highlight is the terraced gardens at the podium roof deck levels of the Private and Subsidized ward towers. Patients and caregivers are treated to an exploratory delight as they weave through the terraced levels, discovering private niches and trellised alcoves for reflective solace or enjoying the company of family and friends.

Most importantly, KTPH was designed to be more than just a place of recovery. It is also a serves as a tranquil communal node where the local community can attend public lectures, exhibitions or participate in educational programs organized by the hospital. Commercial areas geared towards healthy living are located in the hospital to promote health awareness. In addition, since 2010, the hospital's lush greenery and peaceful ambiance have made it a popular spot for students seeking a conducive environment.

In 2016, a post-occupancy evaluation (POE) was conducted at KTPH on a sample group of 200 users comprising of patients, staff and visitors and at an older hospital designed base on an earlier approach to healthcare design. The POE focused on the effects of water and greenery on user perceptions and feelings of well-being

The POE revealed that KTPH's use of biophilic design (BD) elements such as greenery and water attributed to it performing better than its counterpart when comparing perceived beauty, self-reported well-being, and user awareness of and proximity to nature. Out of six such constructs, four corresponded with biophilic design.

Over 80% of respondents said yes when asked if hospitals ought to invest in blue-green elements. When surveyed on their willingness to pay for BD, respondents from the older hospital saying yes was higher than in KTPH, possibly due to the older hospital's lack of blue-green elements.

The POE also affirmed KTPH's role as a local community hub. The study identified that 15% of visitors that come to the hospital do so for social and recreational reasons. In addition, it also pointed out that 58% of respondents who visit KTPH come from the neighborhood.

KTPH is overwhelmingly adored by staff and visitors. It has a higher number of casual visitors from the neighborhood than other hospitals. It consistently out-performs all other hospitals in Singapore in the annual Ministry of Health public satisfaction survey. Results of the 2016 study suggest that this preference, at least in part, is linked to the quality of its space and biophilic attributes.

Climatic studies conducted revealed that KTPH is signi􀂡cantly cooler in the afternoon most likely is due to shading (i.e. lower heat gain) and evaporative cooling (i.e. water features).

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Khoo Teck Puat Hospital | Living-Future.org

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The Khoo Teck Puat Hospital is the winner of the first-ever Stephen R. Kellert Biophilic Design Award. Driven by the Ex-CEO's request that the hospital be designed so that "one's blood pressure lowers when he/she enters the hospital grounds."

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collect imagery of blue and green and coloured animals and plants to put together a mosaic 

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collect imagery of blue and green and coloured animals and plants to put together a mosaic 

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Using biophilic design to heal body, mind, and soul

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Ceramic tiles + bomb shaped cups to hold plants 

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Ceramic tiles + bomb shaped cups to hold plants 

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Use photos to make mini water colour drawings 

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Use photos to make mini water colour drawings 

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The artist's collages feature portraits of women cut from advertisements, their tresses painted and collaged into pools of color that spread onto the page like oil spills.

On the cover of Lorna Simpson's new book, Lorna Simpson Collages, out now from Chronicle Books, there's a cutout image of a black woman's face, eyes kohl-rimmed, diamond necklace hanging in negative space. In lieu of her hair is a whole other head, an emerging woman in profile, a cross-section image of a brain revealing neurons that stretch like trees. The collage is the latest in Simpson's Riunite & Ice series, in which the same cutout appears in serial repetition, each time her head encapsulated by something preternatural and fey: paint black as squid-ink, a milk-colored moon, crystal shards, or clouds, with a ladder leading to where her shoulder might be, the woman her own skybound destination.

Simpson has long worked with hair and its profound intersection with identity. In "Wigs" (1994), 21 lithographs of braids, coils, locks, and silky waves cascade from a wall. In her set of 10 instant film images, "Stereo Styles"(1988), a young girl's hair is braided, pinned, and swept into updos. There's very little actual hair in any of the four collage series in Lorna Simpson Collages, which collects a total of 150 collages from 2011 to 2017; in addition to Riunite & Ice, there's Ebony, Jet, and the latest, Earth & Sky. On every page, portraits of women cut from vintage Ebony and Jet advertisements smile and stare, coquettish or mid-daydream, their tresses painted and collaged into pools of color that spread onto the page like oil spills. Though we know their faces were once posed and designed to sell products to other black women, in Simpson's hand, none of them are indebted to any particular identity or occupation. They're multitudinous.

In an interview with the Paris Review, Simpson explained that her interest in found images came from "a discovery I made of these old Ebony magazines belonging to my grandmother. I found them really satisfying to look at, because they're so contextual ... For me, the images hearken back to my childhood, but are also a lens through which to see the past 50 years in American history." There's a real joy to be gleaned from the collages, the near-tenderness with which Simpson adorns her subjects. In "Earth & Sky #38" (2017), a woman's bouffant has become a block of asphalt, and she gazes toward a honeyed amber rock. I know this because, in Earth & Sky, in which hair becomes stone, Simpson has left the captions or numerical codifications for each gem. "Earth & Sky #32" (2016) features a woman in a Grecian dress that doubles as a hood; it's not her hair but her backdrop that's crystallized and glowing (fluorite, actually).

In the Ebony series, the densest in the book, watercolor and ink is used so richly that the women are rendered pelagic deities, their hair black Medusa snakes, or electric-blue jellyfish, or flame-yellow coral. The images still seem wet, as if, upon opening the book, I was peeling apart Rorschach blots. As the pages progress, the faces get bigger; orange and purple crowns bloom like flowers. There are men, too (I counted 18), with pompadours and afros painted with ice cream scoop flourishes. Some wear sunglasses. Some are quite young. In Jet, a few women, their hair painted like feathered crowns, are paired with captions and tidbits from the magazines' pages: "Where is third man in Till lynching?"; "The strange sit-in that changed a city." They make clear another layer to Simpson's process, sometimes racially charged, sometimes wholly abstract.

In the book's introduction, the poet Elizabeth Alexander, in a format not unlike the collages to follow - dreamy and resolute - writes: "In Lorna Simpson's collages ... black women's heads of hair are galaxies unto themselves, solar systems, moonscapes, volcanic interiors ... It is sinuous and cloudy and fully alive ... Watercolor is the perfect medium for Simpson here because of how it holds light and appears to be translucent. But it is also a wash, a shadow cast over what we cannot know in these women."

Not being able to fully comprehend Simpson's subjects is, at least here, key. They're too complex, too bright, for that. As Alexander would have it, this speaks to the voluminous nature of the women themselves, and also to their universality. In Interview magazine, Simpson referred to the "prevailing assumption" that a work's narrative is autobiographical if the subject is a woman, "which is limiting." In another interview with the Art Hoe Collective, Simpson described a frequent question she's asked: "'What is it like to make work that has black content?'...When I get up in the mirror, I don't look at black content. I look at myself." To reference the self, devoid of any instances of "othering" from a myopic, inevitably white lens, is also to gain the freedom of omnipresence. Simpson is in these women (and men), though she's always toed the line between autobiography and storytelling narrative, that space where the two collapse into each other. The binary between them is dissolvable and soluble, like paint.

Lorna Simpson Collages by Lorna Simpson, with an introduction by Elizabeth Alexander, is now out from Chronicle Books.

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Lorna Simpson's Glowing Collages of Women and Heads of Hair

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The artist's collages feature portraits of women cut from advertisements, their tresses painted and collaged into pools of color that spread onto the page like oil spills. On the cover of Lorna Simpson's new book, Lorna Simpson Collages , out now from Chronicle Books, there's a cutout image of a black woman's face, eyes kohl-rimmed, diamond necklace hanging in negative space.

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Bill Viola / Michelangelo | Exhibition | Royal Academy of Arts

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This exhibition pairs Bill Viola's powerful installations with rarely-seen drawings by Michelangelo. Journey through the cycle of life in our immersive and unparalleled show.

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Emma Kunz - Visionary Drawings: An exhibition conceived with Christodoulos Panayiotou - Serpentine Galleries

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The first UK solo exhibition by the late Swiss visionary artist featured over 40 of her rarely seen drawings.

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	◦	Wooden treelike base with holes and a glass roofing of green leaf shaped glass?? 
	◦	Very open space 

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Biophilic examples + pictures of sustainable building materials

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Biophilic examples + pictures of sustainable building materials

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See the latest news and architecture related to Biophilic Design, only on ArchDaily.

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Phipps Conservatory and Botanical Gardens

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The BETA Project at Phipps: Biophilia Enhanced Through Art

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Biophilia is a 'love of life or living systems'. It's our inherent human connection to the natural world. In an urban world of technology and industrial architecture, this fundamental connection can sometimes feel all but lost. Biophilic design is an innovative way to harness this affinity in order to create natural environments for us to live, work and learn. By consciously including nature in interior or architectural design, we are unconsciously reconnecting; bringing the great outdoors in to our constructed world.

As pioneers in sustainability, Interface advocate biophilic design and know it is critical to human health to include natural systems and processes in our buildings and constructed landscapes. Over 50 studies worldwide, including our Human Spaces Report with psychologist Professor Sir Cary Cooper, have proven the positive effects nature or environments that mimic nature have on overall health and well-being.

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Biophilia is a 'love of life or living systems'. It's our inherent human connection to the natural world. In an urban world of technology and industrial architecture, this fundamental connection can sometimes feel all but lost. Biophilic design is an innovative way to harness this affinity in order to create natural environments for us to live, work and learn.

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Biophilic design and architecture - 10 of the best biophilic buildings - DesignCurial

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Biophilic design and architecture aims at creating strong connections between nature and man-made environments, and has proven benefits, including helping office workers be more productive,...

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At the end of 2015, there were 123,000 asylum seekers and refugees in the UK. ¹ Asylum seekers and refugees face unique and complex challenges related to their mental health and they are often at greater risk of developing a mental health problem.

Asylum seekers and refugees are more likely to experience poor mental health than the local population,² including higher rates of depression, PTSD and other anxiety disorders.3,4

The increased vulnerability to mental health problems that refugees and asylum seekers face is linked to pre-migration experiences (such as war trauma) and post-migration conditions (such as separation from family, difficulties with asylum procedures and poor housing).5,6

Research suggests that asylum seekers are five times more likely to have mental health needs than the general population and more than 61% will experience serious mental distress.⁷ However, data shows that they are less likely to receive support than the general population.⁸

Browse all the mental health statistics Download a PDF of all the stats
References

1. UNHCR. (2015). World at war Global Trends Report: Forced displacement in 2015. Geneva: UNHCR

2. Tribe, R. (2002). Mental health of refugees and asylumseekers. Advances in Psychiatric Treatment, 8, 240-247.

3. Fazel, M., Wheeler, J., & Danesh, J. (2005). Prevalence of serious mental disorder in 7,000 refugees resettled in Western countries: A systematic review. The Lancet, 365, 1309-1314.

4. Tempany, M. (2009). What research tells us about the mental health and psychosocial wellbeing of Sudanese refugees: A literature review. Transcultural Psychiatry, 46, 300-315.

5. Steel, Z., Chey, T., Silove, D., Marnane, C., Bryant, R., & van Ommeren, M. (2009). Association of torture and other potentially traumatic events with mental health outcomes among populations exposed to mass conflict and displacement: A systematic review and meta-analysis. JAMA, 302, 537-549.

6. Porter, M., & Haslam, N. (2005). Predisplacement and postdisplacement factors associated with mental health of refugees and internally displaced persons: A meta-analysis. JAMA, 294, 602-612.

7. Eaton, V., Ward, C., Womack, J., & Taylor, A. (2011). Mental Health and Wellbeing in Leeds: An Assessment of Need in the Adult Population. NHS Leeds.

8. Aspinall, P., & Watters, C. (2010). Refugees and asylum seekers: A review from an equality and human rights perspective. Equality and Human Rights Commission Research report 52, University of Kent.

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Mental health statistics: refugees and asylum seekers

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At the end of 2015, there were 123,000 asylum seekers and refugees in the UK. 1 Asylum seekers and refugees face unique and complex challenges related to their mental health and they are often at greater risk of developing a mental health problem.

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BIOPHILIC MATERIALS This project is a study of the applicability of biodegradable material in our interior. I have asked myself the question: How does a bio-based material can contribute to a healing environment for people?Biophilia is innate and emotional tie that binds humanity to earth.

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The Serpentine Gallery has unveiled the designs for four Summer Houses that will accompany this year's Bjarke Ingels-designed Serpentine Gallery Pavilion in London's Kensington Gardens (+ slideshow).

The four structures form part of the gallery's newly expanded annual architecture programme.

Nigerian architect Kunlé Adeyemi, Berlin studio Barkow Leibinger, Paris-based architect Yona Friedman and British architect Asif Khan will each create an architectural folly to accompany the main pavilion, now in its 15th year.

The structures are intended to reference the 18th-century Neoclassical summerhouse - named Queen Caroline's Temple - that is also located in Kensington Gardens.

Adeyemi of NLÉ has created an inverse replica of the folly, which will be constructed from prefabricated building blocks assembled from sandstone. The architect intends the Temple to fulfil the primary purpose of a summerhouse as a space for shelter and relaxation.

Zaha Hadid's Serpentine Gallery Pavilion set the bar for what followed, says Julia Peyton-Jones

"The carved-out void, soft interior and fragmented furniture blocks create comfortable spaces for people to eat, rest or play - in and around the house - all through the summer season," said Adeyemi.

Asif Khan has drawn on the Temple's location close to the water and the way it catches sunlight reflected off the Serpentine lake for his design. His summerhouse features a polished metal platform and roof, surrounded the undulating timber staves. Stepping stones mark the entrance to Khan's structure.

Barkow Leibinger has based its design on a second 18th-century building that once rotated on top of an artificial hill to offer panoramic views of the Royal Park but was later demolished.

"With this absent structure in mind, we have designed a summerhouse in-the-round," said the architects. "Standing free with all its sides visible, and conceived as a series of undulating structural bands, it is reminiscent of a blind contour drawing (a drawing executed without lifting the pencil up from the paper and only looking at the subject)."

Finally, Yona Friedman has designed a structure based on his La Villa Spatiale project, which the architect has been working on since the 1950s. This proposes using mobile and modular architecture to allow cities to grow without needing lots of land and to help people create their own house designs.

"The Serpentine Summer House is a 'space-chain' structure that constitutes a fragment of a larger grid structure, originally conceived for La Ville Spatiale," said Friedman. "It is a modular structure that can be disassembled and assembled in different formations and compositions."

