CULTIVATING COMFORT a study on Scandinavian Design & Wellness Gabby Klein
contents 6 12 20 28 38 58 62
introduction history aesthetics culture the study reflection gallery
author’s note: I am an interior design student. When asked how I decided upon this career, my mind can only trace it back to one place: IKEA. As a young child and adolescent, our family would occasionally make the two-hour trek to our nearest IKEA, usually for the purpose of minor home renovations. My parents always insisted I spend the time in SMALAND, the IKEA kid’s care area where parents can leave their children for a more peaceful shopping experience. After a while, I started to ight them on this, demanding that they include me in the decisions of colors and shapes and textures. From my irst trip through the maze-like showroom, I was hooked. I must have been around ten years old, and textiles were my new favorite thing in the world. Flash forward several years, I am about to graduate with a Bachelor’s Degree in Interior Design, and a minor in Psychology. Throughout the rigorous chapter of learning that was college, I always found myself returning to IKEA for inspiration (even for commercial design projects). The simplicity and whimsy of all of it has always reminded me why I want to design: to positively impact people.
As an honors student, I have been challenged with the opportunity to complete an Undergraduate Thesis or Creative Research Project. With my major in Design and minor in Psychology, I knew from the beginning that I wanted to complete a more holistic study, and eventually decided on the concept of Scandinavian design & wellness. I was eager to explore a culture outside of my own, and in the Summer of 2019 I had the opportunity to travel to Scandinavia to kick of my research. I spent ten days in the region traveling from Bergen, Norway to Stockholm, Sweden to Copenhagen, Denmark. I sketched, journaled, spoke with locals, interviewed designers, walked a lot, ate a lot, and learned a lot. This book acts as a supplement to my written thesis document, including elements of research as well as graphics and visuals. All photographs throughout this book (unless otherwise noted) were taken on ilm by myself, and all sketches are original drawings from my travels. Throughout the process, I have fallen further in love with the culture of Scandinavia, far beyond the minimal design aesthetic that brought me there in the irst place. I hope you enjoy.
intro
row of houses - Bergen, Norway
The look and feel of one’s environment, be it built or organic, has great influence on mood, behavior, and general comfort.
The look and feel of one’s environment, be it built or organic, has great inluence on mood, behavior, and general comfort. Humans are a sensory-driven species, and evolution of design relects this dependence on senses. Products and places across the globe seem to evolve alongside the ever-changing societies who create them, attempting to fulill needs that had not been acknowledged or recognized before. As research in psychology has advanced, the evidence supporting impactful spaces and intentional design has grown. These explorations have given way to a “wellness” movement across all sectors of life, encouraging people to strive for a life of health and happiness. It is an interesting lifestyle approach, but is much more than a popular trend.
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Speciically, when it comes to the spaces humans occupy, interior designers have a new and pressing responsibility to integrate factors of wellness (CIDA, 2020). This includes high indoor air quality, access to natural light and views of nature, opportunities for movement, and physical comfort, among many others. Before this movement, designers were not avoiding these factors. In fact, they may have implemented them just the same without knowing the substantive positive efect on the end user. In the design industry, the “classic� pieces that transcend trends, are often those that have consistently prioritized the human experience, and therefore wellness.
apartment building - Copenhagen, Denmark
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Scandinavian Design & Wellness
ArkDes Swedish Centre for Architecture and Design - Stockholm, Sweden
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After years of research and the introduction of sustainable building standards such as Leadership in Energy and Environmental Design (LEED) and the Living Building Challenge (LBC), the International WELL Building Institute (IWBI) launched the WELL Building Standard. Implemented in 2014, its mission is to “improve human health and well-being through the built environment” (International, 2020, par. 2). Further, “WELL brings a holistic, socio-ecological approach to building design, policy and operations. This comprehensive focus on well-being ensures that we are creating spaces that help people thrive” (Loder, 2019). Intended to work in junction with existing building standards, the relationship can be described as follows: what LEED is for the environment, WELL is for the occupants. LEED initiatives strive for sustainable buildings that prioritize the surrounding environment and community, and WELL initiatives focus more on the psychological impact of human-centered design. There are many concepts that overlap between the two standards, but for the purpose of this research, WELL will be the primary focus. The WELL Standard serves a unique role within the design ield, as it ofers a metric to quantify what has previously been an abstract feeling of comfort (International, 2020). The scientiic and psychological research behind the concepts explain why it feels good to look out of a window while inside, and why people prefer some chairs over others. It is an explanation for something that has long been an intrinsic need. Throughout centuries and across regions of design, Scandinavian practices have implemented features of wellness and sustainability from the earliest stages of building development. The modern “look and feel” of the Scandinavian design style is based primarily upon a few key traits, all of which have great impact on the human experience. Through exploratory qualitative research, this study intends to explore the presence of wellness features in Scandinavian Design throughout the growth of the Scandinavian modern movement, and how these practices may be integrated and adapted in both commercial and residential design in the United States (U.S.). An exploratory research design will include interviews with selected Scandinavian designers to gauge their perceptions on the essential components of the Scandinavian design style. 11
Christiansborg Palace - Copenhagen, Denmark
history
Scandinavian design, like design from any region, has existed nearly as long as the region itself, evolving alongside culture and technology. Scandinavian design, like design from any region, has existed nearly as long as the region itself, evolving alongside culture and technology. Despite its early origins in the 1920s, the Scandinavian design “style” grew popular internationally throughout the 1950s with the emergence of traveling household design exhibitions (Brand, 2007). Between 1954 and 1957, the Design in Scandinavia (DiS) event took place at 24 locations throughout the U.S. and Canada (Guldberg, 2011). Over half a million Americans gathered to experience Scandinavian culture in the form of furniture and other household items designed with care and great simplicity. This exhibition focused on the concept of “design for everyday use”, and catered to Americans’ typical domestic needs (Guldberg, 2011, p. 52). The movement continued to popularize into the 1960s and 1970s with the post-war shift from necessary craft to curated design within both residential and commercial environments. 14
This is not to say that design became ornamental, but rather that the functionality of Scandinavian design combined with its inherent simplicity ofered a new “democratic� and eicient approach. This idea of democratic design promoted a focus on functionalism in every aspect of daily life. Even within the last 20 years, Nordic countries have been relecting on how design can push towards positive social change. Finland, Norway, and Sweden joined together in this efort during the 2005 Year of Design exhibition, hoping to explore existing design practices and the potential for improvement within the public and private sectors (Balmond, 2005). The exhibition helped to globalize the successful traits of Scandinavian design, including functionality and user experience, among others.
