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Sacred geometry reveals that behind what may appear chaotic, there lies a structure and pattern of perfect proportions. Many things, from crystals under a microscope to the number and arrangement of petals in the natural world, clearly demonstrate the existence of such structure and patterns.

Keen-minded philosophers have identified these subtle codes in many cultures, considering them as evidence of the divine's influence on the human mind. As a result, in many societies around the world, these geometric concepts are often applied in sacred architecture and the arts dedicated to serving the divine.

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Faculty Guest Blogger: Dr. Ashley Hartman

Ashley Hartman: In July of 2019, I facilitated a Japanese Suminagashi Water Marbling workshop at the British Association of Art Therapists (BAAT) Inaugural International Art Therapy Practice/ Research Conference in London hosted at Queen Mary University. Fifteen international art therapists participated in this session to learn the technique and to apply the method to art therapy with a diverse client base, ranging from palliative care settings to work with children and adolescents. I was inspired by these art therapists from the UK, Israel, Greece, and Asia who were interested in applying these methods to art psychotherapy practice in their prospective settings.

Suminagashi is a practice that incorporates Japanese philosophy that emphasizes the value of imperfection, nature, and abstraction.

Suminagashi is a practice that incorporates Japanese philosophy that emphasizes the value of imperfection, nature, and abstraction. It looks at the world metaphorically to emphasize the beauty in the present moment. Artists paint with ink on the water's surface. As the material displays unique forms on top of the water, ambiguous and imperfect formulations occur. The pattern is never permanent. After capturing the patterns through printmaking on various forms of paper, the artist is able to delicately hold a memory of the unique form that can never be replicated in the same way.

My interests in Suminagashi emerged from living in South Korea and observing calligraphy practices as well as other eastern methods of working with ink. I also worked with Suminigashi in medical art therapy practice in inpatient hospitalization settings with a variety of my own clients who positively responded to the intense visual stimuli.

In fall of 2018, I explored my own individual responses to working with the process. I created a video of the Suminagashi process as well as rice paper panels that were showcased in the Biennial Faculty Art Exhibition at Marywood University. These pieces were titled Tolerating Ambiguity and Embracing Ambiguity.

My preliminary research, going forward, will focus on the neuro and physiological influences of using Japanese Suminagashi in the context of art therapy practice. Specifically, I will investigate the possible benefits and impact it may have on anxiety, attention, relaxation, and frustration tolerance for various individuals.

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Japanese Suminagashi Water Marbling Process

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Faculty Guest Blogger: Dr. Ashley Hartman Ashley Hartman: In July of 2019, I facilitated a Japanese Suminagashi Water Marbling workshop at the British Association of Art Therapists (BAAT) Inaugural International Art Therapy Practice/ Research Conference in London hosted at Queen Mary University. Fifteen international art therapists participated in this session to learn the technique and...

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The Philosophy

Suminagashi is rooted in Zen Buddhism and the concept of mindfulness. Practitioners of suminagashi aim to achieve a state of calm and focus, allowing the patterns to emerge from the interaction of the ink and water without forcing them.

The Practice

Suminagashi is also a practice in accepting imperfection and the transience of life. The patterns created in suminagashi are unique and unpredictable, as they are formed by the interaction of the ink and water. Each pattern is a moment in time that can never be replicated, reminding us of the impermanence of all things.

Wabi-Sabi

The simplicity and elegance of suminagashi also reflect the Japanese aesthetic of wabi-sabi, which values the beauty of imperfection, impermanence, and simplicity. The philosophy of wabi-sabi emphasizes the importance of finding beauty in the natural world and accepting the inevitable changes that come with the passage of time.

The Present

In sum, the philosophy of suminagashi is about being present in the moment, accepting imperfection, and finding beauty in simplicity and impermanence.