All of the structures will be built on sites close to the main pavilion, which will occupy the lawn in front of the Serpentine Gallery.

The pavilion design by Bjarke Ingels is based on the idea of an "unzipped wall" and will be made of stacked fibreglass boxes.

"The response to design a Summer House inspired by the 18th-century Queen Caroline's Temple by our four international architects has been equally inspired and has produced four unique spaces for visitors to explore this summer," said gallery directors Julia Peyton-Jones and Hans Ulrich Obrist.

Dezeen has been looking back at each of the Serpentine Gallery's pavilions from 2000 to 2015 in a series of interviews with Julia Peyton-Jones.

Last year's pavilion was a colourful chrysalis of translucent plastic created by Spanish duo SelgasCano. Previous designers have included Peter Zumthor, Jean Nouvel, SANAA, Herzog & de Meuron and Sou Fujimoto.

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Serpentine Summer Houses include an inverted replica building

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The Serpentine Gallery has unveiled the designs for four Summer Houses that will accompany this year's Bjarke Ingels-designed Serpentine Gallery Pavilion in London's Kensington Gardens (+ slideshow). The four structures form part of the gallery's newly expanded annual architecture programme.

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With stone-clad walls and a deep red atrium, this medical centre in Kuwait was designed by AGi architects to look more like a cultural building than a health facility (+ slideshow).

The Hisham A Alsager Cardiac Center was intended by local office AGi Architects to offer a restorative environment to patients, as well as opportunities for social activity.

The architects - whose past projects include a house with four hidden roof terraces and a property with a mist-cooled courtyard - wanted to create a building that eschews the typical look and feel of a medical facility, and is more similar to social and cultural infrastructure projects.

The main body of the building is a monolithic geometric form that rises up at one end, accentuating the centre's connection with the adjacent ocean.

This volume is clad with stone panels to ensure adequate protection from the harsh climate.

Two recessed openings set into the facades contain entrances that invite patients and visitors inside.

These spaces are lined with red aluminium panels that extend across the surfaces of corridors, leading towards a central atrium that forms the building's "heart".

This three-storey space is surrounded by waiting areas and circulation.

AGi Architects completes Kuwait house featuring four secluded roof terraces

"The anatomic scheme of the heart and its mechanism within the whole human body was used for the design of the project," AGi Architects explained. "The heart is the central muscle of the system, which pumps blood to nourish the rest of organs and cells within it."

Several courtyards sit adjacent to the atrium, providing it with natural light and enhancing its spacious feel.

White-painted surfaces also contribute to the bright interior, while the stone slabs applied to the floors and walls creates continuity with the exterior.

"Patients move to and from this central space just as red blood cells do, and are received in the clinics and different departments to be put back in the circulatory system once re-oxygenated," the project team added.

The centre's clinical areas are arranged across three levels at the south end of the building and are designed as self-contained units operated by a doctor and his staff.

Patients are received in an individual lounge-like waiting room before being seen in one of two exam rooms or a consultant's office. Each module has its own courtyard providing the required natural light, ventilation and privacy.

Rehabilitation facilities including a swimming pool, gym and running track, are positioned along the building's north facade, together with research and administration services.

The physical activity spaces feature double-height windows that ensure they receive plenty of natural light and enjoy the best views of Kuwait Bay.

Kuwait has become a surprising hub of contemporary architecture, thanks a period of prosperity between the 1940s and 1980s that instigated numerous building projects.

Other recent projects in the Arab state include an apartment block with a zigzagging facade and a boxing club. OMA is currently working on plans for a new department store, while Foster + Partners has designed a new airport terminal.

Photography is by Nelson Garrido.

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AGi design Cardiac rehabilitation centre on Kuwait Bay

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With stone-clad walls and a deep red atrium, this medical centre in Kuwait was designed by AGi architects to look more like a cultural building than a health facility (+ slideshow). The Hisham A Alsager Cardiac Center was intended by local office AGi Architects to offer a restorative environment to patients, as well as opportunities for social activity.

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American studio Process Architecture has completed four drug rehabilitation homes that had to meet stringent design requirements, including a budget of under $200,000 per dwelling.

The project was commissioned by Aspire Health Partners, a healthcare provider in Orlando, Florida, that specialises in rehabilitation services for drug users. Rehab facilities have become increasingly critical in America, where the escalating number of people addicted to heroin and opioid painkillers has been declared a public health emergency.

To strengthen its recovery programs, the client turned to local firm Process Architecture to create a prototype rehab house, called the Aspire House. The first homes were slated to be built in Orlando's Holden Heights neighbourhood, which has seen a rise in heroin overdoses.

"Previously, the client operated their recovery programs in a series of existing structures, but sought to innovate and refine their methodology by incorporating design into the treatment process," the studio said in a project description.

Rigid parameters were established for the project. The home would need to accommodate three residents undergoing drug rehabilitation. The building needed to be low-maintenance and fully accessible, and it had to cost under $200,000 (£150,760).

"The client also required that the homes fit into the existing residential scale and sense of community in the downtown Orlando neighbourhood, composed primarily of older homes," the architects said. "This requirement insured that the residents felt comfortable during their stay, and that the homes could be sold out of the program in the future if necessary."

In response, the team conceived a 1,390-square-foot (130-square-metre) dwelling that features a rectangular plan and low-cost materials. The architects drew inspiration from traditional shotgun houses, which were popular in the southern US from the mid 1800s to the 1920s. The narrow, modest dwellings contained a linear alignment of rooms, with no interior hallways, and were often clad in wood or brick.

For the Aspire House, the team used stucco for exterior walls, along with screens made of plastic boards that resemble wood. The structural frame is composed of concrete blocks, wood rafters, and pre-engineered wood trusses. The roof is sheathed in asphalt shingles.

Brooks + Scarpa completes The Six housing for LA's homeless and disabled veterans

The studio incorporated covered porches in the front and rear elevations, which encourage occupants to spend time outside. "Activating the outdoor areas around the building fosters a sense of community and encourages residents to expand their experience at home," the team said.

Inside, the dwelling is clearly divided into public and private zones. One half encompasses sleeping quarters, while the other contains an open-plan living room, dining area and kitchen. Angled, clerestory windows above the front and rear doors bring in natural light and offer views of the changing sky.

"The residential concept leverages modern design principles to aid in the healing process, emphasising natural light, soaring ceiling spaces and open interior volumes," the team said.

Low-cost materials were used throughout the interior, including vinyl-composition floor tiles and basic metal light fixtures. The kitchen cabinetry is made of medium-density fibreboard (MDF) with a Formica laminate finish.

So far, four homes have been built in the Holden Heights neighbourhood, each completed for $186,000 (£140,226), which equals about $134 (£101) per square foot. Two of the homes sit adjacent to each other.

"In this case the designs are mirrored so that the public zones of porch, kitchen and living areas create a dialogue between the two structures," the studio said. "The setback around the houses is planned to accommodate a community garden that could serve the residents in both houses and encourage healthy lifestyle choices."

The architects hope the dwellings will aid in patients' recovery process. "This new affordable-housing model is not only functional, but serves to satisfy both psychological and aesthetic purposes for individuals pursuing drug-free, productive lives," said Process Architecture.

Other US projects that were designed to help those in need include an LA apartment building by Brooks + Scarpa that houses disabled military veterans and formerly homeless tenants, and a planned farming complex in upstate New York that will also accommodate and employ veterans.

Photography is by Chad Baumer.

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Process Architecture designs low-cost houses in Florida for recovering drug addicts

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American studio Process Architecture has completed four drug rehabilitation homes that had to meet stringent design requirements, including a budget of under $200,000 per dwelling. The project was commissioned by Aspire Health Partners, a healthcare provider in Orlando, Florida, that specialises in rehabilitation services for drug users.

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Rehabilitation Centre Groot Klimmendaal by Architectenbureau Koen van Velsen | Dezeen

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This rehabilitation centre in a Dutch forest by Architectenbureau Koen van Velsen is one of six projects to be shortlisted for this year’s Mies van der Rohe Award. Called Rehabilitation Centre Groot Klimmendaal, the project is located in a forest outside Arnhem, the Netherlands. Above photograph is…

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We've created a new Pinterest board showcasing vibrant coloured glass, including a pavilion with colourful geometric windows in Texas and Daniel Buren's installation at Frank Gehry's Fondation Louis Vuitton building in Paris. Follow Dezeen on Pinterest ›

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Discover unique coloured glass designs via our new Pinterest board

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We've created a new Pinterest board showcasing vibrant coloured glass, including a pavilion with colourful geometric windows in Texas and Daniel Buren's installation at Frank Gehry's Fondation Louis Vuitton building in Paris. Follow Dezeen on Pinterest ›

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That feeling of bliss that washes over you when you "get away from it all" isn't just in your head. Spending time in the great outdoors has been scientifically proven to reduce stress levels, help you find clarity, and rejuvenate your mind and body. Here's how.

1. Vitamin D Helps Your Body Function More Efficiently

Going outside to "get some vitamin D" has become something of a refrain-parents use it to admonish their kids for playing too many video games and sunshine-deprived office workers use it as an excuse to take their fifth coffee break-but what does vitamin D actually do for you? By helping maximize calcium absorption, vitamin D promotes bone and dental health. It can also elevate mood and reduce the risk of cancer, heart disease, stroke, diabetes, and more. Vitamin D also improves blood flow and lowers blood pressure by literally relaxing your blood vessels.

2. Natural Light Normalizes Your Sleep Schedule

Getting a doctor-recommended dose of sunlight can also help you feel refreshed and relaxed by helping regulate your body's melatonin production. Melatonin is a hormone that controls your body's internal clock (basically, it makes you sleepy). The melatonin-producing part of your brain (the pineal gland) is directly affected by access to light-it remains inactive during the day and is switched on when darkness sets in. The right amount of melatonin ensures you have a good night's sleep-and wake feeling rejuvenated.

3. Being in Nature Causes You to Unplug

Multi-tasking, particularly with electronic devices, is a leading cause of stress. A University of California, Irvine study found that people who had access to email and therefore received a steady stream of messages throughout the day had higher heart rates than those who were cut off from electronic communication. So taking an off-the-grid vacation can help you fully unwind.

4. A Natural Environment Helps You Center Your Mind

Leaving your devices behind and heading out into nature can also be calming for more metaphysical reasons. A study by the University of Wisconsin School of Medicine and Public Health found that a natural environment allowed people to leave the stressors of their everyday lives behind and instead focus their minds on something more pure. By centering your mind, you can relax your body.

5. It Gives Your Brain the Downtime It Needs to Recharge

The human brain demands 20 percent of all the energy the body produces, and this requirement increases by 5 to 10 percent when you're focused on a mental challenge. When the body is at rest, however, the brain doesn't cease activity-at least not in the way you expect. When people are in a daydreaming state-something more easily achieved in nature's serene environment-their brains settle into what scientists call the default mode network (or DMN). DMN is a complex circuit of coordinated communication between parts of the brain and is essential to mental processes that develop our understanding of human behavior, instill an internal code of ethics, and help us realize our identities.

6. It Lowers Stress Hormone Levels

A recent Dutch study suggests that spending time in nature and performing repetitive tasks such as gardening can fight stress better than other leisure activities. In the study, one group of people was asked to read indoors after completing a stressful task while the other group was instructed to garden for 30 minutes. The gardeners not only reported being in a better mood than the readers, but also had lower levels of the stress hormone cortisol.

7. Fresh Air Improves Blood Pressure

In polluted or indoor environments, the body has to work harder to get the oxygen it needs to function. This raises your heart rate and blood pressure.

8. Breathing is Your Body's Built-In Stress Buster

Research shows that breathing techniques have the ability to dampen the production of stress hormones as well as train your body's reaction to stressful situations. Rapid breathing engages your body's sympathetic nervous system (or, your "fight or flight" response), which is activated by stress and works to energize the body. Slow, deep breathing-the kind encouraged by the great outdoors-stimulates the body's parasympathetic reaction, which calms us down. By stopping to smell the roses, you can put the brake on your body's natural stress response and chill out a bit.

9. Oxygen Affects Your Sense of Well-being

Levels of oxygen in your brain are tied to levels of serotonin, the neurotransmitter that affects your mood, appetite, memory, social behavior, and other processes. Too much serotonin and you can become irritable and tense, but too little serotonin and you can become depressed. Breathing fresh air can therefore help regulate your levels of serotonin and promote happiness and well-being.

The negative ion-rich oxygen found in nature also has a relaxing effect on the body. To put things in perspective, the Los Angeles freeway has a negative ion count of below 100 per cubic centimeter, while the area around a large waterfall can boast a negative ion count of 100,000 per cubic centimeter (average fresh air has 2,000 - 4,000 negative ions per cubic centimeter). Negatively ionized air promotes alpha brain waves and increases brain wave amplitude, which creates an overall clear and calming effect, so including a waterfall hike in your next vacation can really help you relax.

10. Bacteria in Soil Also Boosts Your Serotonin Levels

Nature's calming effect comes from not only the fresh air, but also the ground. Research done by scientists at the University of Colorado at Boulder shows that Mycobacterium vaccae, a harmless bacteria commonly found in soil, can act as a natural antidepressant by increasing the release and metabolism of serotonin in parts of the brain that control cognitive function and mood. The bacteria can also decrease inflammation in your immune system, thereby alleviating issues from heart disease to diabetes.

11. Physical Activity Pumps Up Your Endorphins

The exercise that generally goes hand-in-hand with spending time out of doors (hiking, biking, water activities) spurs the production of endorphins, your brain's "feel-good" neurotransmitters-this is the sensation often referred to as a "runner's high." With increased endorphin levels, you'll feel loose, clear-headed, and calm.

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11 Scientific Reasons Why Being in Nature is Relaxing

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That feeling of bliss that washes over you when you "get away from it all" isn't just in your head. Spending time in the great outdoors has been scientifically proven to reduce stress levels, help you find clarity, and rejuvenate your mind and body. Here's how. 1.

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Healing colors are the colors that influence mood, calm the nervous system and make the environments less provoking and peace inducing. Over the centuries, many cultures across the world have employed colors for their healing powers. Even today, Chromotherapy is an important tool for gentle healing treatment. In this guide, we will discuss seven of the best colors for healing as well as the ways to use these colors to recover from disease. Using these healing colors for a room or clothing, you can significantly change the patient's mood and bring about many mind, body benefits.

