Modern Office Refuge

1

2

3

4

rn office re

f

u

ge

a

m

e od

5

Designer & Author Claudia White

Graphics and Documentation

by Claudia White, unless otherwise stated.

Contact Bachelor of Industrial Design (Honours) School of Architecture and Design RMIT University claudiawhite5639@gmail.com

Supervisor Dr Scott Mitchell

Thank you to Scott Mitchell and the workshop technicians who helped to make this a reality.

6

7

fig. 1

8

9

10

abstract One can speculate that the current way in which we are working is not entirely sustainable for human wellbeing. The modern workforce has experienced an exponential growth of data exchange at such a rate that office workers can’t quite keep up. Many employees operate in open plan offices and subgrade workspaces. These environments are not conducive in assisting productivity and quite significantly affect the health and wellbeing of the worker.

Identified is the notion of downtime.

At present, society overlooks and undervalues this simple act. Yet there has been a plethora of scientific studies highlighting the benefits that this undertaking provides to the efficiency and wellbeing of users in the working environment.

‘A Modern Office Refuge’ examines downtime and implements the two approaches of mindful meditation

and the biophilic experience. Two intangible experiences are morphed into a tangible design space. The three-piece set is inspired by patterns derived from organic forms found in nature and forms conducive to calming activities during meditative acts. Combined are two areas for rest and contemplation, together they open up the possibility of a shared, relaxed experience.

‘A Modern Office Refuge’ aims to raise awareness of the value of downtime and encourage us all to stand back from our frantic lives and listen within for a moment of peaceful respite.

11

12

content

T he Need For Downtime

19

Intr oduction T he Need For Downtime - T he Way We Are Working Is Not Working Effective Downtime – 2 Approaches Downtime T hrough Meditation Design For Meditation Downtime T hrough T he Biophilic Experience Design For Biophilia Existing Biophilic Designed Workspaces Summar y

21

T he Moder n Wor kf orce

54

T he Moder n Workforce Is Urbanised And W hite-Collar New Office Spaces Generally Are Well Designed Existing Low Grade Office Spaces Face Bar riers To Improve Open Plan Offers Additional Problems Pop Up Projects Provide Relevant Precedent

24 30 35 36 43 44 48 53

56 59 64 67 70

13

14

Moder n Office Refug e

75

K ey Design R ationale And Objectives

76

Methods

80

Introduction Revisiting T he Biophilic Design Elements Office Employee Sur vey Facilities Manag er Inter view Material Evaluation Research To Understand Meditation Researchers Own Practice Inter views With Practitioners Locations T hat Successfully Practice

82 85 87 91 95 97 98 100 102

Methods Of Evaluation And Validation

104

Recap Of Findings Strengths And Weaknesses Of Findings Critical Path Fo rward

106 107 108

Design Development

112

Introduction Sketches Small Models To Test Design Features Space Size Requirements Two Key Design Stag es First Iteration Second Iteration Dimensions M.O.R. Components Prototyping Intimate Items

115 117 120 122 127 128 129 130 135 140 149

T he M.O.R. Ser vice

161

Introduction To T he Ser vice Design For Awareness Catering To User’s Needs Future Par tnership

162 163 164 165

Conclusion

167

Path Taken Designer’s Ref lection

168 171

List Of Figur es

175

Refer ences

178

15

16

m . o . r.

17

18

the need for downtime

19

20

introduction The field in which this project is focused includes parallel theories of downtime; through the approach of meditation and from the beneficial effects that nature has on the human condition. This research explores the principles of both approaches, their benefits on human wellbeing and application in the office environment. A range of precedent projects are also analysed. These fall into the categories that are keywords in this research; meditation design, biophilic design and pop up.

The high demands of output push workers to their mental capacity as they attempt to stay at rate with work they face. Studies have found that the quality of the office environment influences the productivity of office workers (Maslow & Mintz 1956). Further research finds that the presence of natural elements indoors benefits the users of the space in their productivity, efficiency, creativity and overall employee happiness (Cooper & Browning 2015).

The location of the working environment became an appropriate choice of application. As both approaches of downtime are proven to provide efficient measures to cope with the demands of the office space. Such research is explored in further chapters.

This research delves into the simple act of downtime through the practice of meditation and the premise of biophilia. Both elicit a positive response in a person for stress reduction, increased productivity and an improved wellbeing. This research explores their existing forms in the working environment and seeks to design a new experience by coupling both approaches in a pop-up product.

In speculation is the idea that a vast majority of adults spend a great proportion of their waking hours in the working environment.

21

22

DOWNTIME // Refers to a period/s during the working day when a worker is not task focused and may be involved in naps, meditation or nature walks.

23

the need for downtime the way we are working is not working Prior to the construction of highly interconnected civilisations through technologies, the human lifestyle was simple enough to enable all the downtime the mind required. But with the rise of modern society, and the mental strains attached, people couldn’t find enough time to return their minds to a natural state (Taft 2011) . This is a growing concern in the working environment.

The progression of the digital age has seen worker habits reliant on technologies that have resulted in a near chaotic transferral of information. These digital resources such as laptops and phones have caused such a high rate of data exchange that worker’s simply can not quite keep up.

24

A Recent LexisNexis survey of 1,700 white collar workers in U.S., China, South Africa and Australia revealed that without the ability to have time to process all the information they were receiving during the working day, employees were at the point of reaching overload, whereby they would not be able to effectively process further information (Lexis Nexis 2012).

In an article investigating the benefits of a mental break, Ferris Jabr exposes the widespread opinion that for employees to manage this data overload there needs to be time for downtime in order to adequately absorb all

the recent information learnt (Jabr 2013). Downtime refers to a period during the working day when a worker is not task focussed and may be involved in for example, naps, meditation or nature walks.

The traditional view of downtime was that it was wasted time as in the prevailing ethos that busier is better. Ferris Jabr also reports on a substantial body of researchbased evidence, which shows that downtime can provide substantial productivity benefits such as: •

• •

Downtime thought patterns are more active than is typical in especially creative people; The mind can solve difficult problems while daydreaming; Most people can engage in high

•

•

level performance for only an hour without rest, and most high level performers only practice for up to 4 hours per day; Naps sharpen concentration and improve the performance of both the sleep-deprived and the fully rested; and Many more examples are provided

Downtime enables a moment for the brain to catch up to speed.

According to the research, a person is most likely going to get good ideas when the brain is relaxed (Duggan 2015). This simple act can replenish attention, increase productivity and strengthen the memory, which are all essential qualities for the workplace.

25

26

“The space and quiet that idleness provides is a necessar y condition for standing back fr om life and seeing it whole, for making unexpected connections and waiting for the wild summer lightning strikes of i n s p i r a t i o n — i t i s , p a r a d o x i c a l l y, necessar y to getting any work d o n e . � (Kreider 2012)

27

28

29

effective downtime two approaches While downtime can be performed in numerous ways, two means this research focuses on are the act of meditation and the rejuvenating feelings one receives when interacting with nature. The first is centred on the ancient religious practice of mindfulness and trained inner reflection whilst the latter is based on the biophilia hypothesis.

In making the argument for these types of downtime, several studies prove the benefits of practicing each. Additionally the research continues on to demonstrate both approaches implementation in the working environment, however, in separate forms.

30

meditation Downtime in the form of mindful meditation is an internal act. For many people it is about allowing the mind to wander on its own rather than concentrating on this or that. This has the power to build a person’s power of attention, a benefit that has recently come to attention from thorough scientific studies (McGreevey 2012).

biophilic experience Additionally, an equally restorative act for one’s mental state is simply walking outdoors exposed to natural elements, otherwise known as the biophilic experience. Studies by Marc Berman, a psychologist at University of South Carolina and pioneer in looking at the relationship between human beings and nature, reviewed the impacts on participant’s productivity and memory walking through an arboretum in comparison to those that walked down a high trafficked street (Jabr 2013). The participants exposed to the pleasures of the park proved to receive far more effective refresher on their brain activity that those exposed to the draining conditions of a modern city.