Christiansborg Palace - Copenhagen, Denmark
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key players
Jens Risom (1916-2016)
Based in Copenhagen, Denmark, Jens Risom is known for his contributions to furniture of the Scandinavian Modern movement (Fiell & Fiell, 2016). His studies in furniture and interior design and multiple apprenticeships under successful designers led him to his own successes. Risom left Copenhagen for New York City where he designed textiles for Dan Cooper, before designing the irst chair to be manufactured by Knoll. The WSP chair is just one of many notable designs from Risom, including the Lounge Chair and Amoeba Table (Fiell & Fiell, 2016). His use of organic forms, ergonomics, and high-quality craftsmanship made Risom a key contributor to the growth of the Scandinavian Modern movement in the United States.
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There were several key players in the growth of the Scandinavian design style, and from this earlier period came many well-known individuals best known for their designs of products, furnishings, interiors, and textiles. Some of the most prominent are Alvar Aalto, Poul Henningson, Maija Isola, Arne Jacobsen, Grete Jalk, Greta Magnusson Grossman, Borge Morgensen, Verner Panton, Jens Risom, Eero Saarinen, Astrid Sampe, and Hans Wegner.
Hans Wegner (1914-2007)
The emphasis on craftsmanship in Scandinavian design may be attributed to the work of designers such as Hans Wegner. With early training in carpentry and exposure to his father’s cobbler work, Wegner entered his professional career as a furniture designer in 1943 (Fiell & Fiell, 2016). A few of his most recognizable chairs include the Round chair (Classic Chair), the Peacock chair, and the Y-chair, many of which were constructed from solid wood (Fiell & Fiell, 2016). Despite practicing in the mid-century era, Wegner’s designs call back to early Scandinavian values of craft and simplicity, and are still widely appreciated in today’s industry.
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Alvar Aalto (1898-1976)
A native to Finland, Hugo Alvar Hendrik Aalto was an architect, interior designer, and furniture designer who contributed greatly to the Scandinavian Modern movement of the 1920s. Aalto is known for his organic expressions, both in shape and materiality, and his dedication to humanizing design (Fiell & Fiell, 2016). The Paimio TB Sanatorium (1929-1933) and the Viipuri Library (1927-1935) are two of Aalto’s many inluential projects, both ofering a sincere consideration for the physical and psychological needs of the user through use of ergonomics and natural light (Fiell & Fiell, 2016). At a smaller scale, Alvar Aalto and his wife, Aino Aalto, experimented in furniture design using molded plywood and veneer bonding and eventually founded the manufacturing company Artek in 1935 (Fiell & Fiell, 2016). This production technique would later serve as an inluence to mid-century American designers such as Charles and Ray Eames.
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Maija Isola (1927-2001)
The work of textile designer Maija Isola is very clearly inspired by nature and ofers a unique simplicity of shape and color. Also native to Finland, Isola studied painting in Helsinki before entering her career as a textile designer for Printex in 1949 (Marimekko, 2020b). In 1951, Printex evolved into what is now known as Marimekko, a “Finnish lifestyle design house” known for clothing and home goods that celebrate “original prints and vibrant colours” (Marimekko, 2020a, par. 1). Isola was inspired by traditional folk art, modern visual art, and nature itself. Isola’s daughter, Kristina, helped her mother with pattern design from an early age (Finnish Design, 2020). In her 38 years at Marimekko, Maija Isola designed over 500 fabric patterns, the most notable being her Unikko or Poppy print of vibrant pink and red lowers (Marimekko, 2020b). Her work ofered a playful approach to textiles both for interiors and clothing, and continues to live on through her daughter’s designs and through Marimekko.
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aesthetics
simplicity Scandinavian design is timeless because it belongs to a philosophy of thinking rather than a trend. -Michael Fox (Saab art director)
Danish design and culture are about an atmosphere and an experience, rather than about things. -Meik Wiking, The Little Book of Hygge
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Many design styles from the 20th century are associated with simplicity, including the Bauhaus movement in Germany and the Mid-Century Modern movement in America. The simplicity within the Scandinavian Modernism movement is unique in that it maintains luidity within simple forms, as opposed to the hard geometry and bold forms that grew popular in other regions (Scandinavia, 2007). In a cross-cultural study by Skjerven (2012), a North-South approach encouraged the sharing of information between China and Scandinavian countries to improve product development and sustainability. Towards the end of the study, Chinese university students were given a questionnaire and were asked to share what they understood as the common traits of Scandinavian design, based on the previous collaboration. Of the ive most reported traits, simplicity of form was in the top three (Skjerven, 2012). This study allowed the two regions to compare and contrast their cultural identities. This was done not to encourage conformity, but rather to increase global awareness and consider an outside approach to sustainable product development. In Meik Wiking’s book, The Little Book of Hygge (2017), simplicity is stated as a crucial element to Danish design and culture, among others such as functionality and modesty. Why is simplicity in design so often perceived a positive aesthetic trait? Colomina and Wigley (2016) propose that the visual smoothness that is often seen in modern design ofers a frictionless nature that humans associate hopefully with a frictionless society. Colomina and Wigley’s (2016) proposition speaks to the subliminal efect design can have on humans far beyond the tangible look and feel.
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functionality The authenticity of Scandinavian design is highly dependent upon the concept of purpose and function. As the style grew in popularity, so did the desire for “design for everyday use” (Guldberg, 2011, p. 52). However, even some of the earliest Scandinavian designers placed an emphasis on function. Alvar Aalto’s Paimio chair is a strong example of purposeful design, as it not only ofers the typical function of a chair, but also heavily considers the comfort of the end user (Fiell & Fiell, 2016; Sternberg, 2010). The chair addresses speciic needs of tuberculosis patients, using a reclined back to facilitate breathing and general comfort (Fiell & Fiell, 2016; Sternberg, 2010). While the Scandinavian design aesthetic can be replicated in any country, it will not be successful unless it returns to the issue of function and purpose. Design should further contribute to the eiciency and comfort of one’s lifestyle. The concept of minimalism is also related to the concept of function in both design and in nature. All parts of nature serve a function within a particular ecosystem, and Scandinavian design seems to strive towards a similar structure. All objects designed and created can serve a function for humans and ofer some necessity to living, similar to trees, sunlight, or the ocean. Minimalism and simplicity, therefore, should not be an aesthetic quality that designers work towards, but rather a result of thoughtful and functional design.