Healing colors for hospitals

1. Red

Red is a passionate and warm color which induces vitality and stimulates energy. It increases adrenaline and elevates blood pressure-so avoid using it when the patient is suffering from hypertension. This could be the reason why red is used only moderately in hospitals. At home though, you can use this color for stimulating appetite in weak patients. Red can also alleviate depression. It is one of the top healing colors for enhancing sexual appetite and overall vitality.

2. Orange

According to color healing therapy, orange is one of the best colors for hospitals and particularly for children's rooms. Orange radiates warmth and is associated with joy and happiness. In fact: even oranges which are packed with Vitamin C-the powerful antioxidant- are known to heal and fight free radicals to boost immunity. Therefore, as far as cancer healing colors go, orange is an important color in the color healing chart.

3. Yellow

Search for healing colors for hospitals and yellow would be high up in the list. This bright and cheerful color can help stimulate intelligence and also detoxify the body and mind to heal patients quickly. Yellow is particularly recommended for patients with skin problems. It can inspire creativity in people who feel sluggish or lethargic. Avoid overuse of yellow as it can hamper the digestive health and lead to stomach problems and insomnia.

4. Green

Green color is known for its balanced healing properties. It is a restful color that symbolizes growth and renewal. It also encourages comfort and equilibrium and is particularly beneficial for the heart, lungs and circulatory system.

5. Blue

This spiritual color is also the color of the sky and sea. Blue is an important healing color as it is linked with calm and serenity. It helps lower blood pressure and can reduce rapid heart rate. Blue is relaxing for the mind and body. It is associated with organs like eyes, ears and nose and involved with the senses of smell, sight and sound.

6. Pink

Pink is feminine yet a soothing color that shows caring and affection. It is a protective and compassionate color that heals and soothes. This lighthearted color can stimulate happiness. Too much of bright pink might stimulate energy and incite passionate behavior just like its distant cousin Red. Pink can be however be safely useful in hospitals and prisons to reduce erratic behavior.

7. Purple

Both, purple and violet, as well as its related shades like lilac and lavender are connected with spirituality. These healing colors are also linked with perception, higher consciousness and insight. Health wise, these colors are linked with the cerebral and nervous systems.

How to use healing colors in hospitals?

1. Color healing for cancer patients can be implemented in the radiology suite. Use cheerful colors in the drapes, upholstery or the accessories in the waiting rooms as well as in the therapy rooms to reduce anxiety and claustrophobia in patients.

2. It is very important to use color healing therapy in pediatric environments as well. Bright and cheerful colors can help keep little ones calm and relieve stress in both- the young patients as well as their caregivers or parents.

3. In elders, the use of colors for healing therapy must take into account the vision problems in older patients. Avoid using excessively bright colors and bright focus lights. Instead, make use of colors that help the patients in focusing. Yellow, orange and red could be safely used in poorly lit conditions as they can help older patients focus better.

4. In critical care units, colors like blue, violets and greens are recommended. Not only are these healing colors calming and soothing-they also have stress reducing effect. In such an environment, avoid the use of bright and energy inducing colors like red, yellow and orange.

Color breathing and meditation for healing

Patients can do the following simple yet powerful color healing and color breathing meditation to gain benefits of color healing therapy.

Sit in a quiet room on a chair or bed.

Close your eyes and count slowly as you breathe in.

Hold the breath as you count slowly to 8 counts.

Repeat this until your mind automatically quiets down and ponders over the healing harmony of colors that you receive from the sun's rays.

You can easily and gently try to focus your mind on the place between the eyebrows. This is the third eye center where the pituitary body is located. This little gland can increase your perception and sixth sense. Now let colors flood the entire body and mind.

Repeat the exercise several times a day until you start to see Auras.

There are many colors that help healing but the 7 colors described above are proven to work through every cell of the body even exert influence on the soul, consciousness and spirit. Use these healing colors wisely and bring peace, joy and vitality in you and your loved ones.

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Healing colors are the colors that influence mood, calm the nervous system and make the environments less provoking and peace inducing. Over the centuries, many cultures across the world have employed colors for their healing powers. Even today, Chromotherapy is an important tool for gentle healing treatment.

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This is the first major exhibition of Pierre Bonnard's work in the UK since the much-loved show at Tate 20 years ago. It will allow new generations to discover Bonnard's unconventional use of colour, while surprising those who think they already know him.

Born 1867, Bonnard was, with Henri Matisse, one of the greatest colourists of the early 20th century. He preferred to work from memory, imaginatively capturing the spirit of a moment and expressing it through his unique handling of colour and innovative sense of composition.

The exhibition concentrates on Bonnard's work from 1912, when colour became a dominant concern, until his death in 1947. It presents landscapes and intimate domestic scenes which capture moments in time - where someone has just left the room, a meal has just finished, a moment lost in the view from the window, or a stolen look at a partner.
Organised by Tate Modern in collaboration with Ny Carlsberg Glyptotek, Copenhagen and Kunstforum Wien.

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This is the first major exhibition of Pierre Bonnard's work in the UK since the much-loved show at Tate 20 years ago. It will allow new generations to discover Bonnard's unconventional use of colour, while surprising those who think they already know him.

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Albert Serra: Roi Soleil - Film at Tate Modern | Tate

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See the artist’s award-winning new work which blends performance, installation and film

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In Eliasson 's captivating installations you become aware of your senses, people around you and the world beyond.

Some artworks introduce natural phenomena such as rainbows to the gallery space. Others use reflections and shadows to play with the way we perceive and interact with the world. Many works result from the artist's research into complex geometry, motion patterns, and his interest in colour theory. All but one of the works have never been seen in the UK before.

Within the exhibition is an area which explores Eliasson's deep engagement with society and the environment. Discover what an artist's perspective can bring to issues of climate change, energy, migration as well as architecture.

The kitchen team at Studio Olafur Eliasson have created a special menu and programme of related events for Tate Modern's Terrace Bar, based on the organic, vegetarian and locally sourced food served in his Berlin studio.

Eliasson has a long relationship with Tate Modern. His glowing sun, The weather project, drew more than two million people to the Turbine Hall in 2003. More recently Ice Watch 2018 brought chunks of ice from Greenland to London. This exhibition provides another unforgettable experience for visitors of all ages.

The glacier melt series 1999/2019

In 1999, Olafur Eliasson documented 45 of Iceland's glaciers for a photographic series. Twenty years later - a nanosecond in geological time - he returned to photograph them again. The glacier melt series 1999/2019 places photographs of 30 of the glaciers from 1999 and 2019 side by side, revealing the dramatic changes that have occurred.

Exhibition has been organised by Tate Modern in collaboration with Guggenheim Museum Bilbao Exhibition curated by Mark Godfrey, Senior Curator, International Art, Tate Modern with Emma Lewis, Assistant Curator, International Art, Tate Modern
Recycle for 20% off an exhibition t-shirt

Do you have any old T-shirts you don't wear any more? Bring them into Tate Modern for reuse or recycling and you will get a 20% discount on an Olafur Eliasson exhibition T-shirt. Members will also receive their further 10% membership discount.

Every year in the UK, over 300,000 tonnes of clothing goes to landfill. Much of this could still be worn by someone else and the rest could be recycled, by turning it into cleaning wipes or insulation. As sustainability is a key theme in Eliasson's work, Tate and Studio Olafur Eliasson have teamed up to introduce a system for recycling your old T-shirts that we hope will become part of future Tate exhibitions.

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In Eliasson 's captivating installations you become aware of your senses, people around you and the world beyond. Some artworks introduce natural phenomena such as rainbows to the gallery space. Others use reflections and shadows to play with the way we perceive and interact with the world.

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Four major exhibitions with colour at their core open this summer

How colour became primary

Simon Wilson surveys a slew of shows, in London, Liverpool and Margate, that reveal the changing roles colour has played in art history.

From the Summer 2014 issue of RA Magazine, issued quarterly to Friends of the RA.

By some weird functioning of my favourite phenomenon, the Zeitgeist, there are no less than four major exhibitions in which colour is key running more or less concurrently through the summer. The National Gallery's 'Making Colour' is explicitly an exploration of the subject; Tate Liverpool's 'Mondrian and his Studios', Turner Contemporary's 'Mondrian and Colour' and Tate Modern's 'Henri Matisse: The Cut-Outs' all focus on artists for whom colour was the primary instrument of expression. The four shows are strikingly complementary.

The NG's show surveys the use of colour by painters from the early Renaissance to Impressionism. It thus ends at what was merely the beginning of the liberation of colour that was fully developed by, surprise surprise, on the one hand Matisse and on the other, and very differently, by Mondrian. But 'Making Colour' is also a fascinating account of the materials of colour and how colours were made.

The phrase 'the liberation of colour' is a cliché in the history of modern art. What it means is simple. In painting before Impressionism, as we see at the NG, colour is indeed often used to ravishing effect. Yet it is always subordinate to the subject of the picture and confined, more or less, depending on the artist, to the drawn forms through which the subject is depicted. Until Impressionism, subjects were predominantly religious, historical or mythological, and therefore particularly dominant in the work.

Impressionism changed that, first by ditching the attention-grabbing subject matter in favour of apparently inconsequential everyday subjects and then by increasingly substituting drawing with an all-over brushwork from which forms emerge. The Impressionists also discovered the science of colour, in particular the law of complementaries. These are the primary and secondary colours, red/green, yellow/mauve and blue/orange, which when juxtaposed 'complete' each other and are thus seen at maximum intensity.

The NG show ends with one of the most perfect illustrations of all this, indeed one of the most perfect of all Impressionist paintings, from the movement's first full flush - Renoir's delicious and haunting The Skiff (La Yole), of 1875. The whole composition revolves around the complementary clash of the deliberately heightened blue of the water and the bright orange of the skiff itself, no doubt in reality a warm brown. Colour has become the dominant element.

Picking up on Impressionism, in 1905 Matisse began to paint pictures in flat areas of primary and secondary colours, which seemed furthermore to have no relationship to the images they evoked. This further elevation of colour to a leading role reached its final, full and astonishing realisation in the great cut-out works of Matisse's last years, which can be seen at Tate Modern and which were discussed with an artist's insight by Mali Morris RA in the previous issue of RA Magazine.

Matisse's work, even at its most apparently abstract, is always based on his perceptions of the world. Mondrian would have none of this. He wanted to go beyond nature to create what he called a 'cosmic, universal' beauty. He therefore restricted his palette to the three primary colours and the non-colours black and white, and reduced his compositions to the square and the rectangle and the vertical and the horizontal as seen in Composition with Large Red Plane, Yellow, Black, Gray and Blue (1921). Diagonals were not allowed. He thus reduced painting to its basic elements in their most irreducible form - a kind of absolute art. In some works he restricted the colours to one or two, or even none.

However, as the Margate exhibition in particular shows, he too started from nature. Ultimately his vertical and horizontal configurations relate to a tree or a human standing vertically on the surface of the earth, and he saw the intersections of the vertical and the horizontal as embodying the great opposites of existence - male and female, positive and negative, life and death. The Margate exhibition traces the long, gradual process by which Mondrian reached his mature style and hugely enhances our understanding of it. In Liverpool we see more of this, but specifically how Mondrian's studios became other-worldly environmental realisations of his vision of pure beauty, and a blueprint for an ideal architecture. Indeed his influence on modern architecture and design has been as profound as on modern art.
Henri Matisse: The Cut-Outs is at Tate Modern until 7 September 2014.
Mondrian and Colour is at Turner Contemporary until 21 September 2014.
Mondrian and his Studios is at Tate Liverpool from 6 June-5 October 2014.
Making Colour is at the National Gallery from 18 June-7 September 2014.

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Four major exhibitions with colour at their core open this summer | Blog | Royal Academy of Arts

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Simon Wilson surveys a slew of shows, in London, Liverpool and Margate, that reveal the changing roles colour has played in art history. From the Summer 2014 issue of RA Magazine , issued quarterly to Friends of the RA.

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Web survey powered by SurveyMonkey.com. Create your own online survey now with SurveyMonkey's expert certified FREE templates.

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Artist Daniel Buren has created a contrasting colorful garden pavilion for a pristine Le Bristol Paris hotel made of two circular dining areas and a covered promenade that connects them. Made of tinted glass in bright red, orange, yellow, blue, and purple the structure not only creates a nice punchy contrast with the white hotel building but also creates colorful patterns on the ground.

This is a great idea for a spacious backyard or garden if you love unusual ideas and would like to add bright accents to your green patch of land.

What do you think about this chromatic structure?

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Colorful Garden Pavilion By Daniel Buren

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Artist Daniel Buren has created a contrasting colorful garden pavilion for a pristine Le Bristol Paris hotel made of two circular dining areas and a covered promenade that connects them. Made of tinted glass in bright red, orange, yellow, blue, and purple the structure not only creates a nice punchy contrast with the white hotel building but also creates colorful patterns on the ground.

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Colour and Vision | Natural History Museum

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This exhibition is now closed. Enjoy some of the highlights of the exhibition with our videos and features below. Explore how vision first evolved and how colour in animals became the difference between life and death.

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The Swiss spiritualist Emma Kunz, who was known in her lifetime as a telepathic healer and created drawings by consulting a pendulum, is the subject of a major new exhibition at the Serpentine Gallery that aims to introduce her enigmatic art and life to a wider audience. The exhibition includes around 65 of her mandala-like, geometric drawings, which were selected by the curator Melissa Blanchflower and the Greek artist Christodoulos Panayiotou.

In the past, Kunz's drawings have been shown alongside artists such as the Swedish occultist Hilma af Klint and the US painter Agnes Martin, artists that "shared an interest in exploring abstract forms in nature and looked at nature through a micro and macro lens", Blanchflower says. But unlike these artists, Kunz was self-taught and never intended her work to be shown in a fine arts context.

None of Kunz's drawings are dated or titled, although their meaning and purpose are recorded in books she made detailing their medicinal uses. "Although her books are beautifully presented, Kunz never read art books or went to museums as far as we know," Blanchflower says. "Kunz primarily used the drawings for healing rituals, placing the drawings between her and the other person."

There's an increasing appetite for different forms of meditative practice and work that makes us ponder the equilibrium of the cosmos

After her death in 1963, Kunz's belongings were safeguarded by her relative Anton Meier, who founded the Emma Kunz Centre in Würenlos in 1986. The centre holds and displays most of Kunz's work and is on the site of an ancient Roman grotto Kunz discovered in 1942 and named Aion A. The mineral composition of the grotto-made up mostly of calcium carbonate and silicic acid from quartz-helped heal Meier from infantile paralysis and has since been sold online and in Swiss pharmacies as a cure for rheumatic diseases, muscle and joint pain, and inflammatory conditions.

