4.1 Approach

Aesthetic framework

This chapter uses the concepts from Chapter 2 and the findings from Chapter 3 to inform the literature review that predicates an aesthetic framework of properties for melancholic contemplation. This framework will be translated into site-specific design guidelines and then exemplified in a site-specific response. It is my intention and hope that this framework will be useful for other designers who may wish to create spaces for melancholic contemplation.

First, this chapter clarifies what the framework must do and how it approaches the task, as this then guides the choices made. Secondly, it dives into landscape architecture literature about melancholy and contemplation to extract and evaluate properties for the framework. Thirdly, it consolidates the findings into an aesthetic framework for melancholic contemplation. Lastly, it explains how to apply it within the design process.

4.1 APPROACH

Objectives of the framework

· Inform a design (as opposed to evaluate an existing design, although it might indirectly do so)

· Illustrate how aesthetic conditions can encourage the state of melancholic contemplation

· Incorporate the process of reaching the mental state

4.1.1 REACHING A MENTAL STATE

The framework is based upon a directional understanding of contemplation interpreted from Sivananda’s explanation (2009) and described in Section 2.3: one begins with ‘purity of the mind, attention, purpose, focus’ and then moves into concentration, and lastly into a state of [melancholic] contemplation.

The three mental states are loosely connected, but not causal. The structure proposes that aesthetic conditions in space result in one of the above states. It returns to the notion introduced in Chapter 2, that aesthetics affect experience (Meyer, 2008).

Aesthetic conditions Specific aesthetic conditions can have an effect on one of the three mental states. It implies a hierarchy of importance: this has to be done first, then that, and finally these are relevant. Therefore, if the conditions are not conducive to reaching the first two states, the performative agency of the conditions in the third state is compromised.

4.1.2 AESTHETIC PROPERTIES, NON-AESTHETIC PROPERTIES, & DESIGN DEVICES

I operationalize aesthetic conditions according to Zangwill’s Aesthetic Creation Theory, because it, like Meyer’s work, explains the performative (‘creation’) nature of aesthetics and it has been well-argued for its possibilities within landscape architecture (van Etteger, Thompson, & Vicenzotti, 2016). Zangwill divides aesthetic conditions into aesthetic and non-aesthetic properties in which aesthetic properties depend upon (but are not limited to nor are bound to) non-aesthetic properties (Zangwill, 2007). Zangwill’s definition is:

“Aesthetic properties may be purely verdictive or evaluative properties, such as beauty and ugliness, or aesthetic merit and demerit, if indeed these are different from beauty and ugliness. Aesthetic properties also include substantive aesthetic properties, such as elegance, daintiness, balance or frenzy. Nonaesthetic properties include physical properties, such as shape and size, and secondary qualities, such as colours and sounds” (Zangwill, 2007, p. 37). Figure 4-2 is an illustration of the theory by van Etteger et al. (2016).

Unlike Zangwill, this framework will not distinguish subcategories within aesthetic and non-aesthetic properties. What is considered important here is that an aesthetic property is the perceived effect that a non-aesthetic property has on the perceiver and that this contributes to a particular mental state. It stretches Zangwill’s description of an aesthetic property to include a diversity of perceived experiences. A non-aesthetic property also expands upon Zangwill’s definition to include a diversity of actions or qualities that take place in a space. Design devices are applied instances that constitute a non-aesthetic property in space. In summary, design devices contribute to nonaesthetic properties, which contribute to aesthetic properties, that support a certain mental state. The meanings of these terms will become clearer through out this chapter. I hope that the broadened use of the term aesthetic does not cause confusion, but rather draws attention to the non-visual dimensions of space and the important link between time, space and experience.