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furniture store - Copenhagen, Denmark
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nature One key takeaway from the research of Skou and Munch (2016) is that Scandinavian design has always revolved around function, particularly as a means of survival. A large part of that survival has been, and still involves, coexisting with the physical environment by which humans are surrounded (i.e., nature). For example, climate and environmental context may inluence the chosen materiality of a piece as well as the form. These practices can be seen within designs from other regions as well. However, the locality and regionalism present in Scandinavian furniture and design display a strong connection to the natural landscape.
hill in the Fjords - The Fjords, Norway
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Alvar Aalto is one of many early Scandinavian designers who took great inspiration from nature and the landscape. The Savoy vase and the Viipuri Library are two notable examples, with the organic curves and materiality relecting characteristics of the landscape of Finland, particularly the lakes and hills (Fiell & Fiell, 2016). Additionally, Maija Isola’s Unikko or Poppy textile pattern was directly inspired by lower pressings found in her nearby landscape (Marimekko, 2020b). Many of her other patterns are named quite literally after elements of nature for their unique and simple forms. In regards to materiality, Hans Wegner’s use of solid wood speaks to the regional identity of his work as well as the connection to nature through sustainable sourcing (Fiell & Fiell, 2016). The connection to nature seen throughout the Scandinavian design style transcends beyond concepts of shape and materiality, ofering a unique experience in part due to the consideration of light. Natural light is sparse for over half of the year in Nordic countries, presenting an interesting challenge to make use of the natural light when it is available, and to ind ways to supplement when it is not (Scandinavia, 2007; Wiking, 2017). In deining the concept of hygge, Wiking (2017) notes that light is one of the most important factors that contributes to an individual’s sense of comfort, safety, and coziness. Between October and March, Nordic countries receive only about ive hours of sunlight each day, and even then, it is likely to be cloudy if not raining (Wiking, 2017). The challenge lies in maintaining a sense of aesthetic and visual comfort for the user, especially in the home, during these months of darkness and cold. This may explain the use of natural materials that are tactile, including light wood, as well as incorporation of ambient lighting such as lamps and candles (Wiking, 2017).
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culture
city and water - Stockholm, Sweden
happiness Denmark is among the world’s happiest countries. This is in part due to the existence of a strong civil society, a well-functioning democracy, a high degree of security, trust, freedom and prosperity, together with good working conditions that allow room for a balanced life. -The Happiness Research Institute (2014)
young girl and pigeons - Bergen, Norway
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The Happiness Research Institute has completed a number of studies that explore the concept of happiness in its subjectivity, and what external and internal factors may play a part in determining how and why people are happy. Happiness is divided into two categories: short-term (a special situation such as an engagement, job acceptance, etc.), and long-term (deeper, fundamental life satisfaction) (Wiking, 2014). Using these diferentiations, overall long-term happiness in Denmark is substantially high due to several factors, a few of which will be explained in further detail. Trust & Security. These ideas go hand in hand, and research (Wiking, 2014; Wiking, 2017) has found that trust within a society increases levels of comfort and convenience, which may in turn decrease levels of stress and worry for individuals. A source of this trust may be security, particularly economic welfare, which ofers a signiicant safety net for unemployed individuals in Denmark (Wiking, 2014). In both the Nordic region and the United States, unemployment and inequality of income are within the top ive factors contributing to struggling, sufering, and overall unhappiness (WELL, 2016b; Andreasson & BirkjÌr, 2018). Work. Danish workplaces are characterized by high levels of autonomy and job quality giving workers a sense of control as well as security, therefore increasing happiness (Wiking, 2014). The concept of hygge is often mentioned in regards to one’s home. However, 78% of Danes say that work should also exhibit factors of hygge (Wiking, 2017). Balance. Work-life balance and lexibility are heavily prioritized in Denmark, perhaps explaining why individuals feel so positive about their workplace experience (Andreasson & BirkjÌr, 2018; Wiking, 2014). Additionally, commuting times in Denmark are reportedly shorter than averages in other countries (Wiking, 2014). This contributes to decreased stress levels as well as increased balance between time spent at home and time spent at work.
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democracy The Danish welfare system turns collective wealth into well-being; an investment in quality of life. -Meik Wiking, The Little Book of Hygge
Denmark in particular is recognized for high levels of political participation, as well as strong local governments with a focus on citizen-based solutions (Wiking, 2014). However, the concept of democracy goes beyond the governmental sector. Skou and Munch (2016) touch on the inluence of politics both regionally and internationally and how this may afect the Scandinavian design style. Scandinavian design has been referred to as democratic for its modesty of materiality and accessibility to individuals across economic classes (Scandinavia, 2007; Martensson, 2012; Skjerven, 2012; Skou & Munch, 2016). Skou and Munch (2016) argue that design may not be fully democratically inclusive when ideas of aesthetics are introduced, as this requires a sensibility that not all individuals possess. Still, they agree that democracy in design involves the concept of accessibility (Skou & Munch, 2016). In the United States, democracy in design can be seen in the Americans with Disabilities Act (ADA) whose standards “set minimum requirements – both scoping and technical – for newly designed and constructed or altered State and local government facilities, public accommodations, and commercial facilities to be readily accessible to and usable by individuals with disabilities” (Department, 2010, p. 1). Accessible design considers needs such as those outlined in the ADA code, while the concept of universal design expands the responsibility of designers to consider the needs of humans as a species, across countries. Universal design is particularly challenging in that it can be tempting to overgeneralize the human experience. 32
arches outside Stockholm City Hall - Stockholm, Sweden
Research by Bendixen and Benktzon (2015) explores the idea of “design for all,� and how Scandinavian countries have continually implemented practices that surpass accessibility in traditional terms. While in the U.S., codes such as ADA are primarily applicable to architectural and interior construction, many Scandinavian designers apply values of accessibility to both spatial design as well as product design, such as food jars or cofee makers (Bendixen & Benktzon, 2015). This is the type of consideration for daily design interactions that further increases the presence of democracy in design. 33
landscape + climate
pier and ish market - Bergen, Norway
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As was mentioned, the landscape of Scandinavia contributes greatly to regional design characteristics, as well as culture. Before today’s technological evolutions, accessibility to nature was based solely on proximity, and with the growth of modern cities landscapes have become less accessible. In Norway, an updated perspective on landscape as being recreational has evolved, bringing nature into the “experience culture” and making it accessible for everyone’s consumption (Bengtsson & Zetterström, 2012, p. 9). Additionally, preservation of the landscape has been noted as a key cultural trait of Scandinavia (Hagelstam, Visser, & Lamppu, 2011; Bengtsson & Zetterström, 2012). There is an appreciation and responsibility for designers, architects, and engineers to create a “clariication of the landscape’s own impulses” (Bengtsson & Zetterström, 2012, p. 12). Beyond the landscape, the climate in Scandinavia inluences nearly all aspects of daily life. Between October and March, people spend large amounts of time in their homes due to the minimal daylight and excessive rain (Scandinavia, 2007; Wiking, 2017). Conversely, many businesses close for at least a month between June and August to allow employees to enjoy the summer weather while they can (Wiking, 2017). The inluences of Scandinavia’s landscape and climate can be seen in both the aesthetics and the functionality of the designs.