31

32

MEDITATION // A sustained focus on one’s thoughts, emotions and/or sensations in the present moment.

33

34

downtime through meditation There are many varieties and interpretations of mindfulness meditation but overall the aim is to turn attention inwards from the outside world. It is not about daydreaming or zoning out, but the practitioner is challenged to sit in a quiet space with their eyes closed, training the mind to be focused on the present moment.

The act of downtime in the form of meditation has become more popular in the last decade as a stress and anxiety relief, and to combat depression. Considerable evidence has been collated to prove that meditation does improve mental health through sharpening concentration and strengthening memory. One recent scientific study performed by the Harvard medical

school looked into the positive effects of practising meditation and mindfulness (McGreevey 2012). Brain scans revealed an increase in grey matter in those that participated, demonstrating that performing mindfulness improves brain functioning and productivity.

These validations have helped project meditation into mainstream attention, leading to a shift from the religious emphasis to a heavy focus on physiological improvement and stress management. As a result, the practice is becoming more prevalent in the corporate world due to its significant effect in combating workplace stress (Wells 2015).

35

design for meditation There are a wide variety of contemporary spaces to accommodate acts of meditation. When analysing contemporary structures that house mindful activities, a link can be drawn between direct practices of meditation and ancient cultural practices of the tea ceremony. The tea ceremony is a ritual that requires concentration and attentive care to the present moment, whilst culturally associated to the meditative practice. Many designers today approach the task of creating modern interpretations of such ancient ritual structures.

36

mimi jung Mimi Jung, an American designer, created her own response of a modern day meditative tearoom (fig. 2). Her design envelops the user within a woven rotating walled space. This opens onto a beautiful wooden floored chamber with a low seat at the core, inviting the user to sit inside and create a ritual of their own. The enclosed area establishes privacy in which one can contemplate and reflect.

Jung explains this extension of her practice with this object as an attempt to bring nature closer to the living environment (Jung 2015).

kengo kuma & associates Similarly, the Architectural Group Kengo Kuma & Associaties have designed a collection of innovative modern adaptions of the teahouse (Kuma 2013). Unlike the previous precedent, their collection removes any trace of traditional materials that pose a connection to nature. The floating teahouse (fig. 3) incorporates synthetic white materials for weightlessness and establish a strong sense of purity. Both effects create feelings that have a connection to mindful acts. Additionally, the material choice of each tearoom pavilion enables mobility of the forms. This aspect demonstrates that the spaces are not confined to a location or even cultural practice, and suggests their application is available for use to a wider audience.

37

fig. 2

fig. 3

38

These precedents demonstrate an emerging trend for designer’s to recreate traditional structures in contemporary forms for a space of solidarity, and access a wider audience than the original. However, identified is the realisation that these precedents explored were created for an artefact to display, and not practical use.

There is a divide between these spaces and commercial environments that host groups participating in the meditative practice, ones such as yoga studios. The author believes there is an opportunity to translate such precedents that are aesthetically designed display spaces into a practical implementation of meditative area’s for the living/working environment.

39

40

BIOPHILIC EXPERIENCE // Biophilia is human’s instinctive biological connection with nature. Exposure to natural elements can elicit a restorative response in a person, this is the biophilic experience.

41

42

downtime through the biophilic experience The common practice of downtime involving a recuperative walk in nature reflects the premise of the Biophilia Hypothesis. E.O Wilson, one of America’s most prominent biologists identified the human need to connect to living structures in our environment (Kellert 2008).

The term literally means a love of nature, evidenced by our happiness and productivity when surrounded by natural elements. The biological connection stems from human’s evolution in a much wider context that was once surrounded by nature. We inherently prefer sensory interactions with nature and spatial properties of various natural landscapes (Wilson 1984). Whether engaging with nature or simply walking through a park (as an act of

downtime), our relationship is both physical and mental with nature, and it affects our wellbeing and productivity positively.

Dr Salingaros, a proponent in the emerging field of biophilic design promotes that idea that our need to connect to the environment should dictate the design of the physical settings where time is spent, where we live and more importantly work (Salingaros 2015).

43

design for biophilia The design of office spaces is evolving. Recent research supports the belief that where we work can impact how we function and therefore process information (Grewal 2015). The increased understanding of the positive impact nature has on people has led designers to incorporate more natural elements into such spaces.

This is the design approach of biophilic design.

Of relevance to this project, our human need to connect with nature can be satisfied through two ways, a direct connection or symbolical representation (Cooper & Browning 2015). If inserting a tree, or a green wall into the space is not an option, simulations of the natural environment can be an effective substitute. To simply put it, an impression is nearly as effective as the actual.

44

A key report to this research “14 Patterns of Biophilic Design� by the research group Terrapin Bright Green, has determined the specifics of such natural elements and provided an outline as to how they can most effectively be applied as design opportunities for the built environment in order to reduce stress, and enhance productivity and creativity (Cooper & Browning 2015). The report is a collation of work over the last few decades from theorists, research scientists and design practitioners who have defined the aspects of nature that most impact our satisfaction with the built environment.

Nature of The Space A place for withdrawal, from environmental conditions or the main flow of activity, in which the individual is protected from behind and overhead.

Refuge

Material Connection with Nature Material and elements from nature that, through minimal processing, reflect the local ecology or geology to create a distinct sense of place.

Biomorphic Forms & Patterns Symbolic references to contoured, patterned, textured or numerical arrangements that persist in nature.

Natural Analogues

Extracted design patterns from Terrapin Green Report 45

The report presents a framework for relating the human biological science and nature. This was established to guide designers in creating effective spaces and bring the biophilic experience into the workplace, which fall under the categories of nature in space, natural analogues, and nature of space. For the purpose of this research, as the framework is so extensive, the designer selected three design elements to focus on; material connection with nature, biomorphic forms and patterns, and a space configuration of refuge.

46

Numerous studies of the effects of natural analogues found that biomorphic forms and patterns enhance emotions and moods (Vessel 2012), and a material connection with nature both improves creative performance (Lichtenfeld 2012), and improves comfort (Tsunetsugu, Myazaki & Sato 2007) . Further studies into the effects on the user of the nature of space found that a spatial configuration of refuge improves concentration, attention and reduces stress (Grahn & Stitsdotter 2010), (Wang & Taylor 2006).

47

existing workspaces with biophilic design There are many examples of such designs that provide ability for the office environment to stimulate the good feelings that one would receive when walking through a park.

These newly built interiors are thus designed to bring elements of nature within the walls to cater for this type of downtime.

48

s.c. johnston wax building Frank Lloyd Wright’s Design for the S.C. Johnson Wax Building emulates a savannah like interior (fig. 4). Strong columns protrude throughout the room that are attached to a canopy-like ceiling structure. The space establishes a strong feeling of refuge. The success of the design in incorporating these simulated features of nature is clear from the longevity for which the space has existed. The space has remained unchanged for the last 70 years (Cooper & Browning 2015). To put it simply, people are still happy to work there, one employee even reported when first moving in that “everyone he knew was very happy with the building” (Lipman 2003).

kickstarter Kickstarter headquarters in New York (fig. 5) encompasses many aspects of biophilic design in their newly completed workspace. The conversion of an old factory saw the employment of several patterns such as material connection to nature through reclaimed wood, appropriate green spaces, and prospect and refuge. The experience within this environment creates the potential to reduce stress, improve cognitive performance and increase comfort. The designer of the project, Ole Sondreson commented the he strongly believed the feeling of getting away from work is passé and that one can make any work environment a place one wants to go to and not get away from (Terapin Bright Green 2016).

49

fig. 4

fig. 5

50

This range of spaces incorporating biophilic design varies from an enduring renovation of Wright’s design, to Kickstarter’s contemporary renewal of space. What is commonly shared is they all encompass a large scale retrofitting or new construction. The continuation of this design trend supports its effectiveness of application in the workplace.