For the exhibition, Panayiotou travelled to the centre and extracted stone from the grotto to build benches that will be placed in the Serpentine "to energise the space and encourage visitors to spend time meditating with the work", Blanchflower says.

The show is an overdue representation of the artist, marking her first solo exhibition since the 1970s and the first time her work is being shown in the UK. "We're in a climate where art is much more porous and people are embracing work that has been written off by the history books," Blanchflower says. "There's an increasing appetite for different forms of meditative practice and work that makes us ponder the equilibrium of the cosmos."

The main sponsor of the show is Pictet, with additional support from the Fiorucci Art Trust, Bloomberg Philanthropies and other donors.
* Serpentine Gallery, London 23 March-19 May

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Emma Kunz and the art of healing: drawings used in rituals come to London

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The Swiss spiritualist Emma Kunz, who was known in her lifetime as a telepathic healer and created drawings by consulting a pendulum, is the subject of a major new exhibition at the Serpentine Gallery that aims to introduce her enigmatic art and life to a wider audience.

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Art as Empowerment: The Virtue of Art Therapy | Ann Lawton | TEDxUWRiverFalls

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Turkey's Drug Rehab Centre: Former addicts prepare for a new life

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Psychologist Professor Richard Wiseman has designed and constructed a large-scale multi-media space that aims to calm even the most stressed out of minds.

To help promote the University of Hertfordshire's Health and Human Sciences Research Institute Showcase, Wiseman reviewed the scientific research into relaxation, and has created what is being billed as 'The world's most relaxing room.'

During the Showcase, which runs from 21-24 October at the University's de Havilland campus, groups of up to ten visitors at a time will be invited to enter this large and unusual space, lie on soft matting and rest their head on lavender-scented pillows. In each fifteen minute session, people will be bathed in a calming glade-like green light, listen to a specially composed soothing soundtrack, and look at a completely clear artificial blue sky.

"The pace of modern-day life, credit crunch, and financial crisis is making many people feel very stressed and so we have created this space to help them relax", noted Professor Wiseman.

"Research suggests that the subdued green light enhances the production of dopamine in the brain and provide a calming sensation. In addition, the artificial blue sky helps create a mild form of sensory deprivation that will help them turn their attention inward and distract them away from daily stress."

The music that will be played during each session has been specially composed by University of Hertfordshire Professor of Music, Tim Blinko.

"Richard asked me to create a piece of music with a slow and distinct rhythm, low frequency notes, and no sudden changes in tempo", noted Professor Blinko. "I have completely re-written a piece especially for this project. It features a solo soprano voice, chosen for the soothing properties of the human voice, together with a Tibetan singing bowl, used in meditation and a string ensemble."

A few years ago, Wiseman headed an international study examining walking speeds around the world, and discovered that people are living more fast-paced and stressful lives than ever before. It is hoped that the room will help motivate different groups of people to combat stress, including, for example, students facing exams and businesses wishing to lower their employees' stress-related absenteeism.

Professor Wiseman added, "Previous work has shown that these colours, sounds and smells all help people relax, but this is the first time that they have been combined in this way, and it will be fascinating to look at the effect on visitors' relaxation levels."

The following questionnaire helps identify people who might be living life at a pace that exacerbates stress. 5 or more 'yes' responses suggest that it might be time to take your foot off the accelerator and slow down.

1) Do you seem to glance at your watch more than others?

2) When someone takes too long to get to the point, do you feel like hurrying them along?

3) Are you often the first person to finish at mealtimes?

4) When walking along a street, do you often feel frustrated because you are stuck behind others?

5) Would you become irritable if you sit for an hour without doing anything?

6) Do you walk out of restaurants or shops if you encounter even a short queue?

7) If you are caught in slow-moving traffic, do you seem to get more annoyed than other drivers?

Stress busting tips:

Being stressed can increase your blood pressure, affect your ability to concentrate, and weaken your immune system.

Those who can't make it to the world's most relaxing room might want to try the following 10 techniques to help combat stress:

1) Head for the countryside. Research shows that spending around thirty minutes in green and quiet surroundings will make you feel significantly more relaxed.

2) Listen to soothing music. Listening to Vivaldi's Four Seasons, a relaxation tape, or nature sounds lowers your blood pressure.

3) Carry out a relaxation exercise. Starting at your toes and working upwards, spend a few moments slowly tensing, and then releasing, the muscles of each part of your body.

4) Spend time with friends. Being with people you like helps distract you from anxious thoughts and lifts your mood.

5) Help others. Research shows that even carrying out a small act of kindness, such as making a donation to charity, helps improve your mood and decreases stress.

6) Accept what you can't change. There is no point dwelling on the past, or thinking about what can't be altered. Instead, focus on how you can create a better future.

7) Smile more. Don't take life too seriously, and improve your ability to cope with stressful situations by seeing the funny side of whatever happens.

8) Use lavender. Research shows that most people find the smell of lavender especially relaxing, and that it also helps them get a good night's sleep.

9) Hit the gym. Exercise promotes the production of endorphins, which, in turn, make you feel better about yourself and become more relaxed.

10) Look at the sky. If it is a nice day, lie on the grass, look up at a clear sky, and allow positive thoughts and images to drift through your mind.

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healthy aging; workplace health; mental health research; today's healthcare; stress; perception; mental health; anxiety

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Scientists Create 'World's Most Relaxing Room'

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Psychologist Professor Richard Wiseman has designed and constructed a large-scale multi-media space that aims to calm even the most stressed out of minds. To help promote the University of Hertfordshire's Health and Human Sciences Research Institute Showcase, Wiseman reviewed the scientific research into relaxation, and has created what is being billed as 'The world's most relaxing room.'

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3D printed or glass cube to observe nature because of its healing qualities.
I need to identify a location ASAP.
Cons: PTSD patients might not like being caged

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3D-Printed Home Can Be Constructed For Under $4,000

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https://twitter.com/hafzastudio/status/1115646288350019584?s=21

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In the Royal Academy 's new exhibition 'Life, Death Rebirth' that seams American video artist Bill Viola with Renaissance doyen Michelangelo, a drawing by the latter, etched 487 years ago, depicts the punishment of the mythical giant Tityus. The giant's muscle-hewn body was chained to a rock by Hades, the Greek god of the underworld. Each day, Hades would set a vulture loose on Tityus' exposed body. The vulture would rip out and eat his liver - 'the seat of lust'. At night, Tityus' liver would grow back. Each morning, the vulture would begin again. The torment, Hades decreed, would last for eternity.

Next to Tityus stands an etching of Hercules, who, in a fit of madness, killed his wife and children. In return for freeing him of his guilt, the Gods tasked Hercules with 12 seemingly impossible tasks. Michelangelo depicts the slaying of the Nemean lion, whose coat was impervious to arrows. Hercules strangled the lion to death after breaking its fanged jaw with his bare hands.

Michelangelo was 52 when he presented the drawings as a gift - something akin to a love letter - to the teenage Roman aristocrat Tommaso de' Cavalieri, with whom he had become infatuated. The Italian artist distinguished between two kinds of love: a wild, carnal lust that can drive us to destruction, and a spiritual, divine love that can lift us towards God.
Three Labours of Hercules, c 1530, by Michelangelo Buonarroti, red chalk. Courtesy of Royal Collection Trust. © Her Majesty Queen Elizabeth II 2019
The drawings are on display in a London exhibition that at first glance depicts a tenuous union. One is the great master of the Renaissance. The other a contemporary artist from New York who creates video installations that can at times veer between something resembling Michael Haneke, Lars Von Trier and a mobile phone advert. The pairing of Viola and Michelangelo is not, co-curator Martin Clayton insists, an attempt to suggest the two artists should be placed on a comparable pedestal. 'They are not somehow equals,' said Clayton during an introductory speech.

Instead, the curator hopes to create a dialogue - 'a conversation across five centuries' - between the themes and philosophies that drove the two artists. Namely, the uncertainty of life and the tantalising possibility we may be more than mere flesh. When we think of Michelangelo now, we think of him as the painter of the Sistine Chapel and the sculptor of huge figures,' Clayton writes in the exhibition's catalogue. 'The emotional and spiritual intent of his work has largely left our understanding, yet for him that was the most important thing.'

Opposite Tityus stands two slabs of granite. On each slab is projected an ageing man and a woman. Both are naked, and are engaged, slowly and methodically, in passing a torch over their bodies. They are searching for blemishes, imperfections or illness. Eventually, Viola has them turn off their torches, and dissolve slowly into dust.
Fire Angel, panel 3 from Five Angels for the Millennium, 2001, by Bill Viola, video/sound installation. Performer: Josh Coxx. Courtesy of Bill Viola Studio. Photography: Kira Perov
Earlier in the exhibition, and stood opposite Michelangelo's Taddei Tondo marble relief (c 1504-1505), plays Viola's Nantes Triptych (1992). On the left, a young woman is splayed across the edge of a bed in the process of giving birth. On the right, an old woman - Viola's own mother, it turns out - is lying motionless and barely breathing. One is dying, the other is in the midst of creating life, sweating, struggling and crying. In the final room, we witness the silhouette of a woman standing before a wall of wire, before falling into the dark water of an unseen pool.

In the corner of one of the gallery rooms, I speak to Kira Perov - executive director of Viola's studio and his wife of 30 years - at the private view of the exhibition. The couple met in 1977 when Perov was the director of cultural activities at La Trobe University in Melbourne. She invited Viola over from the US to show in an exhibition of video art. What kind of person is Bill Viola to those that don't know him, I ask.

'Bill realised at a certain point that his life is his art,' she says. 'That's really what he is. This work is indistinguishable from him. We've had a lot of adventures together as a result. All that adds up: it becomes experience and it becomes knowledge and maturity and understanding. He's a brilliant mind... someone who believes deeply in asking, through his work, what life is, and how am I going to pass through it.'

But does the comparison Clayton and Perov make work, once the creations of these two artists are breathing together in the same room? For if their is a kinship in the artists' philosophies, then there is little doubt that the tone of their works is totally divergent.

'Bill realised at a certain point that his life is his art. That's really what he is. This work is indistinguishable from him.'

There's something merciless about video art, particularly at this high-definition scale, in the enveloping quiet dark of the RA's halls. Witnessing the beings that people Viola's art can often feel strangely voyeuristic. In the case of the ageing couple with the torches, the act of viewing can feel crass, particularly when one can turn and consider the grainless and smooth curves of The Virgin and Her Child, carved from a single piece of marble, or the presence of the mythic Tityus and Hercules and the eternal beasts they battle with.

Yet Viola's work has an undeniable potency. Stand in front of that granite, and try not to think of how we all make a prison of our bodies, worry for its failings, judge its imperfections. Reflect on this, and suddenly the vultures talons that dig into Tityus are longer. Its eyes are keener, its beak sharper. The lion's coat is heavier, its despair as Hercules finally overpowers it, somehow more evident.

Against the slow-moving spectacle of Viola, Michelangelo's chalk and charcoal becomes even more vibrant, the preoccupations of his life even more eternal. Michelangelo's Tityus and Hercules is not just an exquisite artefact from the past, not just something to admire, but something that can be felt deep within our darkest selves. For we are all in time and of time. And we all cling, secretly, to the same hope: that we might not end, but be reborn. §

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Bill Viola/Michelangelo: a meditation on mortality and revival at the Royal Academy

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In the Royal Academy 's new exhibition 'Life, Death Rebirth' that seams American video artist Bill Viola with Renaissance doyen Michelangelo, a drawing by the latter, etched 487 years ago, depicts the punishment of the mythical giant Tityus. The giant's muscle-hewn body was chained to a rock by Hades, the Greek god of the underworld.

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3 x 20ft Shipping Containers Turn Into Amazing Compact Home

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Movement of water while incorporating light and colour

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Movement of water while incorporating light and colour

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Granary Square Fountains at King's Cross

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https://www.collinsdictionary.com/submission/13416/Pluviophile https://amp.livescience.com/53403-why-sound-of-water-helps-you-sleep.html

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Answer (1 of 6): Clouds. Gigantic, intimidating, the colour of hell's heaven. Bruised purple, the sky shows his rage. Thunderclaps, so loud they leave me quaking in my bones. The wind howls out its harrowing tale, making the trees tremble and faint with fright. A brief flash; the sky splits i...

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https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1281386/https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1281386/https://www.classicfm.com/music-news/the-mozart-effect/ht https://www.biography.com/.amp/people/wolfgang-mozart-9417115 tps://www.classicfm.com/music-news/the-mozart-effect/

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You have probably heard of the Mozart effect. It's the idea that if children or even babies listen to music composed by Mozart they will become more intelligent. A quick internet search reveals plenty of products to assist you in the task. Whatever your age there are CDs and books to help you to harness the power of Mozart's music, but when it comes to scientific evidence that it can make you more clever, the picture is more mixed.

The phrase "the Mozart effect" was coined in 1991, but it is a study described two years later in the journal Nature that sparked real media and public interest about the idea that listening to classical music somehow improves the brain. It is one of those ideas that feels plausible. Mozart was undoubtedly a genius himself, his music is complex and there is a hope that if we listen to enough of it, a little of that intelligence might rub off on us.

The idea took off, with thousands of parents playing Mozart to their children, and in 1998 Zell Miller, the Governor of the state of Georgia in the US, even asked for money to be set aside in the state budget so that every newborn baby could be sent a CD of classical music. It's not just babies and children who were deliberately exposed to Mozart's melodies. When Sergio Della Sala, the psychologist and author of the book Mind Myths, visited a mozzarella farm in Italy, the farmer proudly explained that the buffalos were played Mozart three times a day to help them to produce better milk.

I'll leave the debate on the impact on milk yield to farmers, but what about the evidence that listening to Mozart makes people more intelligent? Exactly what was it was that the authors of the initial study discovered that took public imagination by storm?

When you look back at the original paper, the first surprise is that the authors from the University of California, Irvine are modest in their claims and don't even use the "Mozart effect" phrase in the paper. The second surprise is that it wasn't conducted on children at all: it was in fact conducted with those stalwarts of psychological studies - young adult students. Only 36 students took part. On three occasions they were given a series of mental tasks to complete, and before each task, they listened either to ten minutes of silence, ten minutes of a tape of relaxation instructions, or ten minutes of Mozart's sonata for two pianos in D major (K448).