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sustainability The average day involves the experience of thousands of layers of design that reach deep into the ground and outer space but also deep into our bodies and brains. -Colomina & Wigley, Are We Human?
ladybug on a leaf - Copenhagen, Denmark
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It is important to note that the concept of sustainability exceeds the environmental deinition, considering the natural aspects as well as the cultural. While environmental sustainability in Nordic countries involves landscape preservation and use of available materials (Hagelstam, Visser, & Lamppu, 2011), cultural sustainability can be deined as the practice of “securing an endurable and mentally meaningful future while reestablishing coherence with cultural traditions” (Skjerven, 2012, p. 232). In the 1980s, sustainability began as conceptually holistic, but when it came to quantifying sustainable eforts an environmental approach took priority (Skjerven, 2012). Today, sustainability, particularly in the design industry, is returning to a holistic approach that aims to contribute to human well-being and a better future for mankind. In observations of Scandinavian design, the connection between cultural and environmental sustainability is clear: “everything is partly a consequence of prevailing life conditions and partly formed by the landscape” (Bengtsson & Zetterström, 2012, p. 114). In relecting on sustainability in the fashion industry, a designer in Norway aims to “design products with a decent lifespan, not just ephemeral things and the latest fashion” (Bengtsson & Zetterström, 2012, p. 46). In broader terms, Colomina and Wigley (2016) speculate that “the promise of good design is to produce good humans”, speaking to the impact of sustainable practices on future generations (Colomina & Wigley, 2016, p. 83). Scandinavian design and the overall culture prioritizes sustainability on both an environmental and cultural scale through resourceful use of materials, attention to the existing landscape, and human-centered philosophies.
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Rosan Bosch - Copenhagen, Denmark
the study
What do Scandinavian designers perceive as the essential traits of the Scandinavian design style, and what relationship, if any, exists between these traits and the concept of wellness?
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methodology procedure The researcher made use of a purposive sampling method based on an exploratory qualitative research design. Based on the literature review, the researcher identiied traits of Scandinavian design that would likely be prevalent in the work of today’s Scandinavian designers. Based on these identiied traits, the websites of Scandinavian design irms were reviewed and analyzed. Thirteen irms were identiied as having portfolios and philosophies that would provide insight into Scandinavian Architectural and Design practices. Of the 13 irms contacted, three selected to participate in the research study (23% response rate). The researcher was able to conduct three in-person, semi-structured interviews. According to Patton (2002), the purpose of interviewing “is to allow us to enter into the other person’s perspective. Qualitative interviewing begins with the assumption that the perspective of others is meaningful, knowable, and able to be made explicit. We interview to ind out what is in and on someone else’s mind, to gather their stories” (p. 341).
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The irst interview was more like a focus group, with four employees of 3xn at their oice in Stockholm, Sweden. The second interview was with a designer at Rosan Bosch, at her oice in Copenhagen, Denmark. The third interview was with a researcher/designer at Gxn (daughter company of 3xn) at the 3xn headquarters oice in Copenhagen, Denmark. All interviews were recorded by the researcher and then transcribed into word processing software for content analysis. “Content analysis is an empirically grounded method” (Krippendorf, 2013, p. 1). The qualitative research technique makes valid inferences from bodies of text. “Every content analysis requires a context within which the available texts are examined. The analyst must, in efect, construct a world in which the texts make sense and can answer the analyst’s research questions” (Krippendorf, 2013, p. 30). The researcher was responsible for the thematic coding for this study and is knowledgeable about the interview subject matter. Coding is the process of structuring the data. It is the procedure used for recording and categorizing text into mutually exclusive subsets. Krippendorf (2013) states that coding the content of text or other data is more reliable than using experts who tend to read between the lines, “often with remarkable intersubjective agreement” (p. 26). Units are deined in coding to “increase the productivity, eiciency, and reliability of content analysis research” (Krippendorf, 2013, p. 98). Units are individual elements of text, and can be single words or longer text segments. Extracted units for this study will be explained in further detail in the discussion section. Responses to the interview questions varied from a few sentences to several paragraphs. The researcher marked as a codable unit any portion of text to which the code applied, regardless of text length. Therefore, some coded units were a few words while others were complete sentences or even an entire paragraph.
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3xn Headquarter Oice - Copenhagen, Denmark
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results prominent themes Throughout the stated interviews, the researcher asked a series of questions pertaining to the key traits of Scandinavian design, how they have (or have not) changed over time, and the interviewee’s perception of wellness as a whole. The speciic questions are as follows:
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1.
What would you say are some identifying elements/values of Scandinavian design? Do you think these have changed over time? If so, what direction are they headed in now?
2.
In your workplace, what are the key values within the projects you do? How do these coincide with Scandinavian design values of past and present?
3.