51

52

summary This field has explored two forms of downtime proven as effective measures to combat the stress of workplace demands. Currently both are practiced and applied in their own ways. The knowledge of biophilia has transcended the outdoor built environment to be designed into interiors to replicate the effect. Whilst meditation, a practice not limited to a space but evident in the tearoom precedents has seen a small movement in attempts to design spaces with a modern twist to appeal to the larger mainstream audience. The designer has observed a separation between the two. Utilising the research found in the field and inspiration taken from the precedents, the researcher seeks to bridge the two areas.

53

the modern workforce

54

55

the modern workforce is urbanised and white-collared The context that this project is focused on is the workplace, where an improved environment design can increase the wellbeing of those within.

Australia, similar to the rest of the world, has a high and increasing proportion of its population living in urban environments. As reported in the 2015 Human Spaces report, in 2010 over 89% of Australians were living in urban settings, up from 77% in 1950 (Cooper & Browning 2015).

As well, the Australian Bureau of Statistics reports the workforce mix has moved from blue collar, where work occurs generally outdoors or in factories, to white collar, which often involves indoor, if not office work (ABS 2011).

The Human Spaces report brought further into view two key points; that the majority of office spaces don’t

56

include basic design features to assist employee happiness and that 40% of workers spent 40 to 49 hours per week at work. This recognition has projected into view the realisation of the impact that this environment has on the employee; as a determinant of their health and happiness in their role. This observation is supported by many studies (Ulrich 1991).

Businesses now are recognising the importance of providing means to facilitate employee satisfaction through provision of quiet spaces for downtime and the redesign of offices to bring the benefits of nature to the worker through the inclusion of biophilic design elements. Although this has been realised, there is a divide between current states of offices, some are forward thinking and design for downtime, whilst others face barriers.

70

60

50

40 %

30

1966

1989

2011 year

blue collar occupations white collar occupations

Portion of all employed people in the blue and white collar occupations ‘66-‘11

57

58

new office spaces generally are well designed Evidence is growing concerning the role that office spaces play in impacting the workers within (Fisk & Rosenfeld 1997). New workplaces recently designed place great consideration for employee wellness through providing the means of facilitating acts of downtime. In particular, technology and media firms are leaders in re-designing the standard mould of the working environment, creating new spaces

that are well designed. Included are quiet rooms, private spaces specifically furnished for peaceful meditation and renovations incorporating many facets of biophilic design direct into the workplace.

59

fig. 6

fig. 7

60

google Precedents of such design spaces exist in offices such as GOOGLE HQ in Sydney.

Here they supply workers with a fully functional mediation room (fig. 6), including candles, soft furnishings and the sound of bells. Employees are able to participate for 20 minute sessions through the course of the day (smh 2016).

amazon The online tech mogul company Amazon are constructing a series of high and low rise buildings in the middle of downtime Seattle. Within these are three striking transparent conjoined spheres (fig.7) that will house a plethora of plants to help staff deal with stress. Margaret O’Mara, an associate professor of history at the University of Washington sees the spheres as a retreat, a cathedral away from the hubbub of the city and the old office (Wingfiel 2016).

61

62

To claim that new spaces are being and will be designed with this in mind has been brought to attention by the real estate research Knight and Frank report. The report forecasts the future of Australian office design to include quiet spaces, zones for yoga and other activities, with plants and a lot of natural light (Knight Frank 2016). These are some of the major elements to assist employee wellbeing, further addressing the growing workplace emphasis on providing such spaces to contribute to employee happiness and achieve job satisfaction.

63

existing lower grade offices face barriers to improve Though it is evident that more offices are receiving the benefits of such remodelling, the truth is that not all environments are able to provide this for the workers within. A large proportion of the working environment are confined to sub grade working conditions.

According to an EY Report, over half Australian office buildings are made up of lower grade spaces (Earnst&Young 2015).

The report by EY group found many barriers that prevent a company’s redesign of their building for an improved productivity due to better energy efficiency. Such barriers include a lack of access to capital, lack of motivation, lack of tenant demand and short-term thinking from owners. The author believes that these impediments exist in the issues that offices face for redesigning facilities to assist

64

downtime. That would include both creating spaces for mediation and bringing nature into the workplace through biophilic design.

On reflection of the chart presenting the breakdown of Australian commercial office by grade, over half the nation’s employees are confined to working in environments that are sub grade and do not incorporate biophilic design elements nor spaces for inner reflection.

C-Grade

Premium-Grade

D-Grade

8% 16% 4%

30%

B-Grade

42%

A-Grade

Breakdown of Australian commercial office by PCA grade, 2015 PCN Office Market Report

65

66

open plan offers additional problems

One type of office space that is negatively impacting, on a significant proportion, the productivity of workers is the open plan office (Cooper & Browning 2015) . Open plan offices first flourished in the 1960s.

Initiated by the German design group Quikborner, its rush of popularity was due to the idea that grouping desk areas together would increase efficiency (Musser 2009).

employees operating within the open plan experienced more uncontrolled interactions, higher levels of stress, lower levels of concentration and motivation (Davis, Leach & Cleggs 2011). Those who find themselves working in the open plan environment are more prone to becoming sick and stressed from the chaotic sounds and sights that accompany the space type.

In 2011, an organisational psychologist Matthew Davis reviewed more than a hundred studies concerning office environments. Davis found that compared to standard offices,

This raised the author’s question, what can be a solution for such spaces that face barriers for redesign to therefore provide facilities that enable a moment of downtime?

67

68

69

the pop up provides relevant precedent When barriers are faced that impede a workspaces ability to transform the built environment through a retrofit, we look to the urban environment for a solution.

Identified is a design project that transcends similar issues, which is hosted by this location; the idea of the pop up.

This method of temporary design is growing in popularity in the urban environment. It presents one solution of a low-cost, loose fitting creative solution to enhance areas that otherwise are of ordinary usage.

Commonly installed in vacant land or commercial premises that face issues preventing redesign, the pop up is a means to reinvigorate the space. The temporary nature of the pop-up provides many benefits.

70

The portable aspect allows for the testing of a design before full commitment of its instalment if desired, similarly the mobile aspect allows for transferability to different areas where it is located, be that outside or within a building.

Predefined pop-up locations can additionally be leased out due to the flexibility of their time.

Two precedent design projects have been identified. Both hold features of the pop-up and are functionally suitable for installation in the office environment.

hush

Freya Sewell Pod’s Hush (fig. 8) creates an enclosed space as a personal retreat away from the busy office. Although a solid form, the pod has the capacity of installation in any environment from its freestanding nature. Made due to a single piece of industrial felt the space is designed to be an individual’s place of withdrawal for privacy and peaceful respite, which Sewell views as a present commodity in our highly connected lives (Sewell 2015).

cloud Similarly, Monica Forster’s project Cloud (fig. 9) presents to users a pop up space to be installed in existing office locations. Made from nylon fabric, Cloud is a portable meeting room. The set includes a bag and a transportable fan so the space may be easily and quickly installed. The airiness of the material qualities creates feelings as though the users are in clouds, escaping the immediate confines of the existing office space (Forster 2003).

71

fig. 8

fig. 9

72

Analysis of the pop up solution provides a means for the designer to respond to the issue of many office spaces lacking the ability, cost and time for the renovation of existing spaces to therefore include design elements that increase the wellbeing of employees within. These precedents demonstrate an emerging approach for designer’s to create solutions for a space of solidarity within the workforce.

The two explore a variety of responses to the idea of the pop up. Hush as a solid but compact enclosed seating space and Cloud as a highly efficient design to pack down and be lightweight for transportable reasons.

The author believes there is an opportunity to design a pop up that is not limited by lightweight character of the material.

73

74

modern office refuge This research has provided a compelling need for a solution to poorly designed offices.

Given the numerous barriers to office renovation the research has identified pop-up spaces as a possible solution to this.

Understanding the benefits of downtime, the concept aims to accommodate the two types, meditation and exposure to nature through the inclusion of biophilic design elements.

The need for such a place provides the users with a space for a moment to think and have a mental break.

There they may reflect upon the copious amounts of data they face due to the tasks of the working environment. There they also may use the space to practice techniques of mindfulness.

