SPIRITUALITY EQUALS DESIGN PLUS NATURE SQUARED
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A Thesis submitted to the faculty of
San Francisco State University
In partial fulfillment of
The requirements for
The Degree
Master of Arts
In
Family and Consumer Sciences
by
Sogol Pedram
San Francisco, California
January 2015
Copyright by
Sogol Pedram
2015
CERTIFICATION OF APPROVAL
I certify that I have read Spirituality Equals Design Plus Nature Squared S=D+N2 by Sogol
Pedram, and that in my opinion this work meets the criteria for approving a thesis submitted in
partial fulfillment of the requirement for the degree Master of Arts in Family and Consumer
Sciences at San Francisco State University.
Nancy Rabolt, Ph.D.
Professor
SPIRITUALITY EQUALS DESIGN PLUS NATURE SQUARED
S=D=N2
Sogol Pedram
San Francisco, California
2015
This research was conducted to examine the relationship between spirituality and
our experience of nature as represented in the elements we select to complete the design
of our interior spaces. In exploring a connection between spirituality and nature several
approaches were used as a basis for establishing a frame work for this study. Some of
these include: Biophilia, Feng Shui and Transpersonal Psychology. In addition, this
research explored whether there is a connection between color, shape, elements of nature
and how we feel.
A convenience sample of 120 respondents participated in this research by taking a
photo of an object that was representative of nature and responding to a survey that was
designed to solicit opinions about the relationship between nature and spirituality as
expressed in the objects selected for the photos.
In some cases the results were statistically significant, indicating a positive
correlation between nature and spirituality. It is recommended that further studies be
conducted to more fully explore the potential of this area to benefit society.
ACKNOWLEGEMENTS
A successful work is never one person’s job. It is the result of the effort and
support of a lot of people. I would like to thank those people without whom I might not
have been able to finish my thesis successfully. I am so lucky that I have many people
around me who were always ready to help.
First, I would like to thank Dr. Gus Vouchilas for his support, suggestions and most
importantly, for being such a tremendous advocate during my research. I would like to
thank you for encouraging my research and for allowing me to grow as an interior
designer.
I would also like to acknowledge Dr. Nancy Rabolt as the second reader for her
very valuable comments on this thesis. I would like to thank Valerie Le Beaux, Linda
Lenore and Dr. Karen Johnson-Carroll for their support and advice. My deepest gratitude
goes to my husband, Afshin Karimian for his inexhaustible love and support throughout
my life and education; this thesis was simply impossible without his faith in me. Thank
you for believing in me and allowing me to be as ambitious as I wanted. To my dad Ali
Pedram, mom Shahnaz Pormand and My sister Tannaz Pedram for encouraging me in all
of my pursuits and inspiring me to follow my dreams. Finally, I would like to thank
everybody who was important to the successful realization of this thesis, as well as
expressing my apology that I could not mention each one personally.
v
TABLE OF CONTENTS
List of Tables.......................................................................................................................... vii
List of Appendices.................................................................................................................viii
CHAPTER 1............................................................................................................................... 1
INTRODUCTION.....................................................................................................................1
Problem Statement........................................................................................................6
Purpose of Study...........................................................................................................6
Justification for Research............................................................................................. 7
Definition of Terms.......................................................................................................8
Research Questions.......................................................................................................8
Definition of terms........................................................................................................8
CHAPTER II............................................................................................................................ 11
REVIEW OF LITERATURE.................................................................................................11
Nature and the Built Environment ............................................................................11
Places and their Energy...............................................................................................12
Feng Shui ....................................................................................................................13
Biophilia.......................................................................................................................17
Transpersonal Psychology......................................................................................... 21
Spirituality................................................................................................................... 23
Sacred Spaces............................................................................................................. 25
Well-being................................................................................................................... 26
Aesthetics.................................................................................................................... 27
Summary..................................................................................................................... 30
CHAPTER III..........................................................................................................................31
METHODOLOGY................................................................................................................. 31
Instrumentation...........................................................................................................31
Pilot Study................................................................................................................... 33
Sample..........................................................................................................................34
Data Collection.....................................
35
Data Analysis.............................................................................................................. 35
CHAPTER IV ..........................................................................................................................38
RESULTS................................................................................................................................38
CHAPTER V ...........................................................................................................................56
DISCUSSION AND CONCLUSIONS, IMPLICATIONS, RECOMMENDATIONS FOR
FURTHER STUDY, LIMITATIONS...................................................................................56
Discussion and Conclusions .....................................................................................56
Implications................................................................................................................. 58
Recommendations for Further Study........................................................................ 59
Limitations.................................................................................................................. 60
REFERENCES........................................................................................................................62
LIST OF TABLES
Tables
Page
Table 1.Description of an Object That Fostered a Sense of Spirituality-Pilot study ....33
Table 2.Elements of Design Items Representing Elements of N ature...........................40
Table 3.Frequencies of Reasons Why Objects Were Selected....................................... 42
Table 4.Frequencies of Feelings Elicited By Selected Object....................................... 43
Table 5.Cross-Tab Analysis of Feelings Elicited by Reason Object Selection............. 44
Table 6.The Importance of Objects Which Would Help Achieve a Feeling of
Spirituality...........................................................................................................................46
Table 7.Comparison of Object Sets and Elements of Nature Elicited Spirituality.......46
Table 8.Mean Scores of Objects Eliciting Connection with N ature..............................48
Table 9.Correlation Between Feelings of Connectedness and Balance With Nature ...48
Table 10a.Frequencies of Colors That Most Closely Matched Participants’ Selected
Object.................................................................................................................................. 50
Table lOb.Frequencies of Shapes That Most Closely Matched Participants Selected
Object.................................................................................................................................. 50
TablelOc.Frequencies of Elements That Most Closely Matched Participants Selected
Object.................................................................................................................................. 51
Table 1la.Feelings Elicited By Color Sets of Selected Object.......................................52
Table 1lb.Feelings Elicited By Shapes of Selected Object............................................52
Table 1lc.Feelings Elicited By Elements of Nature of Selected Object........................53
Table 12. Demographics......................................................................................................55
LIST OF APPENDICES
Appendix
Page
1. Survey
....71
1
CHAPTER I
INTRODUCTION
In recent decades there has been a paradigm shift in the general concept of the
meaning of spirituality (Bregman, 2004). Many philosophers and experts believe that
nature and spirituality have a direct correlation. Emerson (2009) published an essay titled
Nature, in which he expressed his belief that we only understand reality through studying
nature. Nature, as he stated, is a symbol of the human mind, a connection that is not only
emotional, but spiritual (Emerson, 2009). Our minds and nature are two forces that are
the expression of energy that comes from the universe (Emerson, 2009). This expression
of energy exists in the form of vibrations that everything on earth manifests (Einstein &
Calder, 2006). Williams (2004) states that it is the alignment of these vibrations that
connects everything in the universe and constitutes spirituality. He further asserts that
external and internal energy affects us on a [molecular] level, so much so that it has the
power to change our vibration patterns. Specifically he states that:
In sub-automatic physics, elemental reality is conceived not of “things” but as
foci of energy. Specific energy fields, manifesting through individual frequencies,
assume distinct form. All objects in our empirical world, then, are composed of
energy frequencies, which when arrested, manifest through forms (Williams,
2004, p.l).
The energy that emanates from nature manifests on a frequency that resonates
with us. This can be thought of as a spiritual connection (Labbe, 2010). Spiritually
2
connecting with nature infers a kind of reverence for things that are greater than us and
for things that have their own energy and connection with the earth (Skinner, 2006). The
tall redwoods, the roaring ocean, the sunsets and the mountains serve as a means by
which man can appreciate and establish a relationship with nature (Parsons, Tassinary,
Ulrich, Hebl, & Grossman-Alexander, 1998). The fact that we refer to it in the feminine
and call her mother, gives insight into man’s need to be nurtured by it (Mohawk, 1995).