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1. Purpose of the Space
2. Site Selection
3. Design Vision and Initial Concept
4. Techniques, Forms, Atmosphere Creation, Experience, and Elements
5. Overall Project Presentation (Colors, Materials, Floor Plans, Structure)
6. Models and Renderings

Space Layout, Texture, Elements, and Colors

1. Existing Issues: Congested living conditions, disorder, chaotic social environment, lack of belonging.
2. Conary Wharf/Florence (Renovation + Reconstruction)
3. Deep Rest, Self-connection, Energy Replenishment, Spiritual Sanctuary
- Zen Ideology, Meditation, Stress Relief, Healing Space (Emphasizing Self-Rediscovery and Reconnecting with Nature)
4.
1. Cosmic Energy, Marbling Abstract Environment, Integration of Water
2. Natural Elements, Light, Stone, Wood, Metal
3. Geometric Composition, Spatial Layout, Sculptural Elements
5. Functional Zones: Meditation Experience Area, Reading Area, Reflective Area (Small-scale and Individualized Approach)
Marbling Paper Display Area, Garden (Open-air Greenery)

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The dancers transform the act of sweeping the floor into a mesmerizing performance, infusing a sense of ritual with Zen-like grace. Inspired by Li Mingwei's visit to ancient temples in Myanmar, the path leading to the temple is meticulously cleaned by volunteers. Two performers move slowly, brushing patterns into the grains of rice, accompanied by the gentle tinkling of bells on their ankles. The dancers sweep within a precise space, creating a winding, maze-like path reminiscent of an ink pool.

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Your breath, the natural breeze, and the people passing by you all have the potential to completely alter the entire picture.

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Florence Marbling is a mesmerizing art form that evokes the appearance of natural elements, such as cells, neurons, contour lines (mountain ranges), water (ocean waves), rocks, tree woodgrain (branches and leaves), raindrops, the cosmos, and galaxies. It showcases a unique and dynamic vitality through various techniques that give rise to geometric patterns.

The technique of marbling, which has its roots in the Tang Dynasty of China, made its way to Japan and subsequently became popular in Europe. The artist I had the privilege of visiting, Maria, is a seventh-generation inheritor of this art form. Thanks to her insights, I learned that in the past, people used marbling to embellish furniture, walls, and small items like candle holders and boxes. It was also employed for adorning books and greeting cards, adding a touch of elegance and artistry to everyday objects.

Florence Marbling is a profound blend of heritage, artistry, and the connection between humans and nature. Its patterns, reminiscent of the wonders of the natural world, mirror the intricate beauty of our surroundings.

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It is a unique art form that's more like a state of being, a sense of flowing with the water itself. It's about creating a special connection and dialogue between you and the water, as if you're in a harmonious conversation.

Unlike traditional design, Suminagashi doesn't seek full control; it's more about letting go and not expecting a specific outcome. It teaches us to accept nature and ourselves unconditionally.

This art form helps you connect with your inner soul, like a form of self-healing ritual. In the interaction between water and ink, you might find inner peace, possibly because, in that moment, you become one with the natural flow, feeling the harmony between yourself and the universe. Suminagashi's beauty lies in its simplicity—it's a profound exploration of nature and self-discovery.

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Meditation, stillness, feeling the flow of water.

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Meditation, stillness, feeling the flow of water.

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A state of flow.
It's creating harmonious compositions with the water itself.
A relationship, dialog, forms between you and the water.
It is not a design process, you can not fully control it, just letting go and do not expect anything.
It can help you connect with your inner soul, being healed during this process.

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颂钵疗愈 - Balance Point Energy Healing Center

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西藏人相信透过颂钵的共鸣共振，可以和大自然的频率合而为一，进而达到疗愈的效果。颂钵柔和的嗡鸣音色能让人感到相当舒爽、治愈，并且具备修复细胞、疏通能量等的效果。颂钵疗愈能够带来前所未有的放松体验。

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The art of paper marbling is mesmerizing. An artisan applies droplets of paint to a small pool of water. The colors appear to gracefully dance upon the surface of the water, but these individual splotches of paint respect the neighboring colors' boundaries. As the artisan adds more and more colors, this dance continues. Finally, when the artisan feels the effect is just right, she gently places a piece of paper on the surface of the water, and voilà, the art is transformed from an ephemeral state to one that's everlasting.

I first held a piece of marbled paper in my hands when I was a child. My mother liked stationery decorated with this effect, and so too, did some family and friends who mailed us letters. I'm not sure when precisely my love of stationery and collectible paper items was born. However, I remember trying to hand-decorate stationery when I was a child. (The attempts were admirable, but lacking in sophistication!)

As I grew older, I also collected lacy vintage valentines, trade cards (stylish advertisements), and post cards from the 19th and 20th centuries. Decades ago and even now, I still love sending and receiving hand-written notes. Of course, since almost everything is now digital, paper correspondence is more and more of a rarity. Still, I try to strike a happy medium.

With that said, it comes as no surprise that during our recent trip to Florence - a city long known for its handmade marbled paper - I was eager to learn more about this elegant and historic technique.