A further objective of the design is to incorporate natural elements, evaluated by the Terrapin Bright Green’s Report of the 14 Patterns The designer has the intention of of Biophilic Design, to contribute creating a space away from the to the biophilic experience distractions and ceaseless tasks when (Growing, Ryan & Clancy 2014). Those stationed at the working desk. A selected for the purpose of this separate zone to the environment project include biomorphic forms, that hosts the chatter of colleagues, material connection, and spatial an area that leaves behind the chimes configuration of refuge. Overall the as further emails present themselves product strives to couple both acts at the inbox, the countless calls in a pop-up installed space in the through the receiver. working environment.

75

key design rationale and objectives

76

To summarise this chapters findings, the nature of the modern workforce is urbanised and primarily takes place in offices. Sadly, over half the working population will find themselves in environments that are substandard, and void of facilities supporting wellbeing.

Currently there is a movement for the redesign of spaces to incorporate natural elements to stimulate the positive experiences similar to a walk in the park, whilst similarly innovative companies provide distinct spaces for quiet time. In the circumstance of many old offices facing barriers preventing their redesign, a solution this project has arrived at is inspired by the beneficial application of the pop-up.

In order to deliver the benefits cited in Modern Office Refuge (see pg 75), the researcher has established the key design objectives of the project; • •

•

•

Determining how the natural elements can be best incorporated in the design Exploration of the techniques of meditation to determine the requirements of the space to support it; Coupling the benefits of meditation (for those that are committed) and strengthening the restorative qualities of the space through the application of biophilic design elements; and Deliver this in a pop solution to make it implementable and affordable for lower grade existing office space.

77

78

79

methods

80

81

introduction The intention of this design project is to create a space that facilitates the two stated acts of downtime to therefore provide workers in lower grade offices with their benefits.

Background research into the field (see pg 18 – 52) identified two distinct approaches; meditation and the biophilic experience. The researcher further identified what appears to be a gap that there is rarely integration of both principles into the design of an object or space.

The challenge is to determine appropriate methods to understand each category and therefore apply them into the design development.

The designer carried out applied

82

research through a focus group survey, a facilities manager interview and practitioner interviews. This data provides insight into both areas of interest; meditation and biophilia.

Further research was undertaken to analyse locations that support successful practice of meditation and also the researcher’s own trial of meditation.

The results of the applied research led into form explorations and small-scale iteration of elemental play around the theme of the refuge space (see design development).

The outcomes of the applied research included:

• Creation of a framework of •

•

biophilic elements to direct form development.

The interview with the facilities manager revealed the key considerations when selecting furniture for the workplace.

Investigation of meditation revealed a variety of sensory techniques to consider within design development.

83

84

The design considerations to provide a framework for the creation of a quality prototype are:

• It has a spatial configuration to

revisiting the biophilic design elements In order to limit the wide range of design possibilities within the biophilic design approach the designer believed it was appropriate to create boundaries for the design of prototypes. The designer selected three key elements from the 14 Patterns of Biophilic Design Report (first identified on pg 45-46). This was to create a framework to inform decision making of the design space.

•

•

provide a form of refuge. Refuge is promoted by a space that is unique and separate from the surrounds. It provides a retreat that is accessible and protected with limited visual access, but not entirely closed Forms and patterns should be biomorphic. Symbolic references to patterned, textured or numerical arrangements found in nature are almost as effective as nature itself (see pg 44).

Materials should be a connection to nature (materials that are real are preferred over artificial e.g. wood preferred to plastic and colour choice can provide and extra stimulant e.g. green)

In summary, the framework development aims to constrain a wide possible range of modelling.

85

86

office employee survey The researcher conducted a survey over a range of ten office spaces.

This was to gain feedback from people about the conditions of their working environment, whether they participated in mental breaks during the day, whether they felt stressed and whether they did something to alleviate it i.e. meditate.

On evaluation of the feedback not all participants meditated, but the majority were open to the idea of a new space available to think and contemplate. This survey displayed that the focus group are open to the concept of the refuge space.

However, it revealed the necessity to design a space with a function broader than meditation.

The results are displayed that over 80% of those surveyed participated in a mental break. (Further results are displayed on pg 88). Although a small group, the responses are reflective of the greater.

87

Do you ever take a quick break to mentally refresh yourself during the day ?

yes

What is your office space like ?

88%

coffee

0 - 20 employees 20 - 50 employees

100%

50 - 100 employees

57%

100%

quick walk 42% food 57%

If yes, what do you do during this time ?

clear head calmer

100% 12% 25% more productive get away from desk 45% 65% solutions to come 43% stretch

What do you like about this break ?

Survey of 10 office spaces on the conditions of their working environment 88

42%

What features does your office space have ?

How often are you in the office ?

a couple of days 11% open plan

hot desk private meeting rooms relaxation space kitchen

87% 75% 62% 12% 12%

yes no

monday - friday

89%

quiet

22%

reasonable

78%

Is it a busy and noisy environment to work in ?

78% 22% yes no

Would you use a new temporary space for relaxation purpose ?

68% 32% If you don’t already , would you take up the practise of meditation as a quick solution to alleviate stress in the office?

Office Employee Space Survey 89

90

facilities manager interview

This stage of research saw the author interview a facilities manager working for a large business in the corporate world. This was significant to the research as it aided an understanding for the selection criteria that was considered when furniture was selected for office spaces. A process that the modern office refuge would go through when released into the market for real world use.

Analysis of the responses has led to criteria to direct design decisions to ensure a useable product for the workspace is designed.

The researcher made contact with Pamela Whetham, a prominent facilities manager for the Australian multi-national corporation MYOB. A facilities manager makes sure that buildings and services meet the needs of those who work within it.

They are responsible for selecting, for example, the furniture used by staff in all areas of the workspace.

The interview ultimately revealed that what is now and will be in the future popular for office spaces are items that benefit human health.

This aligns with the modern office refuge as the acts of downtime it facilitates have extensive scientific studies demonstrating their benefits to human wellbeing.

91

Pamela Whetham MYOB Facilities Manager

Explain your role at MYOB ?

“Facilities manager, look after Sydney, Brisbane Adelaide and Perth. This entails running of the office, right from stocking up the stationary, the kitchen cabinets to liaising with building management. Involved with office moves, office fit outs, help people get unpacked, unsettled, make sure people are happy within their new environment.... It’s like being a mother to 300 people.”

What type of furniture do you look for ?

“It has to be functional… sometimes look for colour; it has to be tailored to the specific space where we are going to put the furniture, and depends on the team using it. In furnishing our new offices…. In particular small spaces where people are going to want to have a private conversation and get away from the main hub of the office, we quite often will use a sofa or a couple of sofas that will have a high back and sides so you can set them up like almost like a little hub. Desks don’t have screens, it’s all open for managers and people to work collaboratively.”

Do you use requirements when choosing the furniture, if yes what are these ?

“It has to suit the office aesthetics, durability is important, size you choose what is going to fit in the most economical way in the space of the office, as these days we are trying to fit in as many people as possible.

Working on agile space and agile walls and collaborative work, you are setting up an office to service that type of workspace. To go out and spend 5000 on a chair when you can pick up from Matt Black for 500 and still get the same amount of impact. Cost of setting up an office is very important.

Colour is also very important, sometimes you work it into the branding or sometimes you only need a pop of colour or even maybe a fabric design that fits in nicely to what you are doing. You want that environment to be comfortable to come into, exciting, colourful, that is going to stimulate.

Moveability, you move it around a bit, teams change, so you are always restructuring the office space for certain teams, so flexibility of a furniture piece is important. Some will like to have breakout areas, or they will like to sit in a quiet corner. If we have a big function in some of our larger hub areas, which happens all the time, there will be big heavy tables that we just get a team of guys to more out of the way, or put them together, or put them on angles or whatever suits. It needs to be very easy with furniture that you need to put together.”

92

Is there a time period that the furniture is kept for? Or does this change?

“The time period that furniture is kept does change. There is a general 5 year lease time period but sometimes you will take furniture to the next space if it fits in with that move. It is important that what you fit in to that space will assimilate with the design.”

Is there a cost allocation for a specific type of furniture e.g. one that facilitates relaxation within the office?