What does wellness mean to you?
3Xn Headquarter Oice - Copenhagen, Denmark
The responses and conversations that arose were transcribed, and then evaluated through thematic coding. During data analysis, three primary themes were identiied: sustainability, materiality, and community. The units of analysis consisted of words and short phrases with similar themes that were later placed into these three categories. Sustainability, including aspects of ecology, economy, and society, is a consistent topic that arose in all three interviews. The designers often mentioned the use of natural materials, the ability to control materials, and the aesthetics of particular materials, leading to the theme of materiality. Additionally, concepts of gathering, meeting, togetherness, and interaction, lead to the overarching theme of community. Each of these themes will be discussed in further detail in relation to the literature review in the following discussion.
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discussion sustainability Each interviewee mentioned sustainability in some form as a critical element of Scandinavian design. The approach to this topic is quite complex and holistic, looking at three diferent types of sustainability: environmental, economic, and social/cultural. In one interview, the individual diferentiated these sectors with the following questions:
Environmental sustainability: Most people are familiar with this. You’re talking about kilowatt hours, cubic meters of water, and so forth. Economic sustainability: How can you retain value within this new building? Is this a building that is lexible? Can it host diferent sorts of people at diferent times of day? Can it be easily adapted over time? Social sustainability: How can we make this a building that people want to use, and want to keep using? How can this building or design contribute to the social well-being and welfare of people?
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This approach encourages architects and designers to push beyond the existing environmental sustainability movements and consider the more personal impact that a space can have from big cities to everyday lives. Social sustainability in particular is a focus area throughout Scandinavia, even outside the design industry. It encompasses the need for the space to be used, but also the impact on its users, and the accessibility component. In recalling the research (Scandinavia, 2007; Skjerven, 2012; Skou & Munch, 2016) that spoke of Scandinavian design being democratic, social sustainability serves as an evolution of this idea. Whereas previous notions of democratic design may have referred to fair pricing and accessible quality design, the push for social sustainability brings a new complexity surrounding the needs of the user. One designer stated in her interview, we cannot standardize anybody, especially when we are working with people and that in their irm’s projects they are trying not to see [their] users as ‘square’. This approach considers the inherent diversity of people and their needs, and calls for practices of innovation over standardization. In this way, universal, human-centered design practices contribute to the Scandinavian ideal of social sustainability, considering the holistic impact that a space may have on communities and individuals throughout time.
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sustainability + wellness
mountains in The Fjords - Norway
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In the U.S., sustainability design practices are often attributed to organizations such as the USGBC and the LBC, both of which ofer guidelines and certiications for buildings that meet sustainable measures. Both of these particular building standards place an emphasis on environmental sustainability, an area that is still not as mandated as in the Nordic countries. However, the WELL building standard evaluates the well-being and welfare of the end user, perhaps serving as a form of social sustainability. Speciically, WELL v2 looks beyond the use of air, water, and materials, and explores concepts of movement, mind, and innovation. Some Nordic countries like Sweden have environmental sustainability building standards (Swedish Green Building Council), and some use LEED as a framework to deine their own requirements. Still, it is rare to see a Scandinavian design irm that is not pursuing one or more aspect of sustainability. This also ties back to the North-South study by Skjerven (2012), noting the evolution of sustainability to address the human mind as well as the environment.
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materiality
Materiality was mentioned in two of the three interviews as an overall important design component, and further as an area of focus in Scandinavian design. Materiality goes beyond the aesthetic needs of a space. One designer noted that control of materials is one of the best things for the overall building, for the whole space speaking to the importance of intention in speciication of materials. Another interviewee spoke to the holistic approach of early designers in Scandinavia: they design every part of the building and follow it from the irst step. Then they go out to the construction site and control all the materials. This level of control may be diicult to acquire in the context of large commercial irms. However, it is the responsibility of architects and designers in any region to advocate for the best interest of the project through intention of design, including material speciications. Of course, there is a signiicant impact on aesthetics when it comes to materiality, and the use natural materials is perceived as being particularly Scandinavian. The aesthetic of Scandinavian design is described by one designer as sensual minimalism with elegant simplicity, relating back to observations of simplicity in early Scandinavian design (Scandinavia, 2007; Wiking, 2017). As research has developed, materiality has shown to impact the user experience beyond visual and physical explanations.
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Swedish Green Marble loor, Stockholm City Hall - Stockholm, Sweden
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materiality + wellness
Within the WELL v2 standard, the concept of materiality refers to the potential danger to users based on exposure to chemicals found in building materials (WELL, 2018). The impact of materiality on occupant health is proven in research on sick building syndrome, “a condition where people in a building sufer from symptoms of illness attributed to time spent in poor indoor environmental conditions� (U.S., 1991; WELL, 2016a). Architecture may be seen as a branch of medicine, as it has the potential to heal and improve quality of living (Colomina & Wigley, 2016). Additionally, psychological research (Channon, 2019) notes the importance of engaging with one’s sense of touch through the use of natural and tactile materials, which has been seen to support mental well-being. However, materiality may transcend beyond the tactile environment, referring to concepts of light and nature as types of materials.
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As previously discussed, connection to nature plays a large role in the aesthetics of Scandinavian design, but it also contributes on a greater level to the wellness of the user. Health and happiness are both shown to be directly linked to engagement with nature (Andreasson & Birkjær, 2018). For example, the early studies of Roger Ulrich (1984) explored the efects of natural light and views of nature on hospital patients. Ulrich pioneered a movement referred to at the time as ecological health, which promoted healthcare design with integration of gardens, views of nature, artwork, soothing sounds and colors, as well as gathering spaces for families (Sternberg, 2010). His research found that providing views of nature in patient rooms increases rate of recovery and lowers overall stress levels (Ulrich, 1984). This discovery sparked further ideas of design intended to heal. An example of healthcare design with integration of nature can be seen in the Alnarp Rehabilitation Garden in Sweden. Designed in 2001, the Alnarp Rehabilitation Garden ofers access to nature for chronically ill patients, including “areas for rest and contemplation, as well as for activities and work” (Grahn et al., 2007, p. 2). Particularly in Scandinavia, the use of light and nature as materials is key to occupant well-being in the winter season of cold, darkness, and rain. One designer spoke to the importance of light and natural materials, noting that it’s all dark here, so light has always been important as well. Here you really need to think about it. This circles back to the physical materiality of spaces and objects, as lightness of color can impact the user experience similarly to the presence of actual light.