One sun-drenched afternoon, Shawn and I visited Giulio Giannini & Figlio, Florence's oldest marbled-paper maker. There, we met Maria Giannini, the 6th-generation artisan who runs this iconic Florentine business.

Over the course of a few hours, Maria shared the story of her business and explained how the items in her boutique were crafted. Later, she took us to the workshop in the back of the boutique where she demonstrated how to marble paper. The result? I was spellbound and utterly determined to learn more about marbling. Someday, I also hope to get my own materials and give this classic technique a whirl.

What follows is Maria's story, a brief history of paper marbling, and a peek at how marbled paper is handmade in Florence.

The History of Paper Marbling

Paper marbling techniques have origins that go back centuries, perhaps even more than one thousand years. Historians aren't sure where the earliest versions of the art originated, nor how much exchanging of ideas took place.

In Japan, a paper decorating technique called Suminagashi (墨流し) - literally "floating ink" - has likely existed since at least the 10th century. Some scholars think that an art similar to marbling was also practiced in China in the 14th century and perhaps even earlier.

As time went on, artists throughout Central Asia and Persia practiced similar techniques, too. In Turkey, the craft came to be known as Ebru, whereas in Persia it was called Abri.

By the 16th century, the technique had also made its way to Europe, in particular Italy, where it's called Marmorizzazione, and France where it's known as Papier marbré.

Over time, it become popular to use marbled paper as bookcovers and endpapers. The marbleized papers were even sought after to line bookshelves and furniture drawers. Beyond its aesthetic appeal, marbled paper also had a more practical application since it helped guard against forgeries.

Watch a Video of This Experience

Visiting Giulio Giannini & Figlio

Since 1856, the Giannini family has been crafting paper treasures for a wide audience, including Florence residents, popes and queens, and generations of tourists.

In English, the shop's Italian name, Giulio Giannini & Figlio, translates to "Giulio Giannini & Son" - a nod to one of the shop's earlier owners, Giulio, Sr., and his son, Guido, Sr. However, 165 years after its founding, the shop - Florence's oldest marbled-paper maker - has a daughter, and not a son, at its helm.

The current owner, Maria Giannini, is a sixth-generation master artist, who like her Giannini ancestors before her, has kept this historic workshop in Florence's Oltrano district thriving.

Maria is a classic example of an autodidact. Though she descends from a long line of Florentine bookbinders and hand-decorated paper masters, much of what she's learned about the business, she's taught herself.

When she was 13, Maria started working inside the family shop during the summertime "for fun" and to earn a bit of money. She says that some of her elders at the shop were too busy to teach her. As a result, she did everything she could to soak up knowledge from a variety of sources.

"I experimented. I listened and grabbed from here and there," she says, as she explained how she learned to perfect various paper-decorating techniques.

"I even learned English by listening to the young Czech women who [sometimes] worked in the shop," Maria says. With a smile, she adds that she once developed a bit of a Czech accent as a result.

Gesturing towards a decorative desk organizer from about 1902, Maria mentioned that her great-grandmother was a talented artist herself.

"My great-grandmother made this," Maria said while holding the weathered organizer adorned with a fleur-de-lys symbol.

"However, due to customs of the time, she was not allowed to work in the front of the shop, nor was she allowed to sign any works that she decorated," Maria adds.

I find it fitting that Maria's great-grandmother's name was also Maria. I wonder what the elder Maria would think of the fact that her great-granddaughter is now the owner of the shop.

In the 19th century, Giulio Giannini & Figlio became well known for its bookbinding services, something Maria's uncle, Guido, Jr., still does today. In particular, the workshop specializes in limited editions of books, and binding restoration for collectors and libraries. They've also collaborated with artists, writers, and publishing companies to design the entire aesthetic of books - choosing everything from paper type to the look of the book's cover.

Aside from the bookbinding, Maria essentially runs all aspects of the business. She is also a master paper marbler, who makes sophisticated decorated paper for a variety of products. Like her ancestors before her, Maria's decorated paper has graced leather books, greeting cards, and stationery.

More recently, she's innovated by creating marbled designs to adorn scarves, face masks, and phone covers. (To get a feel for the shop's product line, have a peek at the Giannini catalog.) Maria has also collaborated with other businesses such as S'well (to design reusable water bottles with a marbled design), and a California winery (to craft unique wine labels that reflect the wine's special characteristics).