“There is a cost allocation that comes into budget. You obviously look at something that can be changed, I’m currently looking at a sofa that you can alter its sides and change to suit all sorts of needs and put it in all sorts of spaces.”

When choosing, is there ever a consideration for restrictions such as clothing e.g. movement limiting skirts that woman wear?

“Not really, only one area once where the guys wanted bean bags but if you were wearing high heels and skirts you couldn’t really use these so we did not purchase them.”

Are you aware of any particular future forecasting of items that offices want?

“Standing desks are very popular, depends what you see in the design world, colours come and go, designs come and go. But the most important factor is whatever is going to benefit your health.”

93

94

material evaluation The selection of materials has been guided through the biophilic design element of a material connection to nature. To establish this link the major materials used will be strictly chosen for their natural qualities, for example wood and natural fibres.

Identified from the interview with the facilities manager is the consideration of durability and colour. These will influence further the choice of material.

95

96

research to understand meditation Meditation is the second act of downtime covered in the field research.

The researcher has identified the need to interview practitioners, analyse spaces that accommodate successful practice and personally try meditation. This range will allow for a holistic evaluation into the act and therefore inform appropriate design decisions of the space when developed. Furthermore the researcher’s own endeavours into trying the practice will allow a personal reflection on the experience they wish to create in the refuge space.

97

r e s e a r c h e r ’s own practice The researcher has commenced their own meditation practice. This personal experience allows a firsthand understanding of the physical and mental process of the practice.

In turn, what will be learnt will feed into the design development. The personal experience will contribute to a stronger design development for the considerations of meditation and all the practice entails.

The designer has deduced the importance of different sensory elements (smell, lighting, soft furnishing, sound) and the role they play in the practice. The designer selected the importance of soft furnishing and subtle smell as key elements to include in the development of the design space.

98

99

interviews with practitioners Practitioner interviews provide insight to the personal approaches of those who practice. As found in the literary research of meditation, there are thousands of available forms that can be adapted to the practitioner’s choice. By having conversations with those who practice the designer aims to establish some key requirements.

It is evident from interviews that practitioners have personal preferences for the conditions of their environment, with control over the sensory element, be it light, or sound or maybe even smell. Durations are quite long for personal practice at home; this may differ in the working environment as employees have more limited free time. Ultimately what the design space needs to entail is a place of comfort, and flexibility for a range of positions.

100

judith glover 5 times a week, 1/2 - 1 hour To deal with stress and calm self before sleep Practice on couch at home regularity important Sitting cross legged with back support Low lights, closes blinds in the room Private practice

laura holster joshua batty 10 - 15 min sessions, everynight before sleep Aided by guided meditation on headspace app Performed to help deal with anxiety, to calm self Practice at home seated on bed, chair or cross legged on floor with a cushion Perform in a quiet room, but not silent as use other sounds to aid meditation Also attend meditation classes, seated on floor, soft moving meditaiton.

Average 6 times per month Alternate practices - personal 10 30 minutes, class 1 hour and float tank 1 hour Designed personal soundtraks to meditate to - guided by sound Flaot tank submerged in water creates complete sense deprivation Seated comforatble cushions at homeroom Large pod at workplace can lie within and play personal music Importance of privacy and safety when eyes closed and control through sound

101

locations that successfully practice Additionally the researcher has visited studios that have established a successful practice of meditation.

At these locations they was able to perform their own explorations in the practice.

102

Four studios have been visited.

These are the Dharma Shala, a Sydney based studio, and Humming Puppy, the Gokhul Meditation House and Gertrude Street Yoga, all Melbourne based establishments.

All locations provided sensory aids for the practitioner with dimmed lighting, incense and comfortable furnishing.

In comparison, Humming Puppy has an incredibly dynamic environment.

The acoustics of the space generate a hum to deepen sensory experience.

Interiors are designed to incorporate a great amount of wood for a warm environment. Additionally, there is a strong emphasis on the design of the spaces to be modern, with moody wooden interiors establishing a luxurious atmosphere, similar to the contemporary appropriations of modern teahouses. It appears to be a means to appeal to a mainstream conservative audience through the removal of hippy associations to the practice.

Dharma Shala, Gokhul Meditation House and Gertrude Street Yoga are all installed with similar aesthetics.

These exhibit strong religious connotations with Hindu art and traditional music.

It is evident that there is a market for modern appropriations of ancient rituals, providing the designer with ability to design a modern interpretation for a space of meditation.

103

methods of evaluation and validation

104

105

recap of findings The applied research has been performed in two clear avenues of biophilia and meditation. Data collection has thus far covered the field of inquiry through methods analysis of the biophilic design elements, facilities manager interview, focus group survey, practitioner interviews and location analysis.

Research undertaken to further understand biophilia required a lesser amount of rigor due to its existing prominence in the key report used in the project, “14 patterns of biophilic design�.

The researcher did not feel the need to go beyond the analysis of the chosen elements; material connection to nature, biomorphic forms and patterns and a spatial configuration of refuge.

106

The designer performed field research to gain information from a key figure who selects furniture for workplaces, on evaluation it demonstrated the main selection criteria for chosing is focused on the health benefits the furniture provides to the user’s. A survey from focus groups users in this environment confirmed that over half the participants were interested in mediation.

The key takeaways for the designer here were a positive response to the idea of a Modern Office Refuge and the objective to provide as much functional flexibility as possible from a meditative view.

strengths and weaknesses of findings Overall the researcher feels the investigations were reasonably thorough. The decision to keep the inquiries for the avenue of biophilia to selecting the most appropriate design elements from the report was justified as the authors had already collated valid sources from a range of theorists, designers and scientist (Growing, Ryan & Clancy 2014).

to base their project on this act of downtime, meditation, if they had not practiced it themselves, demonstrating the appropriateness of their own investigations of the act. By growing an understanding this will ensure a more thorough design of the space. The data from the meditation research will concurrently direct the design development of the space.

The analysis of established studios, and practitioner interviews were all important stages in the research to contribute to decision making for good design. Additionally, It would be superficial for the researcher

Overall, findings that emerged from the office working environment survey revealed that the design of the space should be flexible for the user.

107

critical path forward On reflection the project is at a stage where the research has taken the two avenues of data collection into biophilia and meditation, but now they need to be fed collectively back into the design development.

The biophilic elements and the data collected from the meditative research will need to be regularly revisited during design development of a modern office refuge, ensuring the appropriate incorporation of them in the design of the space.

The exploration of the refuge space is essential for the critical path forward. The researcher can determine the following points;

1. Data gathered from meditative

explorations via interviews and personal practice will feed into quick experiential mock ups of space. This will test sense of space and comfort.

108

2. The researcher feels the 3.

biophilic design requirements are reasonably well established.

Design of the space’s assembly

•

• •

•

the researcher will need to consider how the space comes to be in the office environment.

This could include actions that are required to assemble that in turn could affect the design of the space.

The researcher intends to draw on precedents from pop-ups: Emphasis on the popup covered in the design proposition Focus on the means to put the space in the office

The designer has taken forward the following guidelines for the development phase: The material will be natural, most likely timber; and the refuge concept will be continued.

109

110

111

design development

112

113

114

introduction The design development was a major component of the research.

It began with key elements derived from the design precedents analysed and the Terrapin Green report. The modern adaption of teahouse precedents provided significant inspiration for the initial concept development. These key elements created a framework to model the concept’s success as a design space for downtime.

The development was executed through the use of design tools such as sketching, scale models, large ink drawings, 3D modelling utilising the software Rhino and finally prototyping of the design.

Specific features were determined in a series of stages included developing an understanding of the space size requirements. These

were performed at both studio and focus sample locations. Small models tested design features, while large ink drawings enabled a full size perspective of design space. The design saw two major iterations. The second was an improvement to include features to be more encompassing for users with restrictions. Prototyping of the design involved many production techniques including steam bending, machine milling metal, CNC milling wood in order to create the screens, base, support posts and pivot joints.

Overall the design development was a complex process in the development of the project and required rigorous attention, using a range of design tools to produce a large product.