The students who listened to Mozart did better at tasks where they had to create shapes in their minds. For a short time the students were better at spatial tasks where they had to look at folded up pieces of paper with cuts in them and to predict how they would appear when unfolded. But unfortunately, as the authors make clear at the time, this effect lasts for about fifteen minutes. So it's hardly going to bring you a lifetime of enhanced intelligence.
Brain arousal
Nevertheless, people began to theorise about why it was that Mozart's music in particular could have this effect. Did the complexity of music cause patterns of cortical firing in the brain similar to those associated with solving spatial puzzles?

More research followed, and a meta-analysis of sixteen different studies confirmed that listening to music does lead to a temporary improvement in the ability to manipulate shapes mentally, but the benefits are short-lived and it doesn't make us more intelligent.

Then it began to emerge that perhaps Mozart wasn't so special after all. In 2010 a larger meta-analysis of a greater number of studies again found a positive effect, but that other kinds of music worked just as well. One study found that listening to Schubert was just as good, and so was hearing a passage read out aloud from a Stephen King novel. But only if you enjoyed it. So, perhaps enjoyment and engagement are key, rather than the exact notes you hear.

Although we tend to associate the Mozart effect with babies and small children, most of these studies were conducted on adults, whose brains are of course at a very different stage of development. But in 2006 a large study was conducted in Britain involving eight thousand children. They listened either to ten minutes of Mozart's String Quintet in D Major, a discussion about the experiment or to a sequence of three pop songs: Blur's "Country House," "Return of the Mack," by Mark Morrison and PJ and Duncan's "Stepping Stone". Once again music improved the ability to predict paper shapes, but this time it wasn't a Mozart effect, but a Blur effect. The children who listened to Mozart did well, but with pop music they did even better, so prior preference could come into it.

Whatever your musical choice, it seems that all you need to do a bit better at predictive origami is some cognitive arousal. Your mind needs to get a little more active, it needs something to get it going and that's going to be whichever kind of music appeals to you. In fact, it doesn't have to be music. Anything that makes you more alert should work just as well - doing a few star jumps or drinking some coffee, for instance.

There is a way in which music can make a difference to your IQ, though. Unfortunately it requires a bit more effort than putting on a CD. Learning to play a musical instrument can have a beneficial effect on your brain. Jessica Grahn, a cognitive scientist at Western University in London, Ontario says that a year of piano lessons, combined with regular practice can increase IQ by as much as three points.

So listening to Mozart won't do you or your children any harm and could be the start of a life-long love of classical music. But unless you and your family have some urgent imaginary origami to do, the chances are that sticking on a sonata is not going to make you better at anything.
If you would like to comment on this article or anything else you have seen on Future, head over to our Facebook page or message us on Twitter. You can hear more Medical Myths on Health Check on the BBC World Service.
Disclaimer All content within this column is provided for general information only, and should not be treated as a substitute for the medical advice of your own doctor or any other health care professional. The BBC is not responsible or liable for any diagnosis made by a user based on the content of this site. The BBC is not liable for the contents of any external internet sites listed, nor does it endorse any commercial product or service mentioned or advised on any of the sites. Always consult your own GP if you're in any way concerned about your health.

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Does listening to Mozart really boost your brainpower?

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You have probably heard of the Mozart effect. It's the idea that if children or even babies listen to music composed by Mozart they will become more intelligent. A quick internet search reveals plenty of products to assist you in the task.

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After vowing to remain chaste until marriage, Jane Villanueva learns she's pregnant due to a medical slip-up and has to rethink her future. Watch trailers & learn more.

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https://youtu.be/odKP56doJf8

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Yung Creatives is a series profiling talents of tomorrow across various fields, disciplines and mediums. Skilled in commerce and creativity, find out why these guys are generating significant buzz in the industry.
In a society obsessed with designer patterns and logos, Kelley Hice, creator of Super Kreep, takes the lead on reconstructed designer pieces. Sourcing from only genuine materials from brands like Louis Vuitton and Gucci, Kelley is catching the attention of some of the biggest stars in the game - and he's doing everything himself.

Having created pieces for artists from Rihanna to Young Thug, this Detroit native sets his brand apart from others by focusing on the importance of authentic materials. While bootlegging fabrics may be an easier find for the creator, he explains, "It's far more charming showcasing my craftsmanship with authentic materials."

With a client list that resembles your "recently played" playlist and countless one-of-a-kind pieces from a Gucci skateboard to a LV basketball (our favorite), Super Kreep has the music and fashion worlds buzzing.

We caught up with Kelley to chat about his creative process, how music influences his art, and how he keeps his work unique.
Where are you from and where are you currently living?
I'm from Detroit, living in New York.
Does your background influence your work?
Very much so, Detroit has shaped my personal style a lot, but I pull inspiration from film and music too. I've always looked up to my dad and uncle's sense of fashion as well.
When did you first get into fashion? Do you remember your first grail?
I started Skateboarding in middle school and that's when I really became conscious of my personal style. I was exposed to so many styles from all over through skate videos and magazines. That also opened me up to traveling and finding out about a lot of new music. I grew up in the hood, but I was really into punk too. So my style always been very versatile. First grails were OG jordan 1's or My first Buffs (Cartier Glasses). Both of those were really special to me.
What was the first piece you ever created?
When I first hit high school my mom had showed me how to tailor my jeans to fit skinny, that was my only training. After that I'd just thrift gear I liked. Take it apart and make new garments. First pieces I created that made some noise were these leather Champion basketball jerseys and these MCM bucket hats I was making from deconstructed garment bags. I got those on Big Sean, Dej Loaf, a couple other Detroit rappers and Rick Ross.
Why bootleg?
From the time I had first started the brand I would thrift designer vintage, always authentic - there was this sensation of finding pieces in the thrift and bringing them back to life that I loved. So, these designer textiles became my paints for the compositions I wanted to create, and they really sensationalize whatever garment or silhouette I wanted to construct. So I started taking apart common pieces and remaking them with the designer fabrics. I never bootlegged anything per say, it was always reconstructing outdated authentic, original pieces. I was finding Gucci, YSL, Versace, Hermes, Chanel, MCM, then once I moved to New York, Brian from the store Procell had given me a denim Louis Vuitton handbag to create with. That's when I first fell in love with using Louis Vuitton denims.
The fashion community on Instagram is thriving. How do you separate yourself from other people doing what you do?
Instagram is an amazing platform to share work as an artist. Three major things kind of define my current work. I see my work as fine art, but it's fully wearable and functional. I make pieces intended to be worn and lived in, at a quality to develop even more charm with age.

Everything I make is directly from deconstructed- Authentic original garments. Authentic Sourcing is really important to me.

And everything I release is done myself. From the initial conceptual design, to sourcing the textiles, breaking down the garments, creating my patterns, all preparation and sewing in the construction of the final product, to shooting the photos after.

Outside of that, I think we are all pretty aware of other artists' work and try to keep everything unique and progressive.
We've seen a handful of kids creating Gucci and Louis Vuitton pieces from fake materials. Why do you use authentic materials when you could easily (and more cheaply) buy fake Louis Vuitton monogram fabric by the yard?
At the end of the day, what makes me most happy with my work is the progression of my craftsmanship, and advancing my skill sets. To use bootleg fabric would just take away from the credibility and authenticity of my designs. Using authentic materials also makes it really tough to recreate because the pieces I use are so expensive and rare.

I want people to wear my stuff and feel confident wearing it. All these logo based products and designer inspired bootleg clothes are visually appealing and fun to wear, but when someone asks if my product is fake or bootleg, my customer can comfortably reply this is a Super Kreep product - constructed from all authentic materials. It's far more charming showcasing my craftsmanship with authentic materials.
We love the LV basketball - can you break down the full process for us?
I had been wanting to do a basketball for a while, then a good friend of mine asked me to make a piece for his store, and I just went for it. It's a fairly easy construction and is fully functional. Can't give away any secrets, but I do occasionally show insights to my process on my Instagram stories. My shoe making definitely requires the most knowledge, skill and precision though.
How and where do you sell your creations?
For the most part, my current work I just create in order to make my ideas or visions reality. My focus is the composition more than the sale. I have a lil online store that I sell vintage pieces on, and occasionally put pieces I've made up for sale there. I take on commissioned work and have a clientele that I like to work with too. I can conceptualize a piece, source the necessary materials then pitch the idea to my collectors. Retail sales are tough, because of my overhead costs and time spent on each piece. So it's hard to split profits in a retail setting unless I pushed my prices up really high.

I'm in two stores currently though, The Good Company and Procell. They both supported me and inspired me so much in my development and those are my friends. I feel they are the best outlets and I'm honored to have them represent my work in New York City.
Rihanna, Drake, Young Thug, and DJ Khaled rock your gear. How do you get Super Kreep on to celebs?
That's all Manifestation and blessings. Music inspires my work so much. I always picture artists wearing my creations, and see those pieces take on a whole new life. One of my newest pairs of pants I jokingly said, "these look like some pants Tyga would wear," and he reached out to me the next day outta nowhere.

My best friend is a personal stylist and consultant that works with a few rappers, and I credit him for a good amount of placement. Chris Smokes believed in my art from the very beginning and always represented me when he was dealing with other artists. My other placements came from living in New York, you casually bump into so many artists and get seen by other stylists or tastemakers. More and more people would see my work in person and reach out to me to pull clothes for shoots or performances. The Riri thing was crazy, I had basically kept bumping into one of her stylists, and I would be wearing pieces I made. When I released my first capsule at Vfiles he copped a piece for her.

Like I said though, getting the pieces to certain people isn't my focus. I just put out the best work I can, so if opportunities arise, I feel confident in the pieces I can offer.
Speaking of musicians, who are you listening to right now?
Music and fashion are so parallel. I listen to what's newest and hottest. I look for new music everyday. It's vital for my production. This week it's Tay K, Carti, Fauni and Nudy.

Young Thug, Drake, and Travis Scott are Staples too. I love production though - producers really inspire me -Pi'erre Bourne, Mexiko Dro, and Metro are my favorites. I listen to a lot of Detroit rap too - GT, Babyface Ray, Doughboyz, Dex and Blade.
Art or design?
My favorite current design is Virgil , Demna, and Gosha. They are telling the best story to me and making the most fun clothes to wear. Heron Preston, Stray Rats and Dertbag are my favorite underground design though.

As far as art, Warhol and Basquiat are the realest to constant inspiration. Contemporary though, Shawn Powers is always killing it. Doodookaka, my other best friend does embroidery and some apparel construction too. Working out of the same studio, his consistency and energy really help me remain focused and progressive.
What are your goals for the future?
My only goal is to be happy, continue progressing, and make enough noise to get the attention of bigger brands or artists in order to possibly create with them via consulting, creative direction, or actual hands-on sampling and design.
For more Yung Creatives, check out Dani Roche, the graphic designer changing the game when it comes to outerwear.

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Meet the Guy Making Custom Louis Vuitton Pieces | Highsnobiety

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Yung Creatives is a series profiling talents of tomorrow across various fields, disciplines and mediums. Skilled in commerce and creativity, find out why these guys are generating significant buzz in the industry. In a society obsessed with designer patterns and logos, Kelley Hice, creator of Super Kreep, takes the lead on reconstructed designer pieces.

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In a rough inner-city Los Angeles neighborhood, four smart, funny and streetwise teens find their lifelong friendship tested as they begin high school. Watch trailers & learn more.

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Reworking things with designer materials 

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Reworking things with designer materials 

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Creating custom luxury clothing with NYC designer Super Kreep | Reworked: a new Depop series

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It's hard to anticipate stressful times in life before they happen. Sometimes you have an inkling before the storm hits; other times, the storm beats against your door before you have any chance to react.

The latter happened to me a few months ago, with personal and professional situations looming over me at every turn. While I have never been clinically diagnosed with anxiety, I knew I had only experienced stress like this a couple of times in my life. My anxiety was getting the best of me and, for a period of time, had turned me into someone even I wouldn't want to hang out with.

Meditation has been touted as an effective way to manage stress, so I turned to the Headspace meditation app in an attempt to get control of my own mind. Headspace is one of the most popular mobile meditation apps available today, and, although I was skeptical about meditation in general, I decided to give it a shot. Adding meditation to my daily routine was difficult at first. But after I familiarized myself with the practice and found my own meditation groove, Headspace has since become an invaluable tool that I use each day.

Thinking back

In efforts to deal with my stress on my own, I thought back to the three years of yoga classes I took in college, all with the same teacher. She was bubbly but not in an annoying way. The steadiness of her walk showed she was serious about her practice, but her welcoming attitude encouraged students of all types into her classes. Arguably the most impactful moments of my classes with her were Savasana, or the few minutes of meditation at the end of each class. They were meant to be relaxing, restorative moments after an almost hour-long period of posing in physically challenging positions-sometimes she would guide the group through Savasana with soft, reassuring words. Other times, she would stay quiet to leave us with our thoughts.

I always preferred the guided sessions because I often find my own thoughts louder than the words coming out of another person's mouth. When she would speak about focusing our attention inward, minding the breath, or imagining a storybook-like situation or place, I actually listened and followed along. When I was left to my own thoughts, my mind often wandered to every place I wasn't and everything else I needed to do that day. I enjoyed having a coach who gently forced me out of my own mind by guiding me deeper into it.

I wanted to replicate that experience since it was the only mindfulness technique I knew I enjoyed. After looking into apps and programs like this, I found Headspace. The Headspace mobile app has been available since 2012 and was founded by Andy Puddicombe, a former Tibetan Buddhist monk turned meditation teacher. Since then, it has been downloaded more than 20.5 million times and showered mostly with praise by more than 130,000 Android and iOS users (and those are just the ones who bothered to leave a review on either the Play Store or App Store).

As a journalist, I was immediately skeptical of something so highly praised. I've always been apprehensive about mindfulness techniques, writing them off as methods that busy people don't have the time or patience to do. During college I never considered Savasana a type of meditation but, rather, a calming cool-down after yoga practice. But now, I knew I was at a time in my life where I had to put skepticism aside for my own health and the well-being of my friends and family. So I downloaded the free, 10-day trial of Headspace and made a point to see it through the entire trial program before making my decision.

Moving forward

A slow, uncertain start

Those 10 days were tough for two reasons: first, I hadn't intentionally set aside time during my day to meditate in years and years. Second, I was very stressed during those first 10 days. But that's why I started when I did-I hoped that meditating during one of the most stressful times in recent memory would help me handle any and all situations better. Looking back, I don't think I started feeling the real-world effects of meditation until after I completed the Headspace trial period.