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community I think one important thing from the beginning has always been to make people meet and gather, and to create new meeting spaces and always keep that in mind in all the building designs. You can particularly see that in all the feature staircases...so the regular place to meet might have been a cofee place, but maybe now it’s a part of a staircase or something else.
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In all three interviews, factors of community were mentioned multiple times as key elements of Scandinavian design both past and present. The importance placed on social sustainability alone speaks to the Danish dedication to social connections and welfare. The Danish term fĂŚllesskab translates loosely to a sense of togetherness, and is perceived as an admirable concept throughout the culture. In one interview, designers noted that in Scandinavian design, there is a focus on the low of people and how they meet.
There is a responsibility for designers to enable these connections and interactions through space programming and adaptability of the built environment. One of the irms chosen for this study uses a slogan, architecture shapes behavior. A designer from this irm elaborated on this, asking what sort of life is this [design] going to frame? Seeing architecture as a framework for life and social life is important, and I’d say that’s very Danish. The architecture and design industry thus becomes a combined study of science and art, considering the complex impacts a space may have on an individual, a society, and a culture. Beyond Scandinavia, workplace design in the U.S. has progressively become more collaborative, considering the variety of needs that exist within a diverse workforce, and facilitating social interaction (Channon, 2019; Loder, 2019). Not only does this type of space planning facilitate concepts of community, but also concepts of movement. Designing buildings that encourage movement boosts the endorphin levels in the brain, which therefore increases happiness and reduces stress (Channon, 2019). This strategy is used often in workplace design, but is growing in importance within public work, higher education, and even healthcare projects.
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community + wellness Community and wellness are inherently related. Research from Wiking (2014) explores the impact of a strong civil-society on long-term happiness for the people of Denmark: “The most important social relationships are close relationships in which you experience things together with others, and experience being understood; where you share thoughts and feelings, and both give and receive support” (Wiking, 2014, p. 46). Conversely, research from Andreasson and Birkjær (2018) found that in the Nordic region, lack of social contact is a driving force of unhappiness, and often afects men more than women. Lack of social contact among other factors including general health, unemployment, and social welfare, can all contribute to unhappiness on a societal and cultural scale (Andreasson & Birkjær, 2018). Outside of Scandinavia, research shows that 84% of employees state that work has contributed to poor mental health, while only 45% feel that their workplace organization successfully addresses mental well-being (Deloitte, 2017; NHS, 2018; Channon, 2019). The WELL v2 standard Community concept begins to address this, as it “aims to support access to essential healthcare, workplace health promotion and accommodations for new parents while establishing an inclusive, integrated community through social equity, civic engagement and accessible design” (WELL, 2018). Further, the Mind concept “promotes mental health through policy, program and design strategies that seek to address the diverse factors that inluence cognitive and emotional well-being” (WELL, 2018). These two concepts, along with others in the standard, increase the quality of design and the attention to occupant health and happiness, therefore making for better communities.
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In further considering community wellness as a standard for design, psychological comfort is a critical component. Several of the interviewed participants mentioned safety as an aspect of wellness, and further noted the concept of “prospect and refuge,” which can be explained as a primitive instinct to orient oneself in a way that allows for awareness of surroundings and some form of protection. The interviewee used the example of an individual in a cofee shop: not many people would feel comfortable with their back exposed to a window or to an open space, and many tend to prefer sitting with their back to a wall, perhaps with a view over the entire café. This may change according to the function of a space and the designated activity within. However, in the built environment this concept speaks to the importance of lexibility and choice for the user in order to provide maximum physical and psychological comfort. This supports the research of Wiking (2017) stating that hygge involves an invisible quality of security, safety, and trust. When these values exist, they often transcend across many aspects of a culture. The built environment ofers an opportunity to support community through consideration of individual, societal, and cultural needs.
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canal & church spire - Copenhagen, Denmark
reflection
limitations As in any research study, this study is bound by limitations. The small sample size of three selected irms and six participants ofers a limited view on a much larger concept. Additionally, two of the conducted interviews were with the same irm, at oices in diferent cities, potentially accounting for similar viewpoints and responses. While two of the three interviews involved a typical one-person setup, one of the three interviews was with four designers and functioned more like an informal focus group. This participation of additional designers in the irst interview was beyond the researcher’s control. Though it did provide a slightly larger base of data, the presence of one designer and the expression of their opinion may have swayed other designers to freely express their opinion. These limitations should be addressed in subsequent research based on this study’s indings. Any generalizations beyond this study sample must be made with an understanding of these limitations. Future research would beneit from a larger sample size, with equal representation from all four Scandinavian countries. It would be helpful to hear from designers from a variety of irms, including small-scale residential as well as large commercial companies, and to have a variety of participants based on factors of age, years practicing design, educational background, etc. Future research may also consider exploring perceptions of Scandinavian design from outside countries, and how the history of Scandinavian design is being taught outside the region.
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In conclusion, both the literature review and the current study support the presence of some connection between factors of Scandinavian design and factors of wellness, as outlined in the WELL Building Standard. The data reported in this study provides some insight into Scandinavian designers’ perceptions of their own practices, and begins to connect these factors to a more global approach to architecture and design. Future research on cross-cultural design practices may contribute to a greater emphasis on occupant well-being and intentional design.