Parsons et al. (1998) examined the fundamental interconnectedness of people and nature
and how the loss of this connection results in a diminished quality of life. According to
Emerson (2009), we can learn each lesson of nature by awakening a new kind of power
within ourselves, one capable of restoring nature’s inner spiritual quality as a real
experience. Emerson argues that through the study of nature we are able to achieve a
higher level of consciousness (2009). Barfield (1965) studied three thousand years of
human consciousness and suggests that the evolution of consciousness in man is directly
correlated to evolution in nature. Edelglass, Maier, and Gebert (1997) also support these
theories.
The concept of living in harmony with nature can be thought of as a spiritual
connection. Although the connection between nature and spirituality is young in Western
culture, Eastern philosophy has been teaching these values for centuries. According to
Skinner (2006), Feng Shui involves “the art of living in harmony” with the earth. This is
in line with Emerson’s philosophy regarding the connection between nature and the
human mind as Feng Shui seeks a harmonious balance between our built environments
3
and energy found through nature. Emerson defined nature and spirit as parts of the
universe. He theorized that nature (what he terms as the "NOT ME") is everything apart
from the inner person (i.e. the earth, art, other men, our physicality). Dating back to the
ancient civilizations of Samaria, Persia, Egypt and China, in most cultures, both present
and past, one can observe behavior reflecting a fondness for nature. For example, tomb
paintings from ancient Egypt, as well as remains found in the ruins of Pompeii,
substantiate that people brought plants into their houses and gardens more than 2,000
years ago (Manaker, 1981).
The application of techniques such as Feng Shui and Biophilia, defined as “love
of life through man’s innate attraction to nature,” can improve the mental well-being of a
home’s inhabitants (Hones, 2011). Biophilia has been discussed and studied by many and
continues to be discussed in the context of the built environment. Some studies indicate
that visual contact with nature can positively impact us on a deeper level and improve our
psychological, social and physical capacities. Although the reason for these positive
effects is unknown, there is a possibility that visual contact with nature can affect the
mind on a subconscious level (Manaker, 1981).
Kellert (1993) argues that restorative environmental design enriches the human
body, mind and spirit by fostering positive experiences of nature in the built environment
and that it also incorporates the complementary goals of minimizing harm and damage to
natural systems and human health. He views our fractured relationship with nature as a
design problem rather than an unavoidable aspect of modern life, and he proposes many
4
practical and creative solutions for cultivating a more rewarding experience of nature in
our built environments. A tendency to add elements of nature seems to be a universal
human feature, evident wherever manmade surroundings tend to remove humans from a
natural setting, and where the people are sufficiently affluent to afford doing something
about it. In most cities, trees are planted and parks established in order to improve the
environment. The behavior is, presumably, a response to the Biophilic quality of the
human mind (Kellert, 1993).
Because man dwells in a physical environment, one might say that he is
predominantly preoccupied by it. That being the case, his experience of nature merely as
a physical energy would tend to limit his spiritual understanding of it (Hutchinson, 2009).
However, given the foregoing discussion, it can be postulated that there is a connection
between nature and spirituality, and the effect of the exterior and interior design of a
home on a person’s inner spirituality (Barreras, 2007).
Within the realm of interior design is found a generalization that individuals are
attracted to and select specific objects which they choose to integrate into their
surroundings. Objects with certain visual qualities stimulate our brains and elicit
emotions. Originally, this ability evolved in order to help us in reacting to the world
around us (Grinde, 1996). In psychological research, the relationship between a person's
material objects and his or her self-development and identity has been the topic of
numerous studies. Objects express qualities of the self, symbolize ethnic origin, lifestyle,
social class, and spirituality (Csikszentmihalyi & Rochberg-Halton, 1981).
5
Csikszentmihalyi and Rochbeg-Halton theorized that the act of self-cultivation through
objects has two sides: differentiation and integration. People associate themselves by
emphasizing either individuality or connectedness through the use of their objects (1981).
Nanda, Eisen and Baladandayuthapani (2008) suggest that art or aesthetic objects can
stimulate our subconscious and translate into a “positive experience.” For those who have
experienced dislocation and ethnic cleansing, objects can be tools that assist in
remembering the past and in the retelling of stories. According to Altman and Low
(1992), along with narratives, objects are essential for providing cultural continuity over a
long period of time. In cases of forced displacement, objects reinforce “place attachment”
and become critical for cultural memory and the narrative for displaced people (Toiia,
2004). These objects provide shared connections to pre-displacement landscapes. With
post-displacement memories they are a part of a daily collective memory that is a social
construct and is subject to revision and reconstruction (Batchen, 2004; Crewe, 1999;
Halbwachs, 1992; Huyssen, 2003; Lowenthal, 2003; Schacter, 1996).
Boym (2001, “The Future of Nostalgia,” para.2) stated that collective memory is
also fueled by “reflective nostalgia,” which dwells on the ambivalences of human longing
and belonging.
The means through which objects used in interior design are interpreted by
individuals are varied and complex. Individuals may be drawn to various objects for
various reasons. At the heart of this research is an exploration into the underlying
6
expression from objects that may derive from nature and imply a spiritual connection for
individuals.
Problem Statement
In today’s busy lifestyle people are constantly bombarded with information, noise
and various other distractions that may take attention away from emotional and physical
well-being. According to Wilson (1984), modern man is on the fast track toward living an
electronic life. With computers, streaming, DVDs, and the Internet, people may be
moving further away from being in touch with their own feelings. This may ultimately
have an impact on the ability to relate to one another and the natural world (Wilson,
1984). Over time, studies have shown that when the characteristics of natural
environments are present, human beings tend to feel calmer, at ease, comfortable, and
less stressed, and their health can actually improve (Kellert, 1993). The home
environment and design may have an impact on human spirituality. People however, may
not fully understand how to use space to connect with their higher selves and with nature
(Burton & Sheehan, 2010).
Purpose of Study
The purpose of this study was to examine the extent to which there exists an
interconnection between nature and objects used for interior decoration and spirituality as
seen thought the lens of interior design. Spirituality has various, broad definitions;
however, it is evident that the use of this term has changed throughout time. In this study
spirituality was defined by (Love & Talbot, 1999): An increased openness to explore a
7
relationship with an intangible and pervasive power, essence or center of value that exists
beyond human existence and rational human knowledge.
This project explored how objects that are used in interior design may affect
one’s spirituality and/or a human connection to natural elements as a means of finding
spiritual balance between themselves and their home environment. There has been no
previously published research on this topic directly. Therefore, the aim of this study was
narrowed to explore how an object used in the interior design of a space might express
one’s connection with nature and the experience of spirituality.
Justification for Research
Aesthetic design choices are not just a matter of the designer’s artistic expression.
Together with other factors, they can improve or damage the health of users (Evans &
McCoy, 1998). This means that designers have a level of responsibility for the health of
users that is much greater than is commonly realized (Evans & McCoy, 1998). It is
important for designers to take into consideration their clients’ needs through a greater
understanding of the literature in energy, balance and nature in order to evaluate how
these elements may affect the occupants and how they can achieve peace of mind in their
own environments. Historically, architects and designers have covered a lot of ground in
determining the methods to utilize form and space to create environments that become
our habitats (Brich & Sinclair, 2013). It may be more important, however, to find ways
that these environments may be positioned to facilitate introspection, transcendence, and
unity with elements of our surroundings that exceed the physical borders. Birch and
8
Sinclair (2013) theorized that it’s not just we who shape the spaces we dwell in; they in
fact, shape us. If this is true, then it seems even more important that environments
facilitate a spiritual experience for human beings by incorporating the utilization of
elements from our natural world that carry their own powerful essence (Knorr, 2012).
Research Questions
The following research questions were explored in this study:
1. Is there a relationship between a design object which represents an element of
nature and the feelings the object evokes?
2. Is there a relationship between the elements of nature found in the design of an
interior object and a feeling of spirituality?
3. Is there a connection between a specific design object used in the design of a
home and its effect on the occupant’s feeling of balance with nature?
4. Is there a relationship between the elements of nature found through an object’s
color, shape and their effect on an occupant’s feelings?
Definition of Terms
There are several terms to be clarified for the purpose of this thesis. It may be that
the use of these terms may have different meanings in different contexts. Here however,
the meanings associated with each of these terms will be as given.