The 10-day trial opens up the first segment of the Basics 1 sessions pack, which teaches you the essentials of meditation. Puddicombe guides you through each session, starting with a short introduction to one of the fundamentals of meditation, which slowly leads into the actual session. I transitioned from focusing on my deep breathing ("in through the nose, out through the mouth") to closing my eyes and scanning my body ("noticing how the body feels"), to a more existential timeout where my mind was to, essentially, suspend itself in stillness.

All of that sounds simple, but it's far from it. I fidgeted in my chair, my mind wandered to frightening thoughts of the day ahead, and my heart raced during the most stressful days. More often than not during those first 10 sessions, I felt like I was crawling out of my own skin, anxious to deal with all the responsibilities I was putting on hold for those precious few minutes. But the 10-day trial forced me to stop and breathe-regardless of what went on around me or in my head. Getting used to doing that each day is the most important thing that came out of my Headspace trial.

But by the eighth or ninth session, I found a few moments of clarity. Puddicombe's voice is oddly soothing, always calm, and, while it's coming out of my iPhone's speakers, it almost feels as if he's right next to me during each session. His nonchalant yet reassuring vocal tone reminds me of my old yoga teacher, and I'm convinced it's one that most yogis, monks, and other spiritually inclined persons share.

While those moments of clarity were remarkable, I was still on the fence about continuing with Headspace. You must pay for the service after completing the trial: Headspace costs $12.99 per month, about $95.85 per year (listed as $7.99 per month, but billed once annually), or $399.99 for lifetime access. That's expensive when compared to other monthly services, like Spotify ($9.99 per month) and Netflix (also $9.99 per month), and somewhat expensive compared to other meditation apps. While most competing apps require some form of payment, either in monthly fees or fees per session pack, Headspace costs the most out of all of them.

However, I decided that the small changes I saw in the first 10 days were the start of something that I wanted to pursue further. In addition to the 10-day trial of the Basics 1 pack, Headspace has a couple other free sessions available to try including one session in each of its most popular packs and three Everyday Headspace sessions. That being said, I wish users had a few more free options. A couple of Single sessions would be great to try out before paying for the service (more on those later, as they are an integral part of Headspace's program).

I paid for one year of Headspace, and that gave me access to the entire mobile app, which includes a lot of meditation sessions. While Headspace encourages you to complete the Basics packs before starting others, I completed just the Basics 1 pack before starting the first Anxiety pack. I hit the Basics 2 pack at the same time while also completing Single and Mini sessions when I pleased. The Headspace app shows the next session in the pack you're completing at the top of the page with Everyday Headspace, Minis, My Packs, and Recent Singles below it.

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Mobile mindfulness: An unscientific review of the Headspace meditation app

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It's hard to anticipate stressful times in life before they happen. Sometimes you have an inkling before the storm hits; other times, the storm beats against your door before you have any chance to react. The latter happened to me a few months ago, with personal and professional situations looming over me at every turn.

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Editor's Note: If you have PTSD, please speak with your physician about treatment. In an effort to make meditation accessible to everyone, we feel it's important to publish stories like this. The experiences with meditation in this article are not typical for the general population.

In my second year of university, I joined a yoga and meditation group. I was beginning to come to terms with past experiences of sexual assault and subsequent post-traumatic stress disorder (PTSD), and I thought I'd try to use meditation to heal from my trauma.

Indeed, a number of studies have suggested that meditation can reduce the symptoms of PTSD, particularly in war veterans . These studies show that meditation reduces stress hormones by calming the sympathetic nervous system, which is responsible for our 'fight-or-flight' responses to danger.

But for some reason, when I first tried meditation, it brought a deluge of painful flashbacks. Slowing my mind down and focusing on my thoughts seemed to invite in images of my rape. They flashed before my eyes, turning my quiet meditation sessions into nightmares. Still, I was determined to meditate, so I told my meditation circle's leader about my flashbacks. It turns out, I wasn't alone. Trauma can make meditation difficult in the beginning, but there are steps you can take to experience the benefits of meditation, and even have it aid in your recovery from the trauma.

If you're struggling with meditation because of PTSD, consider a few of these suggestions.

Find a therapist or guide who understands both trauma and meditation

When I shared my experience with my meditation circle leader, he immediately referred me to a colleague who had experience in counseling victims and survivors of sexual assault. With experience in both meditation and trauma counseling, that colleague was able to fully understand my struggle.

With her help, I reduced the frequency and intensity of my flashbacks and panic attacks. Eventually, I found meditation to be a useful, calming practice central to my healing process.

If you're dealing with a guide who's only experienced in either meditation or trauma counseling, you can find yourself getting frustrated with their lack of understanding. Seeking a counselor, therapist or even a friend who understands both can be incredibly beneficial.

Meditate only in places where you feel safe

When I first had flashbacks during meditation, it was with my meditation group on my university's campus. Guess what else was on campus? My rapist.

In hindsight, it seems obvious, but a part of the reason I experienced flashbacks during meditation was because I didn't feel safe there. While I didn't feel like I was in immediate danger, my subconscious felt unsettled and uncomfortable. In the comfort of my own home, however, I felt different. I was free of all obvious triggers, and that helped keep the intrusive thoughts at bay.

Practice mindfulness in other ways

Meditation isn't the only way to be mindful. It's possible to reap the benefits of mindfulness while avoiding the difficulties that can come with meditation and trauma.

I've found distraction to be essential in healing from trauma. When something triggers my PTSD or anxiety, I often knit to keep my mind and body distracted. While watching the yarn weave around my knitting needles, I often find myself slowly entering a state of mindfulness.

Knitting isn't for everyone, but mindfulness can be applied when peeling potatoes, washing dishes, vacuuming, running, etc.

If flashbacks happen during these kinds of activities, you'll find it easier to shift your thoughts to the activity at hand. Part of the reason why this works is because you're not simply trying to meditate, but to perform a chore. You also avoid the pressure to meditate which you might feel in an ashram or meditation circle.

Witness your flashbacks

It took me years of therapy and mindfulness practice to reach the point of witnessing my flashbacks rather than feeling them. Just as we are taught to witness and acknowledge our thoughts during meditation, I learned to observe my flashbacks without interacting with them.

This is quite difficult as the memory of my assault can be so strong it feels like I'm reliving it. But by gently reminding myself that my thoughts were a natural response to my trauma, I was able to think of my rape without becoming dysfunctional. I can say to myself, "I'm thinking about my rape-but that doesn't mean it's happening again."

Meditation has taught me to find a sense of calm even when images of my rape were flashing before my eyes. This has strengthened the control I have over my emotions, which has also helped me prevent panic attacks. Nowadays, I can think about and discuss my rape while managing my emotions and avoiding extreme emotional dips. While certain things can still trigger flashbacks, I'm able to avoid them to a large extent.

While I'm far from healed, meditation has helped me realize I am not my thoughts, nor am I my trauma.

The author of this post is an editorial contributor to Headspace. These are their views, experiences and results and theirs alone. This contributor was paid for their writing.

Sian Ferguson is a full-time freelance writer with a keen interest in social justice issues. She has bylines in various publications, including Everyday Feminism, Ravishly, Matador Network, Women24, and MassRoots Blog. She's currently based in Grahamstown, South Africa.

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Editor's Note: If you have PTSD, please speak with your physician about treatment. In an effort to make meditation accessible to everyone, we feel it's important to publish stories like this. The experiences with meditation in this article are not typical for the general population.

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The topic of women and sexual trauma has certainly been in the news lately, provoking a great deal of emotion and outrage. Much trauma research focuses on male combat veterans, yet women actually have double the rate of Post-Traumatic Stress Disorder (PTSD) as men! While combat veterans have high rates of PTSD and suicide and deserve our attention, so do women sexual assault and abuse survivors. This article will review the symptoms of PTSD, its prevalence in women and men and factors that may contribute to sex differences in PTSD risk, including the types of traumas that women experience, differences in brain processing, coping, and societal reactions.

What are the symptoms of post-traumatic stress disorder?

To be diagnosed with PTSD, a survivor needs to have the following symptoms present for at least 1 month and severe enough to interfere with day to day functioning:

Re-experiencing symptoms. These involve reacting as if the trauma is still present, including having nightmares, flashbacks, or frightening thoughts (1 needed)

Avoidance symptoms. These are attempts to avoid being reminded of the trauma, such as staying away from people, places, or things that are similar to aspects of the trauma, or avoiding and shutting out thoughts and feelings related to the trauma (1 needed)

Arousal and reactivity symptoms. These are signs of excess anxiety or anger and physiological arousal, including having angry outbursts, feeling "on edge," being hyper-vigilant for threat, or having difficulty sleeping (2 needed)

Cognition and mood symptoms. These are negative thoughts, feelings, or judgments relating to the event or memory impairments and include feeling excessive guilt, blaming yourself unreasonably, having difficulty remembering aspects of the event, seeing yourself or the world negatively, or not finding interest or pleasure in regular activities (2 needed).

It is normal to experience some of these symptoms right after an event like a rape or a serious car accident, but if symptoms last for more than a month then you may have PTSD and should seek mental health evaluation and treatment. Sometimes PTSD symptoms can be triggered months or years after the actual event.

What are the rates of PTSD in women and men?

The lifetime prevalence of PTSD is 5-6% in men and 10-12% in women. This means that women have almost double the rate of PTSD as men. Women's PTSD also tends to last longer (4 years versus 1 year on average). Women are more at risk for chronic PTSD than men. What factors could account for this difference?

Do women experience more traumas than men?

One suggestion for the higher rate of PTSD is that women experience more traumatic events than men. In fact research shows the opposite is true. Women report about a third less traumas than men. This means women are at higher risk of PTSD even though they experience fewer traumatic life events than men on average. This is surprising and suggests there may be something about the type of trauma or women's reactivity that puts them at higher risk.

Do types of trauma differ between women and men?

Research shows that men and women do indeed experience different traumas.

Men are more likely to experience:

combat trauma

accidents

natural disasters

disasters caused by humans.

Women experience more incidents of:

Sexual traumas are prevalent and particularly toxic to mental health! Sexual abuse typically begins at a young age, when the brain is still growing, leading to a lasting impact on emotion regulation and fear response. About one out of every 6 women has experienced attempted or completed sexual assault or rape in her lifetime. Victims of sexual trauma are more likely to be diagnosed with PTSD than victims of nonsexual trauma. While you might be able to stay away from combat, there is a psychological and relationship cost to staying away from sexual activity or being a reluctant participant (in the context of a committed relationship).

The #metoo movement has highlighted the fact that women in many different career settings experience high rates of ongoing sexual harassment by bosses and colleagues. These experiences of exploitation, besides acting as chronic stressors, may trigger emotions associated with past trauma in women who have been raped and abused. Similarly, events in the news, especially those involving unfair treatment or sexual exploitation of women can trigger strong reactions in the many women who have experienced sexual abuse or assault.

What makes sexual trauma so traumatic?

When I see survivors of sexual trauma in my practice, they often exhibit high levels of fear and vigilance, shame, and self-blame. Sexual traumas carry a stigma and make women feel ashamed even when there is no valid reason to feel this way. Lawyers representing perpetrators often attack the victim's character, lifestyle, and reputation in attempts to get their clients acquitted. Many women who have been traumatized turn to alcohol or drugs to block out feelings associated with the trauma and thereby make themselves vulnerable to further sexual exploitation or coercion. They may report body hatred or dissatisfaction or exhibit eating disorders. Many victims of sexual trauma have trust issues, which can get in the way of healthy relationships as an adult. Some may isolate themselves or become avoidant of romantic relationships.

Women abused as children or teens report feeling too scared or ashamed to tell an adult. Some are not believed or told to "get over it.' It is difficult to describe the level of violation and loss of sense of a healthy self that sexual abuse and sexual assault can cause to women and men. This is compounded when our society responds with dismissal, minimization, or disbelief.

What other factors might account for the different rates of PTSD?

Women are more susceptible than men to other types of mental health issues like anxiety disorders or depression. These may be the result of sexual assault or abuse, but can also be caused by other factors like genetic vulnerability to depression or high anxious temperament. However, societal attitudes, gender roles, and income inequalities also affect mental health and mood. Women earn less than men for the same jobs. Many women work in jobs or live in households where they have less power and control over their lives than men. This is especially the case in traditional cultures. Professor Norris and her colleagues studied gender differences in PTSD across cultures and found that the increased risk of PTSD symptoms in women was magnified in more traditional cultures.

Do men and women have different brain responses to trauma?

Although more research needs to be done, it is possible that women's brains react differently to fear-arousing or threatening stimuli than men's brains. In experimental studies, women showed more activation of the right amygdala, right rostral anterior cingulate cortex (ACC) and dorsal ACC than men when they were exposed to fearful stimuli. The right side of the brain is associated with emotionality in general and negative emotions in particular. These same brain areas are involved in the stress response and also in mind-body awareness and emotional reactivity. Another study using physiological measures showed that women acquired fear more easily than men when exposed to fearful stimuli.

Do men and women cope with stress differently?

Men and women may cope differently with stress. There is some evidence that women are more likely than men to exhibit a "tend and befriend" response to stress. They may react to stress by crying for help, turning to others for social support, or care-taking. Men show more angry and avoidant or problem-solving responses when they are stressed. Because women's responses are more linked to their social network and availability of support, they may be more vulnerable to PTSD symptoms when they feel lonely or rejected or when social support is not available.

Women tend to show more of an emotional and ruminative response to stress, whereas men are more likely to engage in problem-solving. Ruminating about your stressors can make their impact worse if it stops you from taking action, or if the situation is not controllable. In general, women seem to report stronger emotional reactions to major life events (like death or divorce). Women are also more affected by stressors impacting people close to them, like their parents, friends, partners or children. These coping factors may contribute to women's higher rate of PTSD, but more research needs to be done. Women who have been raped or sexually assaulted are also likely to blame themselves more and see themselves more negatively, which can exacerbate their reactions to the trauma.

Summary

Research shows that women have higher rates of PTSD than men despite a lower rate of trauma experience. Women's greater exposure to sexual trauma, sexual coercion, and intimate partner violence plays a role, as well as biological, environmental, and coping factors. When families, social groups, government bodies, news media, or organizations disbelieve, disrespect, or minimize girls' and women's experiences of sexual trauma, this can cause a great deal of harm to mental health.

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Why Women Have Higher Rates of PTSD Than Men

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The topic of women and sexual trauma has certainly been in the news lately, provoking a great deal of emotion and outrage. Much trauma research focuses on male combat veterans, yet women actually have double the rate of Post-Traumatic Stress Disorder (PTSD) as men!