Beyond her hand-made marbled paper creations, Maria also dedicates time to safeguarding relics from the past.

Using stamps from the shop's vast and historic collection, Maria has designed a variety of products. They include monogrammed jewelry as well as paper that's adorned with traditional Italian folk designs. For several years, she's been working on a digital archive of the shop's 1,000 or so bronze stamps. Maria also hopes to bring the shop's designs to other markets.

"This is my moment. I feel a responsibility to preserve, to change, to go further. I'm very conscious of that. I have lots of ideas," she said.

"This is my moment. I feel a responsibility to preserve, to change, to go further. I'm very conscious of that. I have lots of ideas."
- Maria Giannini

How Handmade Marbled Paper is Crafted, Step by Step:

Making marbled paper is both an art and a science.

On one hand, you have the artistic elements - the colors and patterns. Some patterns have become well-known among artists in different parts of the world. They have whimsical names like peacock, bouquet, snail (or French curl), flame, feather, double comb, stone, tiger, and more. Master artisans, as well as hobbyists worldwide, have also innovated and created their own patterns. Even though this is a centuries-old craft, there are still infinite opportunities to innovate!

Scientifically speaking, there's chemistry involved, too. Fluctuating temperatures and humidity levels can impact how the paint droplets interact with the liquid bath on which the paint floats (called "size"). Putting too much paint into the size might result in paint sinking to the bottom of the tray. And if you don't properly prepare the paper in advance, a carefully crafted design might briefly imprint onto the paper, only to slide off it in a heartbreaking fashion.

This is a basic peek at the materials and steps involved to marble paper, however, there are variations, of course.

Materials:

tray

size - a gelatinous liquid made with water and powdered carrageenan (carrageenan is a type of seaweed)

ox gall - a surfactant that is sometimes used to help the paint float on the surface

sponge

pigments mixed with distilled water

paint containers

cotton paper

paintbrushes / spatter brushes

stylus

combs of varying sizes (fine-toothed to wide-spaced width)

rake tool

scraper stick

Process:

1. Preparation of the size: The artisan prepares the liquid on which the paint will float. This is usually done one day in advance by mixing the carrageenan powder and water, then bringing them to a boil. Once the liquid has cooled, the artisan pours it through a sieve and puts it into a jug to set overnight.

2. Filling the tray with size: Next, the artisan pours the size into a tray.

3. Testing the colors to ensure the consistency is right: Before starting to create a design, the artisan tests the colors to ensure they spread out and float properly. At this stage, a few drops of ox gall might be added to the colors.

4. Making the pattern: Using paintbrushes or spatter brushes, the artisan thoughtfully drops a series of colors onto the size. The paint will appear to "dance" on the water. The artisan might also use tools such as combs, rakes, a stylus, and even her breath to manipulate the colors to get the desired effect.

5. Transferring the design to paper: The artisan carefully places a sheet of paper (that's been pre-treated with an alum solution) onto the surface of the water. She allows the paper to sit there for a few seconds to absorb the colors before removing the paper.

6. Setting the paper aside to dry: Once the paper has been removed from the water, it is set on a drying rack or hung up to dry for several hours.

7. Skimming the size: If the artisan wants to decorate additional sheets of paper, she skims off any remaining paint that's floating on the size to prepare it for the next round. Skimming can be done with a piece of newspaper or with a special skimming tool.

Further Resources:

The Forgotten Tradition Of Making Marbled Paper By Hand, a video featuring Maria Giannini and her workshop, on the DW Euromaxx YouTube channel.

Art of the Marbler, a 1970 film made by the Bedfordshire Record Office of Cockerell marbling.

A Beginner's Guide to Paper Marbling, a HGTV Handmade YouTube video with Rajiv Surendra. He shows the marbling technique and how to make your own tools.

Marbled Paper Patterns, a visual glossary of patterns on the University of Washington University Libraries website.

Decorated and Decorative Paper Collection, more than 500 antique and contemporary examples, on the University of Washington University Libraries website.

How to Marbleize Paper : Step-By-Step Instructions for 12 Traditional Patterns, a 1984 book by Gabriele Grünebaum. You can borrow it for free at Archive.org (a non-profit digital library).

The International Marbling Network, a website dedicated to the preservation and promotion of the art of marbling.

Marbled Paper From Florence, an article in The New York Times dated 13 December 1987.