3Xn Headquarter Oice - Copenhagen, Denmark
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gallery a collection of film photos and sketches taken and drawn throughout Scandinavia
Copenhagen Opera House - Copenhagen, Denmark
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ladybugs on a bench - Copenhagen, Denmark
view from Ulriken cable car - Bergen, Norway
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ceiling detail at Christiansborg Palace - Copenhagen, Denmark
canal & houses - Copenhagen, Denmark
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Amalianborg Palace - Copenhagen, Denmark
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rain at Christiansborg Palace - Copenhagen, Denmark
Christiansborg Palace - Copenhagen, Denmark
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Gastronomisk Innovation - Copenhagen, Denmark
Christiansborg Palace - Copenhagen, Denmark
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Hans Christian Andersen Little Mermaid sculpture, Edvard Eriksen - Copenhagen, Denmark
Lille Langebro cycle and pedestrian bridge - Copenhagen, Denmark
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Rosan Bosch architecture and design irm - Copenhagen, Denmark
Bjarke Ingels Group FORMGIVING exhibit at Danish Architecture Center - Copenhagen, Denmark
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buildings on the water - Bergen, Norway
view outside 3Xn oice - Copenhagen, Denmark
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buildings and bikes
sky and movement
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ladybug on a leaf - Copenhagen, Denmark
building construction - The Fjords, Norway
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waterfall in The Fjords - Norway
housing complex - Copenhagen, Denmark
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Copenhagen canal tour - Copenhagen, Denmark
3Xn Copenhagen - Copenhagen, Denmark
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interior and study models at 3Xn Copenhagen - Copenhagen, Denmark
Stockholm City Hall exterior - Stockholm, Sweden
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waterfall 2 in The Fjords - Norway
out and about - Stockholm, Sweden
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cruise through The Fjords - Norway
Banquet Hall at Stockholm City Hall - Stockholm, Sweden
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view from inside Stockholm City Hall - Stockholm, Sweden
Moderna Museet Art Museum - Stockholm, Sweden
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the city - Stockholm, Sweden
ish market - Bergen, Norway
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Golden Hall at Stockholm City Hall- Stockholm, Sweden
building forms - Copenhagen, Denmark
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yellow alley - Copenhagen, Denmark
Cafe Blom at ArkDes - Stockholm, Sweden
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Bryggen across the water - Bergen, Norway
houses on a hill - Bergen, Norway
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ArkDes - Stockholm Sweden
irst meal in Scandinavia - Bergen, Norway
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view on a walk - Bergen, Norway
neighborhood cafe - Bergen Norway
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windows - Bergen, Norway
young girl and pigeons - Bergen, Norway
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park - Bergen, Norway
lora - Bergen, Norway
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viewpoint - Bergen, Norway
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rooftop
view from top of Ulriken - Bergen, Norway
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top of Ulriken - Bergen, Norway
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Bryggen Heritage Site - Bergen, Norway
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neighborhood - Bergen, Norway
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key terms Aesthetics The underlying principles of a particular design movement. Aesthetics often vary based on time period, as well as political and regional context. Encompasses the “look and feel” of a space. Comfort A physical state of ease and relaxation, often having to do with one’s immediate surrounding environment, as well as one’s emotional state. Culture A set of societal values and behaviors that serve to deine and diferentiate one group of individuals from another. Cultural Sustainability Refers to “securing an endurable and mentally meaningful future while reestablishing coherence with cultural traditions” (Skjerven, 2012, p. 231). Design The practice and execution of creative ideas, speciically pertaining to the built environment, including sectors of industrial, architectural, interior, and environmental design. Ergonomics The study of work, and how physical objects can be designed and altered to work eiciently for humans on a daily basis. Functionality The quality of being able to properly and eiciently serve a purpose, ofering ease and convenience where there may not have previously been this quality. Human Centered Design Practices of design that consider humans as the priority, often taking into account factors of comfort, ergonomics, and accessibility. Hygge (hoo-ga) A Danish word used to capture the essence of “coziness” or “hominess”. While it is diicult to translate directly, Hygge involves concepts of togetherness, mood, comfort, and well-being (Wiking, 2017). LEED (Leadership in Energy and Environmental Design) A building standard under the U.S. Green Building Council (USGBC) that provides levels of certiication for buildings that meet several or numerous sustainability requirements.
Minimalism A characteristic that centers around simplicity and necessity, often emphasizing resourcefulness. This may refer to the design of a product or space, or a way of living. Regional Identity The unique characteristics that deine a culture or society based primarily on its location relative to the rest of the world. It may or may not be fully embraced or acknowledged by its citizens, and may evolve over time, but maintains a constant presence. Scandinavia Region in Europe including the countries of Norway, Sweden, Denmark, and Finland. Also referred to as Nordic. Scandinavian Design Design originating in the region of Scandinavia. Includes industrial, architectural, interior, and environmental design, and may exist outside of the Scandinavian region, so long as its origins are within the region. Simplicity In design, a characteristic that involves the use of uncomplicated forms, without excessive ornamentation. Sustainability The ability to maintain or improve conditions in a particular area such as environment, culture, or society. Universal Design Design of a product or space that considers the needs of humans across cultures and with a range of needs in terms of accessibility. Prioritizes the human experience and transcends cultural boundaries. User Needs The physiological and/or emotional needs to be met in order for an individual to ind comfort with a product or in a space. The ability to address and fulill these needs is often a standard for measuring the success of said product or space. WELL A building standard under the International WELL Building Institute (IWBI) that provides levels of certiication for buildings that meet requirements pertaining to occupant health and wellness. Wellness “a broad term used to capture the essence of individuals’ movement toward optimal health that includes the integration of one’s cognitive, emotional, physical, and spiritual dimensions” (Meany-Walen, Davis-Gage, & Lindo, 2016, p. 464).