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Trauma. The word is often thrown around casually; I know I've labeled myself "traumatized" by a grueling test, or a maybe a super long wait for the women's restroom.

But real psychological trauma-"an emotional response to a terrible event like an accident, rape or natural disaster"-is probably incomprehensible to someone who hasn't experienced it. And in many ways, trauma and its effects, especially on young brains, is mysterious even to the scientists who study it. But a study from Stanford Medical School has provided some surprising new clues.

Trauma isn't something we like to think of a child going through, but national surveys estimate that by age 16, about 48 percent of children have experienced a traumatic event. Witnessing or experiencing violence, a life-threatening accident or sexual assaults are some of the most common traumatic events. And girls are particularly at risk of suffering long-term consequences from trauma: 10 percent of American women develop post-traumatic stress disorder in their lifetime, compared to four percent of men , a mysterious discrepancy.

For a long time, no one has been exactly sure how trauma could affect a child later in life, or why girls seemed more susceptible to PTSD. Most studies of trauma and post-traumatic stress disorder focused on adults. And like all matters of the heart and brain, trauma is complicated. The majority of children who experience a traumatic event don't suffer long-term damage. But about eight percent will develop PTSD, which could mean emotional withdrawal , flashbacks, or suicidal behavior.

So last year, psychiatrists and neuroscientists at Stanford University got together to try and understand trauma in young people by taking a close look at the heart of the problem: the brain.

The scientists recruited 59 children and adolescents, an even mix of boys and girls, between the ages of nine and 17. Half of the girls and boys in this group had experienced traumatic events and displayed symptoms of trauma, and the other half-the control group-did not, but were otherwise similar in terms of age and IQ. Then they gathered MRI scans of all 59 participants, looking for changes in brain structure.

The scans revealed not only drastic changes in brain structure but dramatic differences between traumatized boys and traumatized girls.

The scientists focused on the insula, a part of the brain responsible for processing emotions and regulating actions. In normal adolescent development, the insula shrinks as a child goes through puberty. For the traumatized boys, their insula was larger than the boys in the control group, and in the girls, the insula was much smaller than the control.

It's not yet clear how these differences in brain development could affect a traumatized child's behavior. But it's clear that trauma can leave a physical imprint on the brain, and that these imprints can be very different between the sexes.

"It is possible that boys and girls could exhibit different trauma symptoms and that they might benefit from different approaches to treatment," Megan Klabunde, the study's lead author said in a press release. "It is important that people who work with traumatized youth consider the sex differences."

These results are also an important piece of evidence for medical researchers that biological differences between genders can pop up in unexpected scenarios-for years many clinical trials of new drugs have used only men and male rats. This study is yet another reminder that men and women are different and can have unpredictably different biological responses to the same stimuli.

Mallory Pickett is a freelance journalist living in Los Angeles. You can find her work covering science and the environment in WIRED, Pacific Standard, Forbes.com, and other publications.

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How trauma affects boys and girls differently

# data[].attributes.attachment_link.description
Trauma. The word is often thrown around casually; I know I've labeled myself "traumatized" by a grueling test, or a maybe a super long wait for the women's restroom. But real psychological trauma-"an emotional response to a terrible event like an accident, rape or natural disaster"-is probably incomprehensible to someone who hasn't experienced it.

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The following paper examines the relationship between media and it's portrayal of the mental health disorder, commonly known as PTSD, or Posttraumatic stress disorder. Four undergraduate students selected six different movies and carefully coded, using a t-test, a number of 100 scenes to find a significant relationship between the five variables and the characters of the movies. The tests revealed that psychological symptoms are frequently demonstrated in both the different genders and age groups.
Post-Traumatic Stress Disorder, commonly known as PTSD, is the aftermath of traumatic events that occur as a result of exposure to external life-threatening events. Mass media play an important role in promoting different perceptions of a certain subject. Media portrayed PTSD patients as dangerous, ignorant and abnormal (Hunter, 2014).

Digital media are growing at a fast rate causing traditional media to no longer provide full emotional support for those with mental disorders. PTSD patients have no choice but to refer to online communities to find that support (Wu, 2013).

Over exposure to large amounts of violence in real life and media has demonstrated a strong association to "desensitization" among the youth. Those exposed to higher levels of violence in real life demonstrated more distress and PTSD symptoms than those exposed to violence in action movies (Mrug et al., 2015).
PTSD among Different Genders
Females showed higher rates of PTSD than males, even though they were exposed to the same traumatic event. Females displayed higher levels of depression and anxiety, while men displayed hostility and alcohol/drug abuse (Tolin, 2006). The negative stereotypes of PTSD patients may represent a certain type of reflection to the way both genders act. Five common characteristics given to such patients are "the homicidal maniac", "narcissistic parasite", "female patient as seductress", "rebellious free spirit", and "specially gifted" (Hanley, 2015).
The Effect of Media on Mental Health
The advent of the media has set forth profound changes with regard to the attitudes and behaviors of individuals whom engage with the media. Over the years, media have been used in many ways and have had different effects and outcomes, some positive and some negative. A gap remains with regard to the effect of the media and mental health. This gap allows for ample opportunity to study the effect of a media campaign on a psychological disorder such as PTSD.

A media campaign targeting African Americans over an 11-week period consisted of a five spot PTSD rotation that offered recommendations about preventive behavior and healthy attitudes regarding stress, sadness and frustration, resulting in a strong correlational relationship between increases in campaign attention, PTSD beliefs and PTSD preventive behaviors. Media somehow shaped a long run effect on PTSD beliefs and preventive behaviors. Namely, the effect was perceived as positive on certain beliefs and preventive behaviors (Beauodoin, 2009).
Media Violence and its Effect on Children
Violence in media is a widely studied subject in social and behavioral sciences. Parents and experts took children's and adolescents' exposure to harmful scenes in media into concern (Jipgeup et al., 2003). Children are more likely to suffer from PTSD due to disclosure on television.

Exposure to new media and widespread consumption and distribution of mass media have put forth a debate on how films, television, music videos, video games and now the internet have an extreme effect on the youth's behavior and social development. Yet, parents never check the video games' ratings before approval, nor do they restrain the amount of hours their children spend playing these video games (Marie-Claude Jipgeup & Kathy Phillips, 2003). However, children's exposure to actual violence on television and the internet has more impact on their mental health than the unreal violence found in video games and cartoons. Political violence such as terrorism, war and ethnic-political violence is affecting the youth's mental health all around the world (Gvirsman et al., 2014).
Falsehood of Media Framing
Deceptions that may have an impact on people's perspectives about mental health issues and patients have been set forth by news media's framing of PTSD. Although there are several studies that discuss PTSD as a mental health disorder, only two studies focused on the portrayal of PTSD in the media. The first study on the total amount of PTSD coverage in the New York Times has shown a positive pattern in the measure of PTSD coverage that was watched (Houston, Spialek & Perreault, 2015). Nevertheless, this expansion in the measure of general coverage was commonly determined by particular occasions. Thus, a significant part of the PTSD news coverage in the New York Times seems to be occasion driven news (Houston, Spialek & Perreault, 2015). The second study tackled national newspapers that were engaged with more elevated amounts of approach dialog resulted in more prominent recurrence than local newspapers that will probably distribute more stories giving more importance on the effect of PTSD on people and resident communities (Wu, 2016). Both national and local newspapers expanded the amount of coverage on PTSD altogether after the start of the Iraqi War in 2003. National newspapers and local newspapers reported similarities in perceiving dominant issues towards PTSD with fluctuations in the methods for introducing the points to the general population (Wu, 2016).
RQ1: Do movies portray PTSD among different genders?

How often do different genders convey physiological symptoms of PTSD?

How often do different genders convey psychological symptoms of PTSD?

How often do different genders convey behavioral symptoms of PTSD?

RQ2: How do movies portray PTSD differently in adults and non-adults?

How often do adults and non-adults portray physiological symptoms of PTSD

How often do adults and non-adults portray psychological symptoms of PTSD

How often do adults and non-adults portray behavioral symptoms of PTSD

Method
The sample consisted of six movies about PTSD. Using informal research, the first six movies that portray PTSD were selected. Typed in the search engine was "Top 10 movies that portray PTSD." The movies monitored are American Sniper, Hide and Seek, The Perks of Being a Wallflower, The Stanford Prison Experiment, Iron Man 3 and Mystic River. Four undergraduate students coded different PTSD symptoms portrayed among characters of different genders and age groups. Coders considered the scenes to count the PTSD portrayals in these movies. The number of scenes that demonstrated PTSD symptoms was equal to 107 (N=107), but the coders had to stop counting after reaching a total number of 100 scenes (N=100).

Four undergraduate coders thoroughly examined six different movies and monitored differences among this disorder and its portrayal. The variables tested were: the movie, genders, age groups and categories of PTSD symptoms.
Results
RQ1: Do movies portray PTSD among different genders?

How often do different genders convey physiological symptoms of PTSD?

H1: Males show more physiological symptoms of PTSD than females.

H0: There is no relationship between gender and physiological symptoms.

The total number of males and females seen in the scenes were 100, with only 30 of them showing physiological symptoms. The maximum number of physiological symptoms demonstrated by one character was 5. Using the T-test, the test showed that there was no relationship between the frequency of physiological symptoms among males (M=2.22, S.D = 1.086) and females (M=2.33, S.D = .577), . The hypothesis was no supported and we failed to reject the null.

How often do different genders convey psychological symptoms of PTSD?

H1: Males show more psychological symptoms of PTSD than females.

H0: There is no relationship between gender and psychological symptoms.

The total number of males and females seen in the scenes were 100, with only 54 of them showing psychological symptoms. The maximum number of psychological symptoms demonstrated by one character was 5. Using the T-test, the test showed that there was a significant difference in the frequency of psychological symptoms among males (M = 1.77, SD = 1.118) and females (M = 1.30, SD = .483), . The hypothesis was supported and we reject the null.

How often do different genders convey behavioral symptoms of PTSD?

H1: Males show more behavioral symptoms of PTSD than females.

H0: There is no relationship between gender and behavioral symptoms.

The total number of males and females seen in the scenes were 100, with only 55 of them showing behavioral symptoms. The maximum number of behavioral symptoms demonstrated by one character was 3. Using the T-test, the test showed that there was a significant difference in the frequency of behavioral symptoms among males (M = males (M = 1.26, SD = .607) and females (M = 1.00, SD = .000), . The hypothesis was supported and we reject the null.
RQ2: How do movies portray PTSD differently in adults and non-adults?
How often do adults and non-adults portray physiological symptoms of PTSD

H1: Physiological symptoms are seen in adults more than non-adults.

H0: There is no relationship between age and physiological symptoms.

The total number of adults and non-adults seen in the scenes were 100, with only 30 of them showing physiological symptoms. The maximum number of physiological symptoms demonstrated by one character was 5. Using the T-test, the test showed that there was a no significant difference in the frequency of physiological symptoms among adults ( M=2.27, S.D = 1.002) and non-adults (M=2, S.D = 1.414), The hypothesis was not supported and we failed to reject the null.

How often do adults and non-adults portray psychological symptoms of PTSD

H1: Psychological symptoms are seen in adults more than non-adults

H0: There is no relationship between age and psychological symptoms.

The total number of adults and non-adults seen in the scenes were 100, with only 54 of them showing psychological symptoms. The maximum number of psychological symptoms demonstrated by one character was 5. Using the T-test, the test showed that there was a significant difference in the frequency of psychological symptoms among adults (M = 1.36, SD = .699) and non-adults (M = 2.19, SD = 1.289), . The hypothesis was supported and we reject the null.

How often do adults and non-adults portray behavioral symptoms of PTSD

H1: Behavioral symptoms are seen in adults more than non-adults.

H0: There is no relationship between age and Behavioral symptoms.

The total number of adults and non-adults seen in the scenes were 100, with only 55 of them showing behavioral symptoms. The maximum number of behavioral symptoms demonstrated by one character was 3. Using the T-test, the test showed that there was a significant difference in the frequency of behavioral symptoms among adults ( M=1.19, S.D = .525) and non-adults (M=1.26, S.D = .653), .The hypothesis was not supported and we failed to reject the null.
Discussion and conclusion
The coders encountered several limitations among them are the limited literature reviews and studies on media and PTSD portrayal. Difficulty in examining psychological and physiological symptoms gave way to another limitation, where the coders had to watch the movies two or three times to be able to count the symptoms.

When the coders tested to see if there was a relationship between gender and the frequency of PTSD symptoms seen, only two symptoms, psychological and behavioral, showed an actual difference among males and females. In addition, when the coders tested to see if there was a relationship between the age groups and the frequency of PTSD symptoms seen, only psychological symptoms demonstrated an actual difference among adults and non-adults. Therefore, this study shows that the media show more psychological symptoms among different genders and age groups.

References:

Beaudoin, C. (2009). Evaluating a media campaign that targeted PTSD after Hurricane Katrina. Health Communication, 24(6), 515-523.

DeLong, H. (2012). Social Support in PTSD: An Analysis of Gender, Race, and Trauma Type. Student Pulse Journal Quest, 8(2) .

Hanley, E. (2015). Perception of Mental Illness Based Upon its Portrayal in Film . University of Central Florida Libraries.

Houston, B. J., Spialek, M. L., & Perreault, M. F. (2015). Coverage of Posttraumatic Stress Disorder in the New York Times. Journal of Health Communication.

Hunter, M. (2014, April 24). The Military, the Media, and Post-Traumatic Stress Disorder: An Analysis of Media Framing and Post-9/22 Service Members' Decisions to Seek Help.

Iribarren, J., Prolo, P., Neagos, N., & Chiappelli, F. (2005). Post-Traumatic Stress Disorder: Evidence-Based Research for the Third Millennium . 2(4), 503-512.

Marie-Claude Jipgeup & Kathy Phillips. (2003). The Context of Violence for Children of Color: Violence in the Community and in the Media. The Journal of Negro Education, 4-72.

Mrug, S., Madan, A., Cook, E., Wright, R. . (2016, May 1). Emotional and Physiological Desensitization to Real-Life and Movie Violence . HHS Author Manuscripts.

Newman, E. S. (2003). Trauma exposure and post‐traumatic stress disorder among photojournalists. Visual Communication Quarterly, 10(1), 4-13.

Shira Dvir Gvirsman, L. Rowell Huesman, Eric F. Dubow, Simha F. Landau, Khalil Shikaki, and Paul Boxer. (2014). The Effects of Mediated Exposure to Ethic-Political Violence on Middle East Youth's Subsequent Post-Traumatic Stress Symptoms and Agressive Behavior. Communication Research, 961-990.