Marbling Techniques: How to Create Traditional and Contemporary Designs on Paper and Fabric, a 1994 book by Wendy Addison Medeiros. You can borrow it for free at Archive.org (a non-profit digital library).

The Practical Guide to Marbling Paper, a 1986 book by Anne Chambers. You can borrow it for free at Archive.org (a non-profit digital library).

Turkish Paper Marbling: Ebru, a YouTube video filmed in Istanbul showing an artisan doing paper marbling via the Ebru technique.

Van Gogh on Dark Water, a 4.5-minute YouTube video in which artist Garip Ay recreates Van Gogh's painting, The Starry Night. Set to Beethoven's Moonlight Sonata, the effect is magical!

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Photography & text © Tricia A. Mitchell. All Rights Reserved.

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Creating Handmade, Italian Marbled Paper in Florence, Italy

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The art of paper marbling is mesmerizing. An artisan applies droplets of paint to a small pool of water. The colors appear to gracefully dance upon the surface of the water, but these individual splotches of paint respect the neighboring colors' boundaries. As the artisan adds more and more colors, this dance continues.

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Workshop Description

In this exciting water marbling class, we'll take you on a journey to learn the ancient art of suminagashi, also known as "floating ink." Our expert instructor will guide you through the process of creating mesmerizing marbled patterns on paper using ink and water. This is a unique opportunity to explore a traditional Japanese art form and create your own beautiful pieces to take home. Join us in London for a day of creativity, relaxation, and fun!

Looking for a new relaxing activity to do in london, this 1 hr 30min workshop is perfect for all no matter your artistic background. Reimmeres yourself back to the 12th Century where we demonstrate the art of sumiagashi (floating ink) an ancient Japanese marbling technique that revolutionised the print and textile industry in Europe.

No experience is required - you can just paint and chill.

Whats included:

Step by step demonstration lead by experienced fine artist & teacher Dan draws

Memorable art piece you can take home and be proud of

Chill relaxing activity

Tickets are £40 per person.

All workshops are based near central London and could take place at one of the venues listed below:

The factory, 21-31 Shacklewell Ln, London E8 2DA

The depot_, 18 Wenlock Rd, London N1 7TA

Bernie Grant Arts Centre, Town Hall Approach Road, London N15 4RX

Availability

Sat 1pm - 2.30pm | 3pm - 4.30pm

Sun 1pm - 2.30pm

To cover the cost of securing the venue, we do not issue refunds for this event. However rebooking to a future event is welcome.

*Please note that we cannot offer refunds if the event is cancelled because of COVID-19. However, your tickets will still be valid for two years.

We've worked hard to make sure our events are COVID-Secure.

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In this exciting water marbling class, we'll take you on a journey to Japan to learn the ancient art of suminagashi, also known as "floating ink."

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"As my pieces are created on the moving surface of water, I am constantly playing with the concept of harmony and balance. I must achieve a delicate equilibrium between control and letting go, between intention and allowing the ink to flow freely.

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Suppose people realize that the universe appears to be a meticulously designed and evolving whole. In that case, they might tend to believe that there is wisdom beyond human understanding at play in everything.

This self-updating "scenario universe" is like a pre-designed system. The universe is omnipresent and constantly evolving, seemingly like intelligent whole, encompassing patterns of all sorts of rules and phenomena. It also seems to know how to comprehensively analyze this information to allow all interactions and reactions to occur objectively. The universe gathers an extraordinary energy of all universal principles, which coexist harmoniously without conflicts, some even adapting to each other in remarkably complex ways, while others interact at a geometric level of fourth power.

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Creating Handmade Italian Marbled Paper in Florence, Italy

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deep connection/ feel connected

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The symptoms and behaviors observed include: heart hypertrophy and hepatic lipidosis, cerebral hemorrhage, excessive stress, arteriosclerosis leading to stroke and heart disease, adrenal failure, cancer and other malignant proliferations, eye fatigue, glaucoma, and conjunctivitis, extreme apathy, listlessness, social withdrawal, high abortion rates, mothers neglecting to care for their offspring, extreme promiscuity during adolescence, increased abnormal sexual behavior, the emergence of new and impressive sexual acts, but this is a superficial display, as there is actually no sexual desire... These may sound like a series of reflections on moral decay and mental instability among urban residents, but they are not. The above-mentioned symptoms have been confirmed in various wild animals, such as Minnesota snowshoe hares, white-tailed deer, Norwegian rats, and several bird species. The commonality is stress syndrome resulting from overcrowding. Similar behavioral patterns have also been observed in prisoners in concentration camps and prisons, prompting Dr. John Calhoun of the National Institute of Mental Health to coin the accurate yet grim term "pathological togetherness." As populations become increasingly crowded, these problems become more severe. So far, environmental planning departments have largely ignored these issues.