115

116

sketching Sketching is a key tool for the development as it enables designers to evaluate concepts on paper (Milton & Rodgers 2013) .

Numerous iterations of this tool were performed. The design’s basic structure originated from the form of the teahouse precedents and the framework derived for the “14 Patterns of Biophilic Design�

Report. Initial sketching explored basic forms for the design space for a place to sit. Generated were loose forms for the refuge space.

This progressed to more detailed sketches and large scale ink drawings to visualise the space at 1:1 and explore details.

117

118

119

small models to test design features Continuing the design development from sketching the researcher created a series of scale models to explore in a 3 dimensional manner the elements that were initially desired for the meditation refuge.

Models are effective to inform decision during the making process (Milton & Rodgers 2013) . The models were made out of balsa wood to emulate the desired material for prototyping: wood, which provides a material connection to nature.

All models included an elevated platform and details for the screens to additionally achieve spatial configurations of refuge with a semi-enclosed private space. It was productive to visualise the elements, but it is important to state that the models are a starting point for the design development. They only briefly addressed the concept of meditation through the visual reference to the precedent tearoom projects.

120

121

space size requirements The designer undertook explorations into different space sizes that could encapsulate the idea of a place to sit for the pop-up refuge space. This was a simplified form of a 1:1 mockup. This stage allowed a full size replica using an inexpensive material (rope) to verify the form, scale and ergonomics. Human measurements were taken into consideration to house a seated user. This was performed at two sites; the researchers own studio and an example test location of a medium scale open plan office space. This process utilised temporary materials to represent what the meditative space would be. The form of the space manifested as a circular shape with the intention of symbolising the design element of organic curvaceous forms outlined in the Terrapin Green Report.

122

in the studio The exploration of the potential sizes of the meditative space was performed through quick iterative tests using a rope, measuring tape and the ground. These were performed at the studio to try out a range of sizes. They were all tested in circular form and ranged in diameter through 1m, 1.2m, 1.4m, 1.6 and 1.8m. The minimum diameter proved to be 1.4m and the maximum 1.7m. Any larger would need an inappropriate amount of space for the focus location.

sample focus location Following on from the studio testing the researcher then proceeded to validate the desired space sizes in a test office location. This was performed around focus group users, office workers, who could observe and test while the designer witnessed their comments. The designer was also able to test whether this space size would be appropriate to be installed in existing office spaces.

The min-max range determined in the studio testing proved to be usable in the office space. The office workers also responded that this space did not encroach on the areas that they used as a walkway.

123

124

in the studio

125

126

two key design stages The design of a Modern Office Refuge received numerous iterations exploring the possibilities of what the space could be. Overall the design encapsulated features for a place to sit, contemplate and partake in activities in a mindful manner. However, there were two key stages in the design development to be discussed, before the design carried forward to the final prototyping.

127

first iteration The foundation of the design derived from forms the precedent teahouse’s provided. The designer focused on establishing the features and cementing a strong aesthetic for the overall design of the refuge space. Small models explored elements that originally used wood as the sole material. All models were based on a shuttering system.

This iteration saw a major shift to a combination of wood and natural fibre fabrics. The design was broken into a platform for seating, support posts, and screen design.

128

The overall form was circular and encompassed space for one seated user (see designer’s render on pg 16/17).

When reviewed midway through development concerns arose such as privacy, access for impaired users and the isolation. This caused the designer to open up the space for the second iteration of the design.

second iteration Many redesigns were undertaken to improve the concept. The key second redesign saw the space expand into three components, the larger seat, smaller seat and floating screen to enhance privacy and consider the option of multiple users. There was a continued focus on organic curvaceous shapes creating a unique aesthetic; and the screen forms reminiscent to curvaceous shapes of trees. The form of each platform developed from a basic ovular shape to emulate the forms of the screens.

The components were positioned at different levels to allow a break up of space, being situated low to the ground enables an easy access onto the piece, a feature to allow accessibility to a wider audience.

It supports seated and lying down forms of mindful resting.

129

dimensions H: 1500mm W: 1800mm L:1600mm

130

Side.

Back.

131

132

133

134

m . o . r. components The second key iteration of the design development experienced an expansion of components in the refuge space. For the design to be more encompassing for users with restrictions, the space was divided into three parts; the larger seat, smaller seat and floating screen.

135

Lar ger seat.

Smaller seat.

136

Floating scr een.

137

larger seat The larger seat is the greatest area of the three-piece set. Lowest to the ground, it symbolises the first point of access for the user to enter the space. Presented is a space housing room for a single user to lie or for shared experience of seated mindful acts.

smaller seat The smaller seat presents a space that is raised higher than the larger seat for an individual to place themselves within the privacy of the screened refuge space. Here the user may perform a quicker inner reflection, or join someone who is on the larger seat.

floating screen The floating screen adds another layer to the privacy and area in use for the refuge space. As a separated component it allows the user to position it to their liking, whilst extending or retracting the desired zone for the downtime to take place in.

138

Refuge space with thr ee pieces; the lar ger seat, smaller seat and floating sr een.

Top shot of the r efuge space, placement of floating scr een is easily chosen by user.

139

prototyping The prototyping of the final model was a rigorous process. Due to the concept’s scale and assembly of elements, many techniques were involved in the development.

This was a mixture of machine orientated stages and delicate hand produced work.

Prototyping was essential to realising the precise stages in the creation of the screens. This required the preparation of 2.5 m length Victorian Ash stripping’s that were soaked and steamed in a large contraption for half an hour. Once ready, strips were layered around each jig to create the frame. This process was repeated for a double layering.

The support posts were also created from Victorian Ash logs, which were squared off using a jointer, and rounded on the lathe. The forms were kept rounded to emulate the curvaceous theme throughout the piece.

Many of the elements required templates, which were created using CAD software and machined on a CNC mill from large sheet material.

140

These were used in both the jig production and base elements of the refuge concept.

The last serious machining was required for the production of the custom inline pivot joint. The foundation of the design was modelled from existing OEM parts, but appropriated to suit the purpose of this part. It was drawn up using computer aided design software; solid works. The physical prototype was formed first in aluminium for two prototypes and finally machined in brass. The iterations of this element saw a design improvement and enabled a seamless resolution to keeping the ball in the housing compartment without the need for a circlip or other lock-in hardware.

The natural fibre fabrics were chosen for their appropriate colour and feel. These were cut to size from templates. The screen material is fixed between the frame layers via tension of the hem. The upholstered cushioning sits on the base within an edge.

Overall the many elements required time and repeated trials to produce the standard for the final prototype.

141

Snapshots of dif f er ent elemental pr ototyping stages. (clockwise fr om left to right) Victorian Ash being r ounded of f whilst attached to the lathe machine. The next image shows timber clamped and gluing in pr e paration for tur ning .

The third de picts the sanding pr ocess with the inner layer of a ring slipped over the jig for suppor t. The last image shows a brass ball head par t clamped in the metal lathe and par t way thr ough the cutting pr ocess. Each stage was r e peated nine times to pr oduce the nine par ts.

142

143

Scr een jigs cut on 32 mm mdf . Used to for m steamed w ood ar ound.

All designed with clamp holes.

Pr ofile of inline pi vot joint, with ball in housing and plate.

Thr ee pr ototype stages occur ed in the pr oduction of this par t.

144

Templates for the tw o cushions cut on 3mm mdf and pr ofile of the tw o seating bases and their frames cut on 16 mm plyw ood.

145

146

147

148

intimate items Within the space are small intimate items to assist the user’s mindful experience. A small blanket and eye pillow functionally contribute to feelings of comfort and privacy whilst adding an intimate tactile experience when handled. Identified in earlier research into meditation was the importance of touch and smell as tools.

149

150

eye pillow This item provides comfort as a lovely addition to rest upon one’s brow and eyes. Worn when the practitioner is lying down, in for example a Shervasna, commonly practised in the final moments of a moving mindful meditation.