references Andreasson, U., & Birkjær, M. (2018). In the Shadow of Happiness. Nordic Council of Ministers. doi: 10.6027/anp2018-799 Artek. (n.d.). Stool 60. Retrieved from https://www.artek.i/en/products/stool-60 Balmond, S. (2005). Nordic countries helping society with more design. Design Week, 20(4), 7. Bendixen, K., & Benktzon, M. (2015). Design for all in Scandinavia - A strong concept. Applied Ergonomics, 46, 248. Bengtsson, S., & Zetterström, J. (2012). Design by nature: interaction between nature and design/architecture in Norway. (A. Barnett-Lindberg, Trans.). Stockholm: Arvinius Frlag. Channon, B. (2019, August 22). Understanding the impact of design on mental health. International WELL Building Institute Research. https://resources.wellcertiied. com/articles/understanding-the-impact-of-design-on-mental-health/. Council for Interior Design Accredidation. (2020). 2020 Professional standards https://static1.squarespace.com/static/5c9ae7530490796e32442342/t/5dd563 8d73df8c355b02033f/1574265742484/Professional+Standards+2020.pdf Colomina, B., & Wigley, M. (2016). Are we human?: notes on an archaeology of design. Z̈rich, Switzerland: Lars Muller. Deloitte. At a tipping point? Workplace mental health and wellbeing. 2017. https://www2.deloitte.com/content/dam/Deloitte/uk/Documents/public-sector/ deloitte-uk-workplace-mentalhealth-n-wellbeing.pdf Department of Justice. (2010). 2010 ADA standards for accessible design https://www.ada.gov/regs2010/2010ADAStandards/2010ADAstandards.htm Design Within Reach. (n.d.). Hans Wegner. Retrieved from https://www.dwr.com/designerhans-wegner?lang=en_US Design Within Reach. (n.d.). Jens Risom. Retrieved from https://www.dwr.com/designerjens-risom?lang=en_US Fiell, C., & Fiell, P. (2016). Design of the 20th century. Köln: Taschen. Finnish Design. (2020). Maija Isola. Retrieved from http://innishdesign.com/maija-isola/
Ganley, Y. (2015, August 31). Monday’s muse: Maija Isola. Retrieved from http://www. anyonegirl.com/mondays-muse-maija-isola/ Grahn, P. & Bengtsson, I. & Welén-Andersson, L. & Lavesson, L. & Lindfors, L. & Tauchnitz, F. & Ivarsson, C. (2007). Alnarp Rehabilitation Garden: possible health efects from the design, from the activities and from the therapeutic team. Guldberg, J. (2011). ‘Scandinavian design’ as discourse: The exhibition design in Scandinavia, 1954-57. Design Issues, 27(2), 41-58. Hagelstam, K., Visser Pïtke, & Lamppu, E. (2011). 20+12 Design stories from Helsinki. Helsinki: Werner Söderström Osakeyhtiö. Hive Modern. (n.d.). paimio armchair 41. Retrieved from https://hivemodern.com/pages/ product3313/artek-alvar-aalto-armchair-41 International WELL Building Institute. (2020). Organizational Structure. Retrieved April 16, 2020, from https://standard.wellcertiied.com/organizational-structure Krippendorf, K. (2013). Content Analysis: An introduction to its methodology (3rd ed..). Los Angeles: Sage. Loder, A. (2019). Using public health data to inform building practice. WELL Country Briefs. Marimekko. (2020a). Marimekko’s story. Retrieved from https://www.marimekko.com/eu_ en/world-of-marimekko/our-story Marimekko. (2020b). World of Marimekko: Maija Isola. Retrieved from https://www. marimekko.com/eu_en/world-of-marimekko/design/designers/maija-isola Martensson, U. (2012). MADE IN DENMARK 2.0. Nordic Reach, 25(42), 13-15. Meany-Walen, K., Davis-Gage, D., & Lindo, N. (2016). The Impact of Wellness-Focused Supervision on Mental Health Counseling Practicum Students. Journal of Counseling & Development, 94(4), 464-472. NHS Employers. (2018). “Mental health at work 2018 report”. https://www.nhsemployers.org/news/2018/10/mentalhealth-at-work-2018report1 Patton, M.Q. (2002). Qualitative research and evaluation methods (3rd ed.). Thousand Oaks, CA: Sage. Scandinavia: Brand Scandinavia. (2007). Campaign 18 May 2007: 33. Business insights: global. Web. 13 Jan. 2020. Retrieved from http://bi.gale.com.ezproxy1.lib.asu.edu/ global/article/GALE%7CA163522426/5f51f7ea2badc76e33fd903c860c3d7d?u= asuniv
references Skjerven, A. (2012). Cultural traditions for the sake of innovation: The concept of Scandinavian Design as a Potential Tool in the Development of a Sustainable China. Sustainable Development, 20(3), 230-238. Skou, N., & Munch, A. (2016). New nordic and scandinavian retro: Reassessment of values and aesthetics in contemporary Nordic design. Journal of Aesthetics and Culture, 8(1), 1-12. Sternberg, E. M. (2010). Healing spaces: The science of place and well-being. Cambridge, MA: Belknap Press of Harvard University Press. twentytwentyone. (n.d.). PP503 The round chair at twentytwentyone. Retrieved from https://twentytwentyone.com/product/pp-503-chair-pp-mobler Ulrich, R. S. (1984). “View through a window may inluence recovery from surgery.� Science, 224 (4647): 420-421. U.S. Environmental Protection Agency. (1991). Indoor Air Facts No. 4 Sick Building Syndrome. Indoor Air Quality (IAQ). https://www.epa.gov/sites/production/ iles/2014-08/documents/sick_building_factsheet.pdf. Published 1991. Accessed May 5, 2020. Weiss, A. (2016, December 12). Jens Risom Dies at 100. Retrieved from https://www. interiordesign.net/articles/12609-jens-risom-dies-at-100/ WELL country briefs: the United States. (2016a). International WELL Building Institute. Retrieved from https://resources.wellcertiied.com/tools/united-states-countrybrief/ WELL country briefs: Sweden. (2016b). International WELL Building Institute. Retrieved from https://resources.wellcertiied.com/tools/sweden-country-brief/ WELL Building standard version 2. (2018). International WELL Building Institute. Retrieved from https://v2.wellcertiied.com/v/en/overview Wiking, M. (Ed.). (2014). The Happy danes: Exploring the reasons behind the high levels of happiness in Denmark. New York City, NY: The Happiness Research Institute. Wiking, M. (2017). The little book of hygge: Danish secrets to happy living. NY, NY: William Morrow & Company.
cobblestone pathway - Bergen, Norway
thank you Thank you for reading this culmination of my research. It took nearly a year to complete this project, and I hope some aspect of my work has encouraged you in your own exploratory endeavors. I’m thankful to have had the opportunity to research and create in an experimental setting. The experiences of my undergraduate degree have largely shaped my philosophies, and my curiosity for the world continues to grow because of them. Thank you to Dr. Diane Bender for overseeing the project. Especially for guiding me throughout the research and writing portions. Your patient encouragement did not go unnoticed. Thank you to Dr. Wil Heywood for being a part of my thesis committee, and for your mentorship and advocacy throughout my college experience. Special thanks to my family for their support all throughout college, I truly wouldn’t be my full self without you. Gabby Klein
2020 Graduate of Arizona State University Barrett, the Honors College Bachelor’s of Science in Design | Interior Design Minor in Psychology