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NOISE INSIDE THE BRAIN:
information explosion,

life fragmentation,

blurring of work-life boundaries,

social media,

fast pace city life,

social pressure

……

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To offer a pause, a moment of silence for the overstimulated mind. To re-orientate the flow of their energy inwards and activate their full potential. To use space as a tool to engage connection with the now-here dimension, and benefit full awareness of the present environment. To intensify the purity of the experience of the presence.

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To offer a pause, a moment of silence for the overstimulated mind. To re-orientate the flow of their energy inwards and activate their full potential. To use space as a tool to engage connection with the now-here dimension, and benefit full awareness of the present environment. To intensify the purity of the experience of the presence.

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A place to enjoy a moment without input, ennobles the “shelter of the mind” for the modern human to anchor his attention in the present time and space.

# data[].attributes.subject
A place to enjoy a moment without input, ennobles the “shelter of the mind” for the modern human to anchor his attention in the present time and space.

# data[].attributes.headline
Provide an inner journey to find deep rest, recharge, and self connection

# data[].attributes.subject
Provide an inner journey to find deep rest, recharge, and self connection

# data[].attributes.headline
A place that can connect people to a higher purpose, especially in an era when time, distance and our attention spans are increasingly compressed, the room’s atmosphere brings us back to our human condition.

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A place that can connect people to a higher purpose, especially in an era when time, distance and our attention spans are increasingly compressed, the room’s atmosphere brings us back to our human condition.

# data[].attributes.headline
To create a place dedicated to contemplation in a distraction-free atmosphere.

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To create a place dedicated to contemplation in a distraction-free atmosphere.

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Spaces can be designed to facilitate the connection between the body and the mind, creating environments that support both physical and mental well-being. For example, spaces that are conducive to meditation and yoga can provide balance between body and mind.

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Sustainability and ethical perspectives argue that design should contribute to the preservation of the natural environment and social justice. The philosophical healing perspective emphasises the positive impact of sustainable design principles on the health of the human mind.

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The philosophy of aesthetics believes that the presence of beauty is beneficial to the human mind. Therefore, by designing aesthetically pleasing interiors, one's sense of well-being and emotional well-being can be enhanced.

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The study of how interior design affects human perception and cognition includes philosophical explorations of the senses of sight, sound, touch and smell.

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Explores the relationship between time and space, particularly how the passage of time is expressed in interior spaces. It may include temporary installations and spaces, as well as themes related to history, memory and change.

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“共生”是一个高达5米的、完全向天空敞开

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“共生”是一个高达5米的、完全向天空敞开的休息和沉思空间，是一座悬在建筑、自然与时间维度之中的“废墟”。作品仿佛在挑战地心引力一般，漂浮于意识与无意识之间，以及物质世界与非物质世界之间。它是一个可以渗透却又保持私密的有机体，一条与自然构成情感连接的渠道。

Entirely open towards the sky and reaching a height of 5 meters, “Simbiosi” composes a space of rest and contemplation, a ruin suspended between architecture, nature and temporal dimension. The artwork seems to challenge the force of gravity, like a body in suspension that levitates between consciousness and unconsciousness, between the material and immaterial world. A living organism, permeable yet intimate: an emotional communication channel with nature.

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一座悬在建筑、自然与时间维度之中的"废墟"

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Jaybird Studio by Ste. Marie Art and Design

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Finding the sanctuary in your mind: selected projects of meditation spaces

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Geometry

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Urban Shelter / Open Space / Solitary Space / Return / Sense of Silence

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Urban Shelter / Open Space / Solitary Space / Return / Sense of Silence

# data[].attributes.body
Design spaces dedicated to meditation, contemplation and stillness, exploring the human processes of reflection and introspection and how these can be facilitated through the environment.

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Considers how the materials used in interior design reflect perspectives.

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Examines how interior space shapes one's sense of presence and experience. Explores the impact of space on people's emotional and mental states and how these can be enhanced or altered through design.

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Mimic nature and use it as inspiration to provide novel answers to human problems.
Organic modeling Multi-level design process