When resting vertically on the large daybed in the refuge space, users are able to apply it. When picked up, the tactile experience further enhances the present mindfulness as the pillow releases a soft lavender scent.

small blanket The need for the blanket arose from both designers own research in meditative practises and an analysis of potential restrictions from the office workers who’ll operate the refuge space. The blanket provides another element of comfort.

Additionally, those in clothing such as skirts may place the item over themselves for an increased sense of privacy.

151

152

153

154

155

156

157

158

159

160

t h e m . o . r. service

161

introduction t o m . o . r. service The Modern Office Refuge is a space designed to accommodate the two acts of downtime explored in this research; meditation and the biophilic experience. The product provides a place for users to participate in mindful practice whilst being exposed to biophilic design features.

The product’s intention is to go beyond its sole implementation in subgrade spaces, the aim is to raise awareness for the value of downtime. Although this current design of m.o.r. incorporates a space for seated and laying mindfulness, once the design is installed, the aim is to produce further iterations that facilitate different acts e.g. audio spaces, eating spaces etc.

162

The use of such a distinctive design aesthetic is to support the products place in the world. The target users in the workplaces will become aware and accustomed to these spaces and the purposes they serve; raising awareness for the value of downtime and therefore feel encouraged to participate in it.

design for awareness The design of m.o.r. has surfaced in response to the findings from research undertaken in the field; the importance of downtime as a means to support human wellbeing and better the way that we are able to work. M.o.r.’s objective is to create a tangible space within which the intangible acts of downtime can be experienced.

Additionally its implementation in workplaces is a collective attempt to raise awareness for the value of downtime and positively change the way we are working and the places in which the majority of

people work. Noted from this projects research is that people undervalue downtime and it’s benefits. M.o.r.’s implementation in workspaces is one way to raise this awareness. It’s installation and trial period in participating offices will generate positive responses from workers. This will assist the spread of knowledge about the thinking behind the service and it’s benefits within the corporate world. As a result there will be an expansion of workplaces that demand an installation of the product and therefore enhance the growth and need for m.o.r.

163

catering to u s e r ’s n e e d s M.o.r. is capable of supporting acts of mindfulness through seated and laying meditation. There are two areas that can be used, opening up the ability from a single to shared experience with one or two concurrent users.

As the first release prototype it aims to cater to as many needs as possible of the users situated in the workplace. Restrictions such as clothing, disabilities, people feeling isolated and under pressure etc. The two areas open up the ability for a communal experience, a design feature that responds to potential fears of isolation. User limitations such as clothing restrictions are aided by a couple of features, the choice of position in the space, the floating screen and a small personal item of a blanket for added privacy.

The low height of the space is the first design concept to cater for users with limited mobility as this elevation for the base enables users to slide down onto it, for example out of wheelchairs if they are restricted to this.

164

This iteration includes these features to cater for the needs of people, however as the first release prototype its implementation into workspaces will reveal other needs for the design to be improved.

Following releases of m.o.r. can be altered and therefore provide an improved practical social dimension of the product. The current design will clearly be improved over time.

The design plans for its quickest possible deliverance into the market so that the benefits of its implementation may be felt and operational lessons learnt.

future partnership A future partnership that m.o.r. strives to establish, once awareness of its value has been recognized, is a collaboration with the organisation Headspace. Headspace is a government established foundation providing mental health and wellbeing support. One of the goals of Headspace is to make the practice of meditation more compelling for people.

Noted is the position whereby many large scale offices include in their budgets funding for employee mental health activities.

So this is a market that currently exists. Companies connect with the m.o.r./headspace service that transport and install the space at the desired location. Here it can stay for as long as the workplace wishes, a few weeks’ trials to a couple of months.

The partnership envisaged as follows: •

•

The designer will run a small startup company to produce the m.o.r. pieces Headspace will create a mindfulness program, which users may access via the app on their smart devices. These can be operated within the refuge space.

165

166

conclusion

167

the path taken A reflection on the journey this project has taken is critical for the designer to evaluate the process that took place, reflect upon the findings and the impact of these and therefore visualise and plan for the path ahead.

The project identified a divide in the working environment between spaces that contain facilities to support the wellbeing of the workers within and spaces that do not. The specific types of facilities were those that assisted the explored acts of downtime of meditation and the biophilic experience. Workplaces without such areas faced barriers preventing their retrofitting. The designer identified the design project of the pop-up as one solution. Coupling the two acts of meditation and the biophilic experience through incorporating biophilic design features into a design space, the designer created a pop-up space, to be easily installed in the workplace environment.

The research began with emphasis on the topic of biophilia. There seemed to be an incredibly inspiring scope of existing research in this area of the field. The designer fortunately came across the report “14 patterns of Biophilic Design”. This presented

168

a highly valid set of design tools in which the designer could reliably use to assist in their direction for designing features into their product for the biophilic experience. The designer’s active research into understanding meditation was extensive, as little research had thus been performed to extend an applied knowledge of it into the design development. This enabled a solid understanding to direct good design decisions when the project was being developed.

The desired impact of this project is to raise awareness of the value of downtime. The traditional view of this act is that it’s wasted time, however the aim of m.o.r.’s implementation into the workplace is to encourage user’s to experience the benefits of acts of downtime. This knowledge can then be shared within the corporate world, and therefore grow the need and demand for m.o.r.

169

170

d e s i g n e r ’s reflection The designer’s own reflection enables recognition of the impact that this projects pathway has had on them.

This project and the nature of completing a yearlong thesis allowed the designer to learn a plethora of new skills, from technical, to a growth in communication. The importance of communication was understood from the beginning, by practicing this, they could share their idea, hear constant feedback and consequently improve upon the project. Communication with peers and others allowed for a transferral of ideas and force the designer to leave their own premise and safety zone for design, whilst encouraging them to respond positively to criticism.

This project has allowed the designer to strengthen connections, and understand the importance of collaboration with others. Many facets of the project presented new techniques the designer had never faced before. Communication with peers and resources available presented a network whereby the designer could go to for help and advice. Problems faced were the design deliverance of many technical elements. These were overcome through the designer’s

full commitment to the project, to discover who could assist them with the problem and therefore go and seek this help out.

One of the most important insights learnt from this process as a designer you may be faced with many large challenges that have yet experienced, but good design occurs in collaborative environments, and through continuous communication and access to information through the networks, challenges can be productively moved through.

This project has strengthened the designer’s confidence in their own practice. The nature of this project, a rigorous focus of design research on a chosen real world issue has driven the designer to be motivated in following a pathway as a designermaker to contribute to effecting positive change in the world, and design insightful projects that strive to make a difference.

171

172

173

174

list of figures Figure 1. An old open plan office interior with the cubicle, a design invented by Robert Propst working in 1960 for the office furniture firm Herman Miller.

Saval, N, 2016, A Brief History of the Dreaded Office Cubicle, The Wall Street Jour- nal, website: http://www.wsj.com/ articles/SB1000142405270230488540457954980 0874319342, last accessed 13 sept

Figure 2. Mimi Jung’s teahouse design, the circular space with rotating walls encloses the user within for a private meditation.

Design Boom. (2016). Mimi Jung’s Modern-Day Teahouse. Retrieved 15 June, 2016 from http://www.designboom.com/design/ mimi-jung-tea-house-chamber-gallery-progressland-05-25-2016/

Figure 3. One of the pavilions designed by Kumo & Kuma associates. The floating teahouse creates form through the inflation of the balloon.

Kengo Kuma & Associates. (2007) Floating Pavillion Pavillion. Retrieved http://kkaa.co.jp/works/architecture/floating-teahouse/

Figure 4. The great workroom in S.C. Johnson Wax Building design by Frank Lloyd Wright design.

Lipman, Jonathan (2003). Frank Lloyd Wright and the Johnson Wax buildings. Courier Corporation,. pg. 94.

Figure 5. Kickstarter’s headquarters 2nd floor library offers both Prospect views and Refuge conditions. Reclaimed heart pine used for interior doors throughout the office provides Material Connection with Nature.