Tolin, D. & Foa, E. . (2006). Sex Differences in Trauma and Posttraumatic Stress Disorder: A Quantitative Review of 25 Years of Research. American Psychological Association , 132(6), 959-992.

Wu, L. (2013, May). Tell It if You Can: A Study of Post-Traumatic Stress Disorder in Newspapers and Military Blogs.

Wu, L. (2016). US media representation of post-traumatic stress disorder: a comparative study of regional news and national newspapers. Journal of Mental Health.

Appendix:

All group members were able to divide the paper work equally among them. They wrote the abstract, introduction, literature review, methodology and coded the movies all together. Group members negotiated about certain difficulties they encountered while working such as the codebook, but eventually ended up overcoming them in a wise manner. No conflicts occurred among group members regarding meetings or failure to accomplish the task assigned.

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Media Research: Movies' PTSD Portrayal and Stereotypes

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The following paper examines the relationship between media and it's portrayal of the mental health disorder, commonly known as PTSD, or Posttraumatic stress disorder. Four undergraduate students selected six different movies and carefully coded, using a t-test, a number of 100 scenes to find a significant relationship between the five variables and the characters of the movies.

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https://theoakstreatment.com/ptsd/how-ptsd-is-represented-in-the-media/

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https://www.time-to-change.org.uk/blog/ptsd-can-be-portrayed-accurately-media

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https://twitter.com/ilzyda1/status/1113195362364342277?s=21

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See what I did there????? https://t.co/6u7HdPZt2d

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See what I did there????? pic.twitter.com/6u7HdPZt2d
— closed (@hinaxata) March 30, 2019

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See what I did there????? https://t.co/6u7HdPZt2d

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See what I did there????? https://t.co/6u7HdPZt2d

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I plan to design a pavilion like outdoor structure for a rehab centre that will act as an art room. When exhibiting my work I’ll use my favourite work from the year as examples to wrap the whole year together.

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Level 3 UAL Fine Art Sketchbook~ distinction graded ✨

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ART FOUNDATION WORK (FMP) - Ravensbourne, London // Emily Anna

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How to photograph INCREDIBLE ARCHITECTURE!

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Maybe create an art room for the rehab center

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Saw this on Facebook and I was amazed . Honestly beautiful 🎨 

Artist :Louise Numina

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Saw this on Facebook and I was amazed . Honestly beautiful 🎨 

Artist :Louise Numina https://t.co/devi7W0dNe

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Saw this on Facebook and I was amazed . Honestly beautiful 🎨

Artist :Louise Numina pic.twitter.com/devi7W0dNe
— S🦋 (@guyanesee) March 19, 2019

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Saw this on Facebook and I was amazed . Honestly beautiful 🎨 

Artist :Louise Numina https://t.co/devi7W0dNe

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Saw this on Facebook and I was amazed . Honestly beautiful 🎨 

Artist :Louise Numina https://t.co/devi7W0dNe

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Saw this on Facebook and I was amazed . Honestly beautiful 🎨 

Artist :Louise Numina

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Look at unification concepts in buildings... what if from an angle the pavilion looked as if it were connected and from another disconnected?

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SO-IL and MINI create an air-filtering house that "contributes to improving urban life"

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Zaha Hadid Architects and ETH Zurich develop knitted concrete system

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Discover the extensive collections of the V&A and the Royal Institute of British Architects (RIBA).

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Written by Hazel Pfeifer, CNN

Marwa al-Sabouni lives on a noisy street near the old part of Homs, one of Syria's most decimated cities. Cars honk outside her door, but destruction is only one street away. Every horizon shows rubble from buildings shattered by the Assad regime's deadly bombing.

Syria's third largest city, Homs became known as the "capital of the revolution" when thousands of its residents rose up to protest against government oppression in 2011. The city became a rebel stronghold and paid a high price: its old mosques and churches, souks and squares now lie in ruins.

As an architect, Sabouni's vision of Homs as a battleground started long before the war. Her new book, "The Battle for Home: The Vision of a Young Architect in Syria," is an extraordinary telling of how the city's structure led, in part, to its downfall, and how architecture can heal the deep rifts in the country's social and urban fabric.

How urban planning fueled a fire

Sabouni feels the way the city was developed and planned contributed to sectarian tensions that helped fuel the fire behind the revolution. Urban ghettos segregated according to religion or origin, and a lack of public places where people could mingle and work together left the city bereft of a sense of cohesion, and its inhabitants starved of a collective identity.

"This vandalism that happened to the built environment made people not care about each other, and become very alien from each other and from the place," Sabouni says over Skype from Homs.

The book weaves her personal journey as a young architect and mother with the story of Homs' past, present and future -- the ancient city of mummies and dark tunnels that lie beneath the surface; the corruption and cronyism that lead to the destruction of public spaces and the neglect of old buildings; and the need for a new type of inclusive architecture in order to avoid the mistakes of the past.

"(Old places like souks) had a major role in bringing people together to interact with each other," she says. "We need to emphasize this to bring life again to the cities... Not building slums and social housing and trying to solve a problem by creating another problem, by creating isolated blocks, more concrete."

Life in a war zone

Everyday life poses challenges, from the mundane to the life-threatening.

At the height of the conflict, bullets flew through Sabouni's kitchen window, and she and her family slept and woke to the sounds of bombing and buildings shaking.

For two years, she did not see the moon. Since government forces took control of most of the city in 2014, the real difficulty has been wrestling with the basics like food, heat and light. For those stuck in the limbo of war, everyday domestic battles for survival become the fabric of existence once the bombs have stopped falling.

Sabouni's passion for the built environment is clear, and yet the realities of living in a war zone provide a grim sense of perspective.

"When you hear about people dying in the street, just dropping down like birds, or open your window and see kids who have died just a moment ago from a mortar, you don't worry very much about the death of a building," she says.

And yet in times of war, architecture can take on a deeper meaning, as summed up by one of the passages in her book:

"Our homes do not just contain our life earnings, they contain our memories and dreams, they stand for what we are. To destroy one's home should be taken as an equal crime to destroying one's soul."

It is this sense of the preciousness of home that Sabouni says underlines her vision for rebuilding Syria, "recapturing the values that used to be represented in areas that were successful in binding people and making them feel at home."

"The architecture that we all should strive for is the architecture that builds a home."

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marwa al-sabouni's new book the battle for home: the vision of a young architect in syria

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the syrian architect with a vision for how to rebuild her country - cnn

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The vision of a young architect in Syria

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Written by Hazel Pfeifer, CNN Marwa al-Sabouni lives on a noisy street near the old part of Homs, one of Syria's most decimated cities. Cars honk outside her door, but destruction is only one street away. Every horizon shows rubble from buildings shattered by the Assad regime's deadly bombing.

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Shigeru Ban - use of natural materials and war zone Architecture 

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Shigeru Ban - use of natural materials and war zone Architecture 

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Japanese architect Shigeru Ban is overhauling a quarry in Kentucky into a campus built from mass timber, for a local whiskey distillery. More

Pritzker Prize-winner Shigeru Ban has joined the disaster relief effort in Okayama Prefecture, Japan, personally setting up his Paper Partition System for evacuees. More

Japanese architect Shigeru Ban has teamed up with cross-laminated-timber expert Waugh Thistleton to design his first UK building - a five-storey house that will be built beside London's River Thames. More

Japanese architects including Sou Fujimoto, Atelier Bow-Wow, Kengo Kuma and Shigeru Ban have all designed houses of the future for a Tokyo exhibition (+ movie). More

News: Japanese architect Shigeru Ban has won a competition to create a museum of fine art and culture in Taiwan's oldest city. More

News: this year's Pritzker Prize winner Shigeru Ban has completed work on a new art gallery in American ski resort Aspen (+ slideshow). More

News: Japanese architect Shigeru Ban has said he intends to work on fewer projects and may reduce the size of his office following his acceptance of the Pritzker Prize, which he says he did not expect to win. More

News: a New York developer has revealed first images of an apartment block redevelopment underway in Manhattan with interiors designed by this year's Pritzker Prize winner, Japanese architect Shigeru Ban. More

News: young architects are becoming disillusioned with commercial work and instead turning to humanitarian projects, according to 2014 Pritzker Prize winner Shigeru Ban (+ interview). More

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Shigeru Ban news, architecture and interviews | Dezeen

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Japanese architect Shigeru Ban is overhauling a quarry in Kentucky into a campus built from mass timber, for a local whiskey distillery. More Pritzker Prize-winner Shigeru Ban has joined the disaster relief effort in Okayama Prefecture, Japan, personally setting up his Paper Partition System for evacuees.

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In 1893 Monet bought a plot of land next to his house in Giverny. He had already planted a colourful flower garden, but now he wanted to create a water garden 'both for the pleasure of the eye and for the purpose of having subjects to paint'. He enlarged the existing pond, filling it with exotic new hybrid water lilies, and built a humpback bridge at one end, inspired by examples seen in Japanese prints. The water garden became the main obsession of Monet's later career, and the subject of some 250 paintings.

Here, the bridge spans the width of the canvas but is cut off at the edges so that it seems to float unanchored above the water, its shape reflected in a dark arc at the bottom of the picture. The perspective seems to shift; it is as though we are looking up at the bridge but down on the water lilies which float towards the distance. The vertical reflections of the trees provide a counterpoint to the horizontal clumps of the lily pads.

For Monet, gardens offered a refuge from the modern urban and industrial world, although he and his fellow garden enthusiasts benefited from modern advances in botanical science that were creating new hybrid flowers in a wide choice of shapes and colours that could be produced on an almost industrial scale. He made modest gardens in the homes he rented in Argenteuil and Vetheuil in the 1870s, but from 1883, when he moved to a rented house in Giverny, about 50 miles to the west of Paris, he had more scope to indulge his passion for plants. He became a dedicated gardener with an extensive botanical knowledge, and sought the opinions of leading horticulturalists. As Monet's career flourished his increasing wealth enabled him to fund what became a grand horticultural enterprise: by the 1890s he was employing as many as eight gardeners.

Monet began by refashioning the garden in front of the house, the so-called 'Clos Normand', replacing the existing kitchen garden and orchard with densely planted colourful flower beds that were filled with blooms throughout the seasons. He was able to buy the house in 1890, and three years later he purchased an adjacent plot of land next to the river Epte beyond the railway line at the edge of his property. The plot had a small pond with arrowhead and wild water lilies, which he wanted to turn into a water garden with a larger lily pond 'both for the pleasure of the eye and for the purpose of having subjects to paint'.

The idea may have occurred to him after he had seen the water garden at the 1899 Exposition Universelle in Paris created by the grower Joseph Bory Latour-Marliac, who bred the first colourful hardy waterlilies. Monet began by requesting permission from the Prefect of the Eure to dig irrigation channels from the Ru - a branch of the Epte - to feed his pond, but the Giverny villagers objected, fearing it would contaminate the water and that the foreign plants would poison their cattle. Monet was furious, but three months later permission came through and he began to enlarge the existing pond, replacing the wild water lilies with Latour-Marliac hybrids available in yellows, pinks, whites and violets.

The pond was enlarged on further occasions - in 1901 and 1904 - tripling the size of the water garden. Together with the flower garden on the other side of the railway track it became the principal preoccupation of the last 26 years of Monet's life. While the Clos Normand garden was laid out along fairly traditional lines, harking back to the formal French gardens of seventeenth-century Europe, with a central alleyway and geometrically arranged beds, the water garden was more Eastern in inspiration. Its less regimented, more natural design and more muted colours created a quieter, meditative atmosphere. Monet erected a Japanese bridge over the western end of the pond that took its inspiration from the bridges in ukiyo-e Japanese prints. He was a keen collector of these prints and he owned a copy of Hiroshige's Wisteria at Kameido Tenjin Shrine (1856), one of the many prints that features a curved bridge. In a more general sense, the water garden reflected Monet's admiration for the Japanese appreciation of nature.

Monet had to wait for his water garden to mature before he could begin to paint it in earnest. As he later recalled: 'It took me some time to understand my water-lilies. It takes more than a day to get under your skin. And then all at once, I had the revelation - how wonderful my pond was - and reached for my palette. I've hardly had any other subject since that moment.' In total, Monet painted 250 canvases of his water garden. Around 200 of these represent water lilies floating on the surface of the water, while the remainder also show the Japanese bridge, the weeping willow trees and wisteria and the irises, agapanthus and day lilies on its banks. In all these pictures Monet was painting a subject that was already 'pictorial' - a landscape that had been carefully composed according to his personal aesthetic. The National Gallery has three further paintings of the water garden :Water-lilies, setting sun; Irises; and Water-lilies.

Monet painted three views of the Japanese bridge in 1895, not long after it had been constructed, but then took a break from the subject, only returning to it in 1899. By now the pool was overhung by vegetation and surrounded by plants, but to judge from contemporary photographs it was never as enclosed as Monet painted it, and he exaggerated the feeling of claustrophobia. In December 1900 he exhibited 12 paintings at Durand-Ruel's gallery in Paris, all of which showed more or less symmetrical views of the Japanese bridge.

In this painting, as in the others in the series, we are looking down onto the surface of the water, where the lily pads float into the distance, meeting the dense foliage on the far bank. Weeping willows are reflected in the pond and clumps of iris border its banks. The perspective seems to shift so that it is hard to find a single focal point; it is as though we are looking up at the bridge but down on the waterlilies. The picture, like the water itself, seems to oscillate between surface and depth. The mainly vertical reflections provide a counterpoint to the horizontal clumps of the lily pads. Different colours, applied with thick brushstrokes, are placed next to each other. This way of painting has more in common with Monet's early Impressionist works than his more recent paintings of mornings on the Seine, where he had used softer, more blended strokes to convey hazy atmospheric effects.

The Japanese bridge series marked a turning point in Monet's art. From now on his subjects were painted from an increasingly confined viewpoint, conveying the sense of an enclosed world. In later paintings of the pond, he would dispense with the banks and bridge altogether to focus solely on the water, the reflections and the water lilies. The culmination of Monet's water lily paintings were the Grandes Dėcorations, 22 enormous canvases each over two metres high and totalling more than 90 metres in length, which he completed months before his death and donated to the French state. These are now on permanent display in two oval rooms in the Musée de l'Orangerie, Paris.

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Claude Monet, The Water-Lily Pond, 1899. Read about this painting, learn the key facts and zoom in to discover more.

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Architecture & Water documentary. Part 1: A river runs through it