Bagua: a map used in modem forms of Feng Shui to identify the energy zones in a room
or location in order to determine how the different zones correspond to the aspects of
one’s life (Olmstead, 2009).
9
Balance: a harmonious or satisfying arrangement in proportion of parts or elements, as in
a design (Lenore, 1998).
Biophilia: an innate human need to connect with nature and other life forms (Wilson,
1984).
Chi: the energy that flows though everything in the universe (Olmstead, 2009).
Contemporary Eco-therapy: how the earth can heal us (Burls, 2008).
Feng Shui: an ancient method of arranging objects in a space to achieve balance and
harmony with nature (Costantino, 1995).
Harmony: order or congruity of parts to their whole or to one another (Lenore, 1998).
Morphogenetic field: in developmental biology, a group of cells able to respond to
discrete localized biochemical signals (Sheldrake, 1995).
Predecessor Factor (In Feng Shui): the lingering presents of what existed before in a
space (Rossbach, 1999).
Restorative Environments: a place that promotes healing, a place of nurturance
(http://psychologydictionary.org/restorative-environment/).
Shibitsu: Shibitsu objects appear to be simple overall but they include subtle details,
such as textures, that balance simplicity with complexity (Alphons, 2005).
Spirituality: is an increasing openness to exploring a relationship with an intangible and
pervasive power, essence or center of value that exists beyond human existence and
rational human knowing (Love & Talbot, 1999).
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Transpersonal Psychology: the branch of psychology that attempts to integrate the
science of psychology with the insights of various spiritual disciplines, including the role
of altered states, mystical experiences, contemplative practices, and ritual for self­
transcendence (Walsh & Vaughan, 1993).
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CHAPTER II
REVIEW OF LITERATURE
This chapter is an examination of the role spirituality has played in man’s spiritual
development over time. It explored the psychological interpretations of man’s need to
connect with nature as a means of achieving an understanding of the universe and the
higher levels of human existence.
Nature and the Built Environment
According to Cerwinske (1998), early man was unsheltered and had little
understanding of the forces of nature and the natural world he encountered in his daily
life. This gave rise to the superstitious worship of things like lightning, thunder, wind, the
moon and the stars. From this, there evolved a reverence for nature that one might say has
become part of our genetic makeup (Cerwinske, 1998). In many Eastern cultures, the
worship of nature has been an important part of how these societies have evolved. For
example, worshiping fire in Zoroastrian societies in ancient Persia was one way in which
man demonstrated his connection with nature (Boyce, 1979). Since nature was the force
that could not be fully understood, it became like a God to early man (Taylor, 2010).
Many ancient cultures used natural sources such as stone and wood and made sculptures
in order to shape their Gods in human form (Byfield, 2001). This evolved into a
philosophy that values working in concert with what nature provides. This Eastern
perspective on the worship of nature further provides that built environments should work
in harmony with nature rather than force human conceptions on landscapes that nature
12
has already provided (Brich & Sinclair, 2013). Studies have shown, that there are links
between the design of the built environment and our behavior, individually, socially and
environmentally (Lockton 2011). Winston Churchill (Rubin, 2011) stated “We shape our
buildings, and afterwards our buildings shape us” (p. 154).
When we create our oasis, we want to dwell there. Our environment can help us
stay well and return to health if we work with our homes as partners (Hauck, 2009).
Health also has physical, emotional, mental, and spiritual components that are tied
together through “chi,” the life force energy that animates all life (Parson et al. 1998). By
bridging our inner and outer landscapes, we align our efforts with the universe or the one,
to whom some would refer as God (Kaplan & Kaplan, 1989). Being aware of our
environment and optimizing our living space to be places where we can connect with
nature is possible (Hones, 2011).
Places and their Energy
Places thought o f as sacred have been studied for many years. Swan (2010) found
that in some of these places there are electromagnetic energies that can affect our minds.
Some places have been known to have natural springs and others have been found to
have negative ions and mind-altering gases in the air. Some springs even have unusual
water chemistry. Recently, researchers in Greece found that unusual gases with mindaltering properties escape from fissures in the rocks where the Oracle at Delphi
prophesized (Roach, 2001).
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According to Rossbach (1999) the concept of the “ Predecessor Factor,” in
Chinese Feng Shui means that each place has a memory of what took place there before
and that Feng Shui practitioners pay attention to predecessor energy as energies from past
events are said to remain and affect individuals whether apparent or not. Similarly
Sheldrake (1995) developed the concept of “orphic fields” which, similar to Feng Shui
chi, are patterns of energy that exist in a space. He believed that these orphic fields
influence, and are influenced by, living things (Sheldrake, 1995). He hypothesized that
nature carries an inherent memory of energy that has existed throughout time. Though his
approach is more biologically oriented, it finds resonnance with the Chinese theory of the
Predecessor Factor, in that both postulate the existance of energy patterns that dictate the
development of succesive ones.
Feng Shui
Feng Shui (literally translated as wind and water) is an ancient method of
arranging objects in a space to achieve balance and harmony with nature (Too, 2001).
About 5,000 years ago, Chinese masters developed a method to achieve an energizing
effect in the man-made environment by surrounding occupants with a steady and
revitalized flow of energy (Lenore, 1998). The first Feng Shui sages were astrologermeteorologists, who observed and noted how people and nature interact and change in
predictable cycles (Yeow, 2004).
According to Hauck (2009), the tenets of Feng Shui suggest that the truth of the
universe is that we cannot be happy if we devote our lives exclusively to one plane of
14
existence over another. We need to devote equal attention to our spiritual and physical
needs in order to uncover the harmony within ourselves. Hauck describes the basic
philosophy of Feng Shui as encompassing a holistic view of life wherein all its aspects
work in harmony with each other; where our spiritual or inner lives need to be nurtured,
along with our material needs; and where certain inner qualities, or virtues, resonate with
each of the Bagua energy zones (2009). The Bagua is a type of mapping device in Feng
Shui that is used to analyze the energy of any given space (Skinner, 2006). The Bagua is
used together with the four cardinal directions and the four inter-cardinal directions of the
compass (East, West, South and North) to identify where the particular aspiration
locations lie in one's home or workplace. Having located this, the Feng Shui master will
then try to stimulate positive chi (energy) flow to that location to create good Feng Shui
(Yeow, 2004).
According to Hauck (2009), it is believed that chi plays a significant role in the
unfolding of two cycles, one productive and the other destructive. The two cycles are
literally translated as “Wind and Water,” the two elements that are physically
representative of Yin and Yang energy. Yin energy represents the feminine, nurturing,
negative, and passive. Yang represents the male aspects of nature. Yang is male, active,
positive and assertive. The philosophy of Feng Shui asserts that there is a spiritual or
metaphysical counterpart to each and every material aspect in the universe. Our entire
human need corresponds to some part of our yang energy (Hauck, 2009). The Yin and
Yang are the positive and negative aspects of Chi energy which work together to create
15
balance and harmony. Chi is the energy that vibrates through all things (Ho & Chuang,
2012). The existence of energy has been confirmed by the science of Physics, which has
established that all matter vibrates at differing frequencies (Einstein & Calder, 2006).
Early man seemed to have an innate understanding of these vibrations or frequencies as
they emanated from the environment (Williams, 2004).
In Feng Shui, the five elements: earth, metal, water, wood, and fire, are central to
our surroundings and influence our thinking and manifestations of our personality. It is
believed that these elements can be utilized in different ways to mimic and harness all the
energies of nature (Too, 2001). The art of using these elements is based on analyzing how
their corresponding energies interact to create positive or negative energy.
This ancient philosophy also focuses on the use of other elements, to include:
color, shape, attribute, light and shadow and animals. According to Olmstead (2009)
There is a relationship between color, shape, the attributes of elements of nature and a
corresponding affect on how we experience them. Further, these elements have their own
significance and relevance to the way chi is affected within a space (Barreras, 2007). The
Five Elements are used as key components in Feng Shui to align with nature and each of
them represents elements in the natural world. For example Earth colors such as brown,
cinnamon, ochre, sienna, umber, sepia, etc. are associated with earth, representing natural
elements such as soil, stones, and mountains (Silverman, 2007). Water is associated with
the colors blue and green and represents the sea, sky, and fountains. Fire is associated
with the colors of golden yellow, red, and golden orange. This is represented by candles,
16
fireplaces, and cooking surfaces. The colors silver and white are light and delicate and
resonate with the element of air. This is represented by glass, which allows us to
experience light in its various forms. Metals such as gold, copper, bronze and silver are
radiant and infer something spiritual, earthy, and eternal (Silverman, 2007).
Everything around us influences us on a subconscious level. Human beings
essentially contain all of these elements in the core of their being in perfect balance with
nature (Hauck, 2009). According to Hauck, it is the constantly moving and changing life
force that we feel around us that makes us feel either good or bad in a certain location.
Chi can accumulate in the objects around us. In our home or office, the chi will flow in
through the door and out through the windows. The goal of Feng Shui is to keep the chi
flowing gently throughout the environment rather than running straight through it. Chi
can have a negative effect on our surroundings when it gets stuck or blocked (Barreras,
2007). Barreras also asserts that chi is the unseen energy that flows through everything in
the universe. Positive chi energy occurs when objects, colors and images resonate with
the energy corresponding to the zones represented in the energy map or the Bagua
(Hauck, 2009). Hauck also asserts that when a physical space is thus balanced, it affects
our internal energy hubs (the chakras of the body), attuning us to higher energy
frequencies.
According to practitioners, Feng Shui can be used to attract one’s desires by
imbuing the placement of objects with the specific intention to call forth what is desired
(Lenore, 1998). Though the practice of Feng Shui is ancient, the use and practice of it
17
may be more relevant and necessary as technology pushes man further and further away
from his connection with the natural world and ultimately from himself (Kellert, 2005).
Biophilia
According to Adams (2010) western culture has perpetuated a myopic view of
nature and consciousness, one that diminishes the relationship between humans and the
rest of the natural world. The mind, consciousness, and the psyche are typically thought
to exist only in humans (or just our brains). Nature, on the other hand, is thought of as an
object, resource, or lower life-form. Arguing against this Formm (1964) theorized that
humans have a deep connection with nature. The term that describes this connection with
nature is Biophilia.
The basic hypothesis of Biophilia suggests that there is an instinctive bond
between human beings and other living entities (Wilson, 1984). A growing number of
studies on Biophilia show that the elements in the environment in which we dwell have
influenced our psychological, physical, and social well-being. If we find ourselves
relaxing and feeling a pleasant surge of energy welling up inside after watching the
bright, beautiful colors of autumn trees and smelling the fresh air in the woods, then we
are experiencing Biophilia. This is an emerging area of scientific research (Louv, 2005).
Biophilia contains nine values: utilitarian, naturalist, ecological-scientific,
aesthetic, symbolic, humanist, moralistic, doministic and negativist. These nine values
foster physical capacity, material comfort, intellectual development, emotional
maturation, creative ability, moral conviction, and spiritual meaning (Kellert 2005).
18
Utilitarian value refers to the physical and psychological benefit that people
receive when using natural sources. For example, it is commonly known that people relax
and enjoy being near the ocean. Additionally, water has been a source of all life on the
earth and we continue to depend on it for our survival (Kellert, 1993).
The naturalistic value represents the connection we have with nature when we are
surrounded by it. This is expressed when we enjoy walking in the forest and experience
the bounty of nature in all its manifestations (Wilson, 1984).
The ecological-scientific value represents how nature can serve as a basis for how
we understand, think about, and communicate with others regarding our understanding of
the world. This value is a perfect example of our existence in the circle of life (Shepard,
1978; Campbell, 1973; Jung, 1968).
The aesthetic value involves how nature appeals to our sense of beauty. We use
this as a source of inspiration to create our own artistic vision of beauty. The beauty we
see in nature has a perfect balance of color, shape and texture that man could never
perfectly replicate (Ulrich, 1983).
The symbolic value speaks to what we explore and observe when we study nature.
This has led to generations of many professions that do important work that contributes to
our understanding of how the world works (Shepard, 1978).
Humanistic value has been defined by Rowan (1989) and Katcher (1983) as a
very strong feeling of love for all the elements of nature. They further hypothesized that
19
this feeling can be expressed in humans as a strong need to protect the environment, but it
is most usually expressed by our love of animals.
The moralistic value speaks to the spiritual and inner connection we have with
nature. This spiritual connection we have grounds us, completes us, and reminds us that
we are still part of the natural world, from which we are charged to learn what we came
here to learn. That being the case, we have a moral obligation to ensure its survival, thus
ensuring our own (Leopold, 1987).
The dominstic value refers to man’s desire to control nature, whether it is for the
good or not. This aspect of mankind’s being is unique in the natural world. It has been the
thing that propels us to learn all that we have learned about our world. On the other hand,
this characteristic has the potential to destroy the natural world in the process of gaining
our knowledge (Kellert, 2005).
The negativistic value represents man’s fear of what he doesn’t understand about
nature. This human characteristic insured man’s survival throughout the ages. Having a
healthy fear of the unknown protected us from natural disasters. Man soon came to
realize however, that like us, nature is composed of constructive and unconstructive
elements. This realization has perhaps, enabled mankind to venture forward in his
exploration of nature despite the natural instinct to fear the unknown (Ohman, 1986).
Heinsch (2012) and Kellert (1993) have emphasized not only the emotional and
cognitive benefits of interacting with non-human nature, but also the deep metaphysical
and spiritual attachments that human beings often form with the natural world.
20
Burls (2008) argued that active interaction with nature, such as farming, trekking,
walking, gardening and horse riding, is the strongest component contributing to the
success of what he termed ‘Contemporary Ecotherapy’(p. 28). Ecotherapy refers to
modem man’s alienation from the natural world (Clinebell, 1996). In a recent study
Young (n.d.), specifically emphasized the restorative effect of walking mindfully in
nature. A study by Berman (1997) shows a rise in cognitive functioning following a 5055-minute walk in nature. His systematic review of the benefits found that outdoor
exercise produced feelings of revitalization, increased energy and a positive attitude. This
was coupled with decreases in depression, tension, anger and confusion.
Rachel and Stephen Kaplan’s (1989) research on Environmental Psychology and
their work on “Restorative Environments” and Attention Restoration Theory have
impacted how landscape and design professionals and others view humanity's
relationship with nature. The creativity used in the installation of various landscape
designs has been shown to aid in reducing stress and increasing productivity, happiness,
and longevity (Matsuoka & Kaplan 2008).
Early human beings lived in harmony with nature. Mankind has evolved being
adapted to nature and because of this we are not best suited to live in cities. In ancient
times, man lived in villages, where they practiced various ceremonies that celebrated
their connection with nature. These ceremonies facilitated the development of each
individual in recognizing their role in the survival of their communities (Clinebell, 1996).
21
Over time, man has moved further and further away from his connection with
nature. In his ever increasing pursuit of technology, man may have lost his ability to
appreciate the important role that nature plays in sustaining him. Perhaps in addressing
this concern, Benyus (1997) developed the concept of Biomimicry which focuses on the
use of nature as a template in creating a built environment. He postulated that with the
realistic replication and integration of the natural rhythm, harmony and order of nature,
man would be able to achieve integration with the energy of nature and thus achieve the
peak transcendent experience that Maslow (1961) talks about Kellert (1993) & (Wilson,
1984). Nature has been a wonderful teacher and architects and designers would be well
instructed to take note of her lessons in their approach to designing our built
environment.
Transpersonal Psychology
The spiritual or transpersonal aspects of the human experience have been studied
in schools of Transpersonal Psychology for decades. Developed from earlier schools of
psychology, including psychoanalysis, behaviorism, and humanistic psychology,
transpersonal psychology attempts to describe and integrate spiritual experiences within
modem psychological theory and to formulate new theories to encompass such
experience (Miller, 1994).
With the exception of the doctrines of transpersonal psychology, Western
psychology, as it has developed over the past 150 years, has mainly focused on
interpersonal interaction and not necessarily attended to the spiritual interaction between
22
people, thus ignoring the spiritual dimension of the human psyche. This specialty within
the field of psychology was developed by Maslow (1943) as an alternative to the word
‘spirituality’, which had become too widely used in ways that were not necessarily
reflective of professional integrity (Calton & Epstein, 1992).
Grof (1986), a co-founder of transpersonal psychology, states that “What truly
defines the transpersonal orientation is a model of the human psyche that recognizes the
importance of the spiritual or cosmic dimensions and the potential for the evolution of
consciousness” (p. 197).
For Cunningham (2007), this means that transpersonal psychology recognizes that
humanity is spiritual by nature. Transpersonal psychology applies meaning to a specific
range of concerns including: spirituality, optimal mental health, and the quality of
subliminal awareness (Davis, 2000).
Important life experiences, emotional bonding, spirituality and religion, and
everything that connects our minds with our bodies, foster agreement that experiences
with a transpersonal quality are important. Health, happiness, creativity and love for
nature stimulate conservation (Swan, 2010). Our consciousness can be affected by our
physical and psychological well-being as well as our surroundings. These can produce
what can be referred to as “altered states of consciousness” (Tart, 1993). Swan (2010)
similarly wondered whether a place can influence significant life experience. If the
answer is yes, then this can have significant bearing on how we utilize this connection to
enhance our human experience.
23
Spirituality
The word spirituality comes from the Latin root spiritus, which means “breath.”
This refers to the breath of life (Locktin, 2011). It involves opening our hearts and
cultivating our capacity to experience awe, reverence and gratitude. It is the ability to see
the sacred in the ordinary, to feel the poignancy of life, to know the passion of existence,
and to give ourselves over to that which is greater than us. Its aim: to bring about
compassion. Its effect: good physical and mental health (Locktin, 2011).
The modem field of psychology has shown an increasing interest in the inner
workings of the human mind and how it works in connection with spirituality. Spirituality
is often thought to be about personal growth and gaining a proper understanding of one’s
place in the cosmos (Taylor, 2010). Brich and Sinclare (2013) argue that designers and
architects are preoccupied in providing modem solutions for basic human needs (physical
and psychological) without giving a second though to needs such as “SelfTranscendence” (spirituality from inside) which should be apriority.
Spirituality is an orientation towards life that recognizes a sacredness that may or
may not be associated with god or religion (Lulic, 2010). Spirituality is found in nature
and it is part of our make up as human beings (Williams, 2004). Interviews with
individuals involved in farming, forestry, tourism and environmental conservation in
Australia, found that many of them compared their own feelings of spiritual connection to
the forests with the kind of attachments they thought Aboriginal Australians might have
to their homelands (Heinsch, 2012). Teilhard De Chardin is quoted as saying “we are
24
not human beings having a spiritual experience; we are spiritual beings having a human
experience” (Lulic, 2010, p. 162). Thom and Jess Rainer (2011) interviewed 1,200 people
across the country. Their sample included people bom between 1980 and 1991. The
majority of them considered themselves more spiritual than religious. McClendon (2011)
argues that this result is partially due to the fact that this age group avoids acknowledging
the source from which one drives ultimate value or meaning.
Human desire to connect with the spiritual world has led to the establishment of
sacred places that helped mankind achieve a feeling of oneness with the universe (Swan,
2010). All around the world there are many places and objects that have been considered
sacred for thousands of years such as platforms, altars, pyramids, or other constructions
designed to serve as settings such as churches, mosques, stupas, synagogues, temples
platforms, altars, pyramids, or other constmctions designed to serve as settings for
ceremonies (Eliade, 1959). Eliade referred to them as “ hydrophones,” because they have
the ability to help people enter into altered states of consciousness, where spiritual states
are more accessible. In the design of contemporary spaces, too often the focus is on social
interaction, which can result in spaces that are not conducive to our spiritual evolution.
According to Grudin (2010), the places where we live communicate; they tell us
how we are supposed to interact with them. They confer a sense of history, cultural and
social context, and also infer values that may or may not be reflective of those who
inhabit the space (Grudin, 2010). It is theorized that when the aspects of the built
environments align with our values, our sense of history, and the social context which we
25
find ourselves, our attunement with the environment is facilitated (Pallasmaa, 2005).
According to Pallasmaa, when an individual is not able to attune to his environment
through the use of his senses the resulting disconnect can have a significant impact on the
spiritual experience. This underscores the importance of the role the built environments
plays in stimulating the senses in order to facilitate spiritual transcendence (Nisbet,
Zelenski, & Murphy, 2011).
Sacred Spaces
Sacred space is described by Knorr (2012) as follows:
While seemingly simple, the message of Sacred Space is profound. Space matters.
We are connected to the places where we live. Our environment has an impact on
us physically, emotionally and spiritually and our spirituality, in turn, informs and
shapes our living spaces, (p.l)
One approach to conceptualizing the utilization of a sacred space is that of
simplicity. This approach has been utilized effectively for centuries in Japanese design
(Alphonce, 2005). Shibitsu, for example, is one technique that allows the viewer to
connect with the simple and pure aspects of an object in nature and to understand feelings
of spirituality and connectedness with nature (Alphonce, 2005). The seven basic tenets of
Shibitsu design are: simplicity, implicitly, modesty, silence, naturalness, everydayness,
and imperfection (Sawada, 1989). The simplicity of Shibitsu is based on the expression
of the elements themselves in providing an aesthetic experience that promotes reflection
(Sawada, 1989). Shibitsu design fosters introspection by inviting the person to take time
26
to think, watch, learn, understand, read, develop, and delve into understatement and
silence concerning oneself (Sawada, 1989). The incorporation of naturalness and
emptiness in the design of a space creates a closer connection between everything within
us and everything outside of us. Our experience of the natural world has a profound
impact on us, so much so that what we see affects how we feel (Alphonce, 2005).
On the other side of the world Islamic conceptions of spirituality have influenced
the design of their sacred spaces. In this approach the focus is on expressing the
magnificence of God while at the same time reminding man of his humility before him.
The architectural style of their mosques exhibit the concept of “Wahdat,” or the unity of
all creation (Longhurst, 2012). The simplicity of these spaces reinforces the spiritual
experience and man’s connection to all that God has created. These spaces are
intentionally designed to be austere. It is believed that this helps facilitate a spiritual
experience (Rusmir, 2006). This is also reflected in the height of the ceilings, and the
purposeful lack of representative ornamentation. The mosque is a symbol of the laws of
nature and represents its inherent peace, order, and harmony (Erzen, 2002).
Well-being
Ancient civilizations utilized the power of the mind to heal the human body
(Sternberg, 2009). Sternberg argued that this was largely forgotten. Once science began to
develop, the demand for empirical proof of observed anomalies arose. He theorized that
from then on, the need for scientific evidence played a big role in the world. This reminds
us that emotions and health are intertwined. Further, Sternberg discusses this scientific
27
understanding in the context of place, showing how the environment can contribute to
well-being and the health of people.
Graham-Rowe (2013) indicated that the effect of modem urban planning
contributes to a twenty first century lifestyle that discourages exercise and a healthy diet.
He argues that rather than placing the stairs further away than the elevator, they should be
more easily accessible to encourage their use. He also offers suggestions on making the
stair climbing experience more enjoyable. For example, in metro stations in Stockholm,
the stairs make music.
It may be wise to analyze the psychological impact interior design has on our
well-being. This will require that we take a deeper look into our surroundings to try to
understand not only the rational, but also the meaning of our built environment. Current
approaches to well-being rely heavily on medical models (Kellert, 2005). A new
standard is urgently needed that is based on a holistic conception of health, and on
creating conditions for a healthy lifestyle. This is the only way that we can be
reconnected with good health, and become co-producers in this endeavor. In so doing,
we can begin to transform sick societies into healthy ones (Kellert, 2005).
Aesthetics
Aesthetics is an important field in psychology because it influences the human
mind and can lead to psychological reactions, both positive and negative. In the Western
tradition, more specifically in Greek antiquity, we find that aesthetics was important to
human life, art, architecture, discourse, and lifestyle (Ulrich, 1984). In Greece and Turkey
28
for instance, temples of health were built on exquisite terrain to offer a view that provided
sunlight, fresh air and beautiful scenery. These buildings provided the patients with a
holistic approach to their treatment (Lanara, 1981). Aesthetics convey a spiritual need
that is shared among people. Holistically based care programs focus on treating the whole
individual and give due attention to the important role aesthetics plays in patient recovery
(Eriksson, 1985).
A survey of philosophical works shows that there is a human need to create and to
experience aesthetics at various levels (Caspari, Eriksson, & Naden, 2011). Literature and
research illuminates how aesthetics affect people and is important for health (Kuller,
1981, Porteous, 1982). Nature is the prehistoric backdrop for human development and
the need for aesthetics is inherent and has an integral part of human evolution (Him,
1900,1937).
The entire person is affected by surroundings, physically and psychologically,
mentally and spiritually; signals are received throughout the entire body (Erickson,
1987). Philosophical literature shows that the ability to evaluate aesthetics, as well as
spiritual need, can be evoked cognitively, while the soul’s aesthetic need can be evoked
without the use of terms, by aesthetic recognition, in the form of positive or negative
signals to the body and subsequent reactions. The positive effect is both physical and
psychological; it affects the entire person and is associated with being able to reinforce
the immune system (Malkin, 1998).
29
Conscious and subconscious influences are important for well-being and health
(Cold, 1998). Carr (2009) focuses on how aesthetics are closely related to creating a
therapeutic environment (homelike, attractive). Carr’s work draws attention to the need
for a focus on proportion, color, scale and detail, bright, open generously scaled public
and private spaces (Carr, 2009).
In conclusion, aesthetics are important in designing spaces. The attachment, and
the feeling that we get from objects in our environment can make us feel at ease,
comfortable, at home and connected to our spirituality. Color, shape, material, openness
of the space, the amount of light and the induction of the outside into the interior, can
affect our mind and bodies.
Color has a powerful, emotional impact that is direct and personal. Each shade of
color has a distinct vibration rate that deeply affects us (Kuller, 1981). Although there are
symbolic, culturally specific meanings for colors, there are also universal qualities of
color and how they affect us. For example it is thought that red conveys rich warmth and
an active, vital passion for life. Similarly, orange enlivens and energizes spaces and
people in them. It is further thought that yellow enhances mental processes, intellect, and
creativity, while green is soothing, healing, and symbolic of growth and life. Blues are
thought to be cooling, spiritual and representative of the endless sky. Purple is deep, cool
and calming, while violet is generally a delicate, soothing, healing, spiritual color
(Silverman, 2007). The aesthetic experience touches us deeply and integrates our
30
experience on many different levels (Williams, 2004). This creates what becomes a
spiritual experience (Silverman, 2007).
Summary
We may experience spirituality in religion or self-transcendence. The majority of
people consider themselves as spiritual beings (Catlin & Epstein, 1992). This study
reviewed research on the connections between nature and spirituality. It offers support for
what Williams (2004) suggested, which was that we are a part of nature and nature is part
of us. Our inner and outer experiences can be connected, when they are touched by the
proper stimulus. This connection can be in the form of a visual experience, or an
olfactory or tactile sensation that stimulates a reaction within us. Once this reaction has
occurred, emotions are aroused and a synergy of mind, body and spirit can be obtained,
resulting in the achievement of balance and harmony. The practice of Feng Shui, the
theories of Biophilia, and Transpersonal Psychology have all focused our attention on
man’s connection to nature and the fact that this connection can serve as a conduit for
spiritual experience. This understanding of nature and the energy that it contains can be
utilized to help us create environments that foster health and well-being. The use of
natural elements in the design of a space helps us channel this energy to create balance
and harmony in the environment thus perhaps promoting it within ourselves (Lenore,
1998).
31
CHAPTER III
METHODOLOGY
As, the purpose of this study was to explore the extent to which there exists a
correlation between how spirituality is manifested in the home environment through the
use of nature-inspired objects, the researcher designed this study to identify the use of
interior design objects that are inspired by nature, the existing spirituality of the subject
and the affect these objects have on the subject.
Instrumentation
A two-step approach was used to gather data from the sample using Qualtrics - an
online survey platform. The first of these was derived through Photovoice, a participatory
research methodology which is aimed at surfacing the voices of study participants
through the utilization of cameras and photographed images which are personally felt to
answer research questions. In order to enhance active participation in the research,
subjects accessed the online survey (See Appendix 1) developed by the researcher which
asked respondents to take a photograph of an object or architectural feature used for
interior design purposes within their dwelling and which represented an element or
elements of nature. It was acknowledged at the outset that a major challenge would be
presented in attempting to quantify and analyze the concept of spirituality - a
fundamental research element of this study. Because of its highly individualized and
nebulous nature, spirituality in and of itself cannot really be defined. For research
purposes however, the work of other researchers who have completed similar work was
32
integrated in order to develop a definition that would help support the basis of inquiries
being made here (Olmeasted, 2009; Longhurst, 2012).
In order to generate responses that would be useful for this study, the researcher
established a control affecting the manner in which data could be generated. This
included a request to participants to take a picture of an object or architectural feature in
their home that represented one or more of the following elements: Water, Wood, Fire,
Earth and Metal. This was done in order to restrict pictures to design objects inspired by
nature and to and eliminate the submission of pictures not relevant to this study.
Once the photograph was taken, subjects were asked to upload the image to the
Qualtrics survey and then complete the remaining survey questions. This consisted of
questions about their home design intended to clarify the use of various design elements
and their influence on participants’ spirituality. The survey consisted of 15 questions, 12
of which solicited information about how the object in the picture was representative of
nature. These 12 questions also attempted to derive information about the significance of
the object and its connection to nature and the participants’ spirituality. Further, the
questions sought to explore the subconscious connection between elements of nature and
home design that foster feelings of unity with nature. This portion of the survey also
asked the participants to rate their spirituality according to the definition that was given.
Lastly, the survey also included three demographic questions relating to the participants’
age, ethnicity and gender.
33
Pilot Study
A pilot study was conducted with a small sample that had some familiarity with
Feng Shui principles as evidenced by their attendance at a Feng Shui workshop held in
the San Francisco Bay Area. These participants were asked to voluntarily describe, in
writing, an object that fostered a sense of spirituality. It was anticipated that the results of
the pilot study could be analyzed from the qualitative responses focusing on the depth of
feelings respondents had when thinking about their selected objects.
There were a total of 65 respondents. Of that number, 12 either did not understand
the question or could not think of an object that represented spirituality for them. There
were 55 respondents who were able to identify an object in their homes that fostered a
feeling of spirituality. The design objects they described fell into categories listed on
Table 1.
Table 1
Description o f Object That Fostered a Sense o f Spirituality-Pilot Study
Elements of Nature
Wood
Earth
Water
Color
Fire
Metal
Music
N
20
12
10
6
4
2
1
55
Percent
36.3%
21.8%
18.1%
10.9%
7.2%
3.6%
1.8%
100%
The results indicate that the majority of the pilot respondents had feelings of
spirituality when thinking of an object that was representative of nature as evidenced in
34
these elements. In the course of reviewing the information that was generated from the
pilot study, it was discovered that a more quantitative approach would be needed in order
to obtain data that were more readily analyzable. A limitation of the pilot study was that
it did not ask the participants to take a photo of their selected object. As such, the
researcher was required to interpret individual descriptions of objects in order to attempt
to properly develop preliminary conclusions about the relationship between the object
and the participants’ spirituality. Consequently, the Photovoice approach of providing a
photograph to study and clarify the objects that were selected was adopted into the
methodology of this study.
Sample
The sample in the study was obtained through use of the snowball method which
is a survey technique where respondents completed the survey online, using the Qualtrics
format, and then forwarded the survey URL to others for completion. This process results
in an ever widening sample and provides an appropriate cross section of the target
population. This method was chosen because it proved to be less costly, easy to
administer, and was anticipated to generate a high rate of participation. To initiate the
sample, the researcher emailed the Qualtrics survey URL to family, friends, and
acquaintances who were then asked to forward on to others. The snowball data collection
method yielded 123 respondents with 120 respondents who completed all aspects of the
survey as instructed.
35
No efforts were made to further screen the sample group as to age or any other
demographic qualifiers. However, an analysis of sample group demographics yielded
pertinent information about the makeup of this group. Finally, a survey question
regarding the description of the respondents’ photo was eliminated due to the paucity of
responses submitted.
Data Collection
Data collection was achieved via responses to the research survey that participants
were asked to complete using Qualtrics, a web based software that allows the user to
create surveys and generate reports. The survey was open from December 4, 2013
through March 12, 2014.
Data Analysis
Data analysis incorporated various statistical processes aimed at providing a clear
interpretation of the data as it relates to the following research questions.
1. Is there a relationship between a design object which represents an
element of nature and the feelings the object evokes?
Survey question 3 and 8 were used to answer this research question where
question 3 asked subjects to rank why the particular object was chosen and question 8
which asks how the object makes the subject feel. Descriptive statistics in the form of
percentages were used to describe response patterns to these two questions and a cross­
tab analysis with chi-square statistical test was used to determine the meaningfulness of
the relationship.
36
2. Is there a relationship between the elements of nature found in the
design of an interior object and a feeling of spirituality?
Survey questions 4 and 10 were used to answer this research question where question 4
asked subjects to rank, by importance, sets of interior use objects founded on the
elements of nature in achieving a feeling of spirituality and question 10 asked subjects to
rate the extent to which elements of nature elicited feelings of spirituality. Descriptive
statistics in, form of percentages, were used to describe response patterns in question 4.
Subject rankings in question 4 were compared to their response to question 10. An
unequal sample size Analysis of Variance (ANOVA) was used to examine the extent to
which different interior use objects elicited different degrees of feelings of spirituality.
3. Is there a connection between a specific design object used in the
design of a home and its effect on the occupant’s feeling of balance
with nature?
Survey questions 1 and 2 were used to explore this research question where
question 1 asked subjects to rate the degree to which the selected object made them feel
connected with nature and question 2 asked them to rate the degree the selected object
made them feel in balance with nature. Descriptive statistics, in form of mean and
standard deviation, were used to describe the response patterns for these questions. A
correlation analysis was also conducted to examine the relationship between question 1
and 2.
37
4. Is there a relationship between the elements of nature found through
an object’s color, shape and their effect on an occupant’s feelings?
Research question 4 was derived using Olmstead’s (2009) framework that
explored the relationship between color and shape, their correlation to the elements of
nature, and a corresponding effect on human experience. As such, survey questions 6, 7
and 8 were used to compare the extent to which the elements of nature found through the
design attributes of color and shape would have an effect on the participants’ feelings.
A combination of descriptive and inferential statistics was used to analyze the
data. Frequencies were used to illustrate the color and shape attributes reflected in the
objects. A cross tabulation and Chi-Square were used to examine the relationship
between the design attributes of color and shape (and corresponding elements of nature)
as they relate to how the subject felt about the object.
38
CHAPTER IV
RESULTS
To examine the research results, the responses to the survey were analyzed. All
respondents in the overall sample (n = 120) took photographs of a design object or
architectural feature within their home that somehow represented nature for the
individual based on the five elements of earth, fire, water, metal, and wood. Following is
a sampling of the photos taken, broken down by each element found in nature. They are
representative of each element either through the actual material, texture of the material,
color, or as symbolically representative of the element.
1) Wood: Material, Texture, Color, Symbol.
2) Water: Material, Texture, Color, Symbol.
3) Earth: Material, Texture, Color, Symbol.
4) Fire: Material, Texture, Color, Symbol.
5) Metal: Material, Texture, Color, Symbol.
The following table illustrates the frequency of each of the objects in the
and the corresponding element(s) found in nature (See Table 2).
40
Table 2
Frequencies o f Elements That Most Closely Matched Participants Selected Object
Elements of nature
Wood
Earth
Fire
Water
Metal
N
68
27
22
10
20
147
Percent
46%
18%
15%
7%
14%
100%
Note: some of the images contain multiple elements.
The wood element was most frequently selected to represent nature. This may
signify that this element is what most people in this sample think of when asked to
identify an object that represents nature for them.
Earth was the second most frequent element which may indicate that a notable
proportion of this sample group was drawn to objects containing a representation of earth
in color shape and texture. The fact that the earth element takes on a wide variety of
forms such as plates, sculptures, wall art, and stones may have had a bearing on this
finding.
Fire and metal presented a close third for the most frequently selected element. It
was anticipated that respondents might have been inclined to photograph candles to
represent the element of fire, though this was not the case. Alone, this may underscore a
broader, or perhaps less broad than expected, interpretation of nature.
Lastly, water was the least represented element selected by the respondents in this
sample. This result was unexpected and may indicate that most of the people in this
group don’t think of water as a design object.
41
Research Question #1: Is there a relationship between a design object which represents an
element of nature and the feelings the object evokes?
To check for a relationship between a design object which represents an element
of nature and the feelings the object evokes, survey questions 3 and 8 were used where
question 3 asked subjects to rank why the particular object was chosen and question 8
asked how the objects made the subject feel.
While the survey instructed subjects to rank-order the various reasons why they
had chosen a particular object, 19 subjects (15.8%) rated the various reasons rather than
rank-order them. These 19 subjects’ responses were discarded in the below analysis, thus,
leading to a valid sample size of 101 subjects for analysis relating to the research
question.
Percentages were computed by taking the rank-order (e.g., “4 - Most Important”)
the subject endorsed within the response category (e.g., Personal Meaning) and dividing
it to the total number of responses in that category (i.e., n=101). In other words, the
percentages were calculated within each respective row category. A chi-square goodnessof-fit was then conducted to determine if the percentage each rank-order category
differed from the expected value (i.e., Total Sample Size across Column/Total Number of
Column) within each response category. As illustrated in table 3, the results found Love
for Nature (42%) endorsed the “Most Important” rank category, to be the most important
reason why subjects selected their object. This was followed by Personal Meaning (22%)
endorsed the “Most Important” rank category. Conversely, it was found that Spiritual
42
Meaning (35%) endorsed the “Unimportant” rank category, and Cultural Meaning (36%)
endorsed the “Unimportant” rank category, were found to be the least important reasons
why subjects selected their objects. Finally, it was found majority of subjects endorsed a
“ 1” response category for Pleasant Memory.
Table 3
Frequencies o f Reasons WhyObjects Were Selected -Q3
Unimportant
Love for Nature
Personal Meaning
Pleasant Memory
Spiritual Meaning
Cultural Meaning
N=101
0
16%
9%
14%
35%
36%
1
6%
23%
31%
20%
23%
2
21%
29%
25%
14%
20%
3
15%
17%
23%
25%
15%
Most
Important
4
42%
22%
7%
6%
6%
Table 4 illustrates the percentages relating to how the selected objects made the
subjects feel. The percentages were computed by taking the number of responses subjects
selected for each category and dividing them by the total number of responses.
Relaxation/Inspiration was found to be the most frequently selected category (44.6%)
followed by Growth/Expansion (19.8%). Grounding/stability (7.9%) was the least
selected category (See table 4).
43
Table 4
Frequencies o f Feelings Elicited By Selected Object-Q8
Feelings Elicited By Object
Relaxation/Inspiration
Growth/Expansion
Passion/Emotion
Strength/Independence
Grounding/Stability
N
45
20
14
14
8
101
Percent
44.6%
19.8%
13.9%
13.9%
7.9%
100%
To examine the relationship between choice of object and feelings, a cross-tab
analysis was conducted between elicited feelings and the most important reason why the
object was selected (See Table 5). Overall, Relaxation/Inspiration was found to be the
most common elicited feeling across the different feeling options. This finding supports
the literature which indicates that nature has physiological calming effects (Kellert,
2005). More specifically, for subjects who ranked Love for Nature as the most important
reason, Relaxation/Inspiration (39%) and Grounding/Expansion (25%) were the most
common elicited feelings. For those who ranked Personal Meaning as the most important
reason, Relaxation/Inspiration (57%) and Strength/Independence (22%) were the most
common elicited feelings. No analyses were conducted for Pleasant Memory, Cultural
Meaning, and Spiritual Meaning due to small samples size within each of these
categories.
In response to Research Question #1, it was found that the most important reason
for respondents’ selection of the design object was love for nature (42%). The dominant
feeling which was evoked for the sample was that of relaxation and inspiration (44.6%).
As such, a moderate trend toward feeling at ease when in the presence of the object
44
surfaced for the sample. This underscores the notion that humans are indeed inherently
biophilic and that, as such, we can find some sense of emotional relief when in the
presence of nature and/or its concomitant elements. Although love of nature was the
most prevalent reason for the choice of object, each of the other options for choice still
showed some relationship to the feelings elicited for the sample (See Table 5).
Table 5
Cross-Tab Analysis o f Feelings Eliciting by Reason Object Selection-Q3 & Q8
Most Important Reasons
Why Object Chosen-Q3
Love for Nature
Personal Meaning
Pleasant Memory
Cultural Meaning
Spiritual Meaning
N
G/S = Grounding/Stability
G/E = Growth/Expansion
P/E = Passion/Emotion
R/I = Relaxation/Inspiration
S/I = Strength/Independence
G/S
5%
4%
0%
29%
29%
G/E
25%
13%
25%
0%
14%
Feelings Elicited By Ob jects-Q8
X2
P
P/E
R/I
S/I
18%
39% 13% 18.82 /X.001
4%
57% 22% 21.56 pc.OOOl
63%
0%
3.25 p=ns
13%
14%
43% 14% 1.57 jt>=ns
14%
29% 14% 0.85 /?=ns
N
56
23
8
7
7
101
Research Question #2: Is there a relationship between the elements of nature found in the
design of an interior object and a feeling of spirituality?
To check for a relationship between the elements of nature in the respondents’
selected object and feelings of spirituality, survey questions 10 and 4 were used. Question
10 asked subjects to rate the extent to which elements of nature elicited feelings of
spirituality and question 4 asked subjects to rank, by importance, sets of interior use
45
objects, founded on the elements of nature (wood, fire, earth, water, metal), in achieving
a feeling of spirituality.
While the survey instructed subjects to rank-order the various objects that would
help achieve a feeling of spirituality, 14 subjects (11.7%) provided ratings instead of
rank-order responses. These responses were discarded in the below analysis which led to
a valid sample size of 106 subjects for analysis relating to research question #2. The
following descriptive statistics describe responses to questions 4 and 10.
Table 6 illustrates the rank-order responses to survey question 4 where
Plant/Floral/Wood (44% endorsed the “Most Important” rank category), was the most
important object set in experiencing a feeling of spirituality. This was followed by
Candle/Fireplace/Lamp (28% endorsed the “Most Important” rank category), and
Pottery/Terracotta/Stoneware (13% endorsed the “Most Important” rank category).
Sculpture/Metal-Glass objects were found to be the least important object set in
experiencing a feeling of spirituality (68% endorsed the “Unimportant” rank category).
Table 6
The Importance o f Objects Which Would Help Achieve a Feeling o f Spirituality-Q4
Plant/Floral/Wood
Candle/F ireplace/Lamp
Pottery/Terracotta/Stoneware
Fountain/Waterfall/Fish Tank
Metal Sculpture/Object
N=106
Unimportant
0
0%
3%
21%
9%
68%
1
2
3
8% 13% 34%
13% 29% 26%
38% 16% 12%
23% 37% 26%
2%
17% 6%
Most Important
4
44%
28%
13%
8%
7%
46
The importance of the selected object (See Table 6) was compared with rankings
on how much respondents felt that having elements of nature in their home would elicit a
feeling of spirituality (see Table 7).
Table 7
Comparison o f Object Sets and Elements o f Nature Elicited Spirituality -Q4 &Q10
How Much Does Having Elements of Nature in Your
Home Elicit Feelings of Spirituality? (Q10)
(l=Not at all; 5=Very Much) in survey 1=0 & 5=4
N
SD
M
47
4.23
1.10
Plant/Floral/Wood (44%)
30
1.37
4.03
Candle/Fireplace/Lamp (28%)
14
0.51
Stoneware/Pottery/Terracotta (13%)
4.43
8
1.31
4.00
Fountain/Waterfall/Fish Tank (8%)
7
1.95
3.86
Metal Sculpture/Object (7%)
106
ANOVA = [F (1.76) -1.69, p = 0.19] (Plant/Floral/Wood and Candle/Fire/Lamp)
Most Important Set
of Objects To
Achieve Spirituality(Q4)
As shown in Table 7, 44% of the respondents viewed Plant/Floral/Wood as an
important object set in experiencing feelings of spirituality. The ratings for this object set
had a higher mean rating than that resulting from subjects who viewed
Candle/Fireplace/Lamp as an important object set in experiencing feelings of spirituality
(4.23 vs 4.03, respectively). Using an unequal sample size Analysis of Variance
(ANOVA), this difference was found not to be statistically significant. It should be noted
that the group of subjects who viewed Plant/Floral/Wood and the group of subjects who
viewed Candle/Fireplace/Lamp as an important object set had mean ratings above 4 on a
5-point scale. This indicates that these groups of subjects on average view those elements
of nature at home as eliciting feelings of spirituality.
47
In response to Research Question #2, the overall similarity of means for responses
to the extent to which elements of nature inspire spirituality indicate a strength in the
association between the elements of nature and feelings of spirituality (M = 3.86 - 4.23).
It should be noted that plant/floral/wood surfaced as the prevalent natural element for
evoking spirituality which coincides with the work of Kellert (1993) and Wilson (1984).
Research Question #3: To what extent can a design object used in the design of a home have an
effect on the occupant’s feeling of balance with nature?
Survey questions 1 and 2 were used to explore this research question where
question 1 asked if the selected object made the respondent feel deeply connected to
nature and question 2 asked if the object inspired the respondent to feel somehow in
balance with nature. For each question, participants responded with ratings of “ 1” to “5”,
with “ 1” representing “Not at all” and “5” representing “Very much.” Results shown in
Table 8 indicate fairly high ratings associated with both questions. Specifically,
participants felt deeply connected with nature with a mean rating of 4.13, and inspired to
feel somehow in balance with nature at a mean of 4.19. Both questions had a fairly low
standard deviation of 1.31 and 1.16, respectively. The low standard deviation indicates
that the participants responded to these questions relatively similarly. Thus, we can
conclude from these results that the object participants selected did elicit a connection
with nature for them.
48
Table 8
Mean Scores o f Objects Eliciting Connection with Nature
Does this object or feature make you feel deeply connected with
nature?(Ql)
When in the presence of this object, does it inspire you to feel somehow
in balance with nature? (Q2)
Note - 1 = Not At All; 5=Very Much
N
M
SD
120
4.13
1.31
120
4.19
1.16
A follow-up correlation analysis was also conducted between question 1 and
question 2. A significant positive relationship between subjects’ feeling inspired with
nature and deeply connected with nature when in the presence of this object was found.
In response to Research Question #3, elements of nature in the design objects were found
to make subjects feel in balance with nature ( M = 4.19) and connected to nature (M =
4.13) at similar rates.
In response to Research Question #3, this finding underscores the notion that
items used in the design of our homes can indeed elicit feelings which relate to the
natural elements to a certain degree. Alone, this is a compelling finding given the fact
that many of the objects were essentially inanimate (See Table 9).
49
Table 9
Correlation Between Feelings o f Connectedness and Balance With Nature
I)oes this object make you feel
cleeply connected to nature (Q2)
When in the presence of this object,
does it inspire you to feel somehow in
balance with nature?(Ql)
Pearson Correlation
N
120
.669*
* Statistically significant at p<0.01
Research Question #4: Is there a relationship between the elements of nature found through an
object’s color and shape and their effect on an occupant’s feelings?
In her book titled Feng Shui, Carol Olmstead (2009) theorized that there is a
relationship between elements of nature, their shape and color and the emotional impact
that they have on us as we experience them. This theory was used as a basis for survey
questions 6, 7, and 8, where respondents were asked their perceptions of the impact