Terrapin Bright Green. (2016). Kickstarter Commercial Headquarters. retrieved 15 May 2016 from http://www. terrapinbrightgreen.com/wp-content/uploads/2015/11/Kickstarter-Spring-16F.pdf

Figure 6. Google headquarters Sydney employees participating in seated mindfulness in their meditation room.

Patty, A, 2005, Mindfulness Takes Over The Corporate World, The Sydney M orning Herald, website: http://www.smh.com.au/ business/workplace-relations/mindfulness- takes-over-the-corporate-world-20151029-gkm4mo.html, last accessed 13 sept

Figure 7. Artists impression of the jungle sphere at the Amazon new building.

Wing eld N, 2016, Amazon Is Building Treehouses To Help Staff Deal With Stress, Financial Review, website: http://www. afr.com/real-estate/commercial/amazon-is- building-treehouses-to-help-staff-deal-with-stress-20160710-gq2szf, last accessed 13 sept/

Figure 8. The designer seated within her pod demonstrating the private small space it creates.

Sewel, F 2016, Freya Sewell Hush, Freya Sewel, website: http://www.freyjasewell.co.uk/work/hush, last accessed 13 sept

Figure 9. Monica Forster’s Cloud meeting room, many people are able to enter and exist the space createed when inflated.

Forster, M, 2016, Cloud | OFFECCT, Offecct, website: http://www.offecct.se/en/ products/room-dividers/cloud, last accessed 13 sept

175

176

177

references ABS Labour Force Historical Time series, Australia (cat. no. 6204.0.55.001); ABS Labour Force, Australia, Detailed, 2011, Quarterly (cat. no. 6291.0.55.003) Browning, B. (2015). Incorporating Nature Into The Built Environment. Linking Theory & Practise, V. 8 Issue 3, from http:// www.terrapinbrightgreen.com/wp-content/uploads/2015/07/HRPS-38.3_LinkingTheory.pdf Cooper, C. & Browning, B. (2015). The Global Impact of Biophilic Design in the Workplace, HUMAN SPACES. Davis, M. C., Leach, D. J. and Clegg, C. W. (2011) The Physical Environment of the Office: Contemporary and Emerging Issues, in International Review of Industrial and Organizational Psychology 2011, Volume 26 (eds G. P. Hodgkinson and J. K. Ford), John Wiley & Sons, Ltd, Chichester, UK. doi: 10.1002/9781119992592.ch6 Design Boom. (2016). Mimi Jung’s Modern-Day Teahouse. Retrieved 15 June, 2016 from http://www.designboom.com/design/mimijung-tea-house-chamber-gallery-progressland-05-25-2016/ Duggan, W (2015). The Seventh Sense; How Flashes of Insight Change Your Life. Columbian Business School, May 2015 Ernst & Young. (2015) Mid-tier commercial office buildings in Australia Research into improving energy productivity, Ernst & Young.

Fisk, W. & Rosenfeld, A. (1997) Estimates of Improved Productivity and Health from Better Indoor Environments. Indoor Air 1997; 7: pp. 158-172 Forster, M (2003), CLOUD, Monica Forster Design Studio, http://www.monicaforster.se/projects/cloud/, last accessed 29th Oct. Grahn, P. & U.K. Stigsdotter (2010). The Relation Between Perceived Sensory Dimensions of Urban Green Space and Stress Restoration. Landscape and Urban Planning 94, 264-275.

Growing, W, & Ryan, C, & Clancy, J. (2014). 14 Patterns of Biophilic Design: Improving Health & Well-Being in the Built Environment. Retrieved June 15, 2016, from http://www.terrapinbrightgreen.com/reports/14-patterns/#front-matter Harvard School of Public Health. (2015). Cognitive Function of Office Workers, Environmental Health Perspectives Journal, from http://www.fm-world.co.uk/news/fm-industry-news/analysis-the-cognitive-case-for-healthy-buildings/ Jabr, F (2013) Why Your Brain Needs More Downtime, Scientific America, from http://www.scientificamerican.com/article/mentaldowntime/ Kengo Kuma & Associates. T Pavillion. Retrieved http://kkaa.co.jp/works/architecture/floating-tea-house, Last accessed 12TH Oct Kellert, S, HeerwagenJ J, and Mador M (2008), Biophilic Design: the Theory, Science, and Practice of Bringing Buildings to Life.

Wiley, New Jersey.

Knight Frank, (2016) Global Cities The 2016 Report, retrieved 20 Jun 2016 from http://www.knightfrank.com/resources/globalcities/2016/all/global-cities-the-2016-report.pdf Kreider, T. (2012). The ‘Busy’ Trap. The Opion Pages. The New York Times. Retrieved from http://opinionator.blogs.nytimes. com/2012/06/30/the-busy-trap/?_r=0, 22 October Lexis Nexis (2010) Workplace Productivity Survey, Retrieved 23 June, 2016 from http://www.lexisnexis.com/en-us/about-us/ media/press-release.page?id=128751276114739

178

Lichtenfeld, S., A.J. Elliot, M.A. Maier, & R. Pekrun (2012). Fertile Green: Green Facilitates Creative Performance.

Personality and Social Psychology Bulletin, 38 (6), 784-797 Lipman, Jonathan. Frank Lloyd Wright and the Johnson Wax buildings. Courier Corporation, 2003. pg. 94.

Maslow, A. H., & Mintz, N. L. (1956). Effects of esthetic surroundings: I. Initial effects of three esthetic conditions upon perceiving “energy” and “well-being” in faces. The Journal of Psychology, 41(2), 247-254.

McGreevey, S. (2012). Meditation’s Positive Residual Effects. Harvard Gazette. Retrieved 22 May, 2016, from http://news. harvard.edu/gazette/story/2012/11/meditations-positive-residual-effects/ Milton A, Rodgers P. (2013). Research Methods for Product Designers. Laurence & King Publishing. pg 34 Musser, G. (2009) The Origin of Cubicles and the Open plan Office, Scientific American, retruievd 23 Jun 2016 from http:// www.scientificamerican.com/article/the-origin-of-cubicles-an/ Salingaros, Nikos A. (2015) “Biophilia and Healing Environments: Healthy Principles For Designing the Built World”. New York: Terrapin Bright Green, LLC. Sewell, F (2015) HUSH, http://www.freyjasewell.co.uk/work/hush, last accessed 29th Oct SMH google headquarters – mindfulness takes over the corporate world, retrieved 15 May 2016 from http://www.smh.com.au/ business/workplace-relations/mindfulness-takes-over-the-corporate-world-20151029-gkm4mo.html Taft, M. (2011). Downtime For The Stoneage Brain. Huffington Post, Retrieved 1 June, 2016 from http://www.huffingtonpost. com/michael-taft/downtime-for-the-stone-ag_b_889446.html Terrapin Bright Green. (2016). Kickstarter Commercial Headquarters. retrieved 15 May 2016 from http://www. terrapinbrightgreen.com/wp-content/uploads/2015/11/Kickstarter-Spring-16F.pdf Tsunetsugu, Y., B.J., Park, & Y. Miyazaki (2010). Trends in research related to ‘‘Shinrin-yoku’’ (taking in the forest atmosphere or forest bathing) in Japan. Environ Health Prev Med 15:27–37.

Ulrich, R, S. (1991) ‚Effect of interior design on wellness: Theory and recent scientific research’. Journal of Healthcare interior design, pp. 97-109.

Vessel, Edward A. (2012). New York University Center for Brain Imaging. Personal communication with the authors.

Wang, K. & R.B. Taylor (2006). Simulated Walks through Dangerous Alleys: Impacts of Features and Progress on Fear.

Journal of Environmental Psychology, 26, 269-283.

Wells, Dr J. (2015) How Meditation is Transforming the Corporate World. From http://drjainwells.com/meditationtransforming-corporate-world/ Wilson, E. O. (1984). Biophilia. Cambridge: Harvard University Press.

Wingfiel, N. (2016) Amazon is building tree houses to help staff deal with stress. Australian Financial Review, July 2016, retrieved from; http://www.afr.com/real-estate/commercial/amazon-is-building-treehouses-to-help-staff-deal-with-stress20160710-gq2szf

179

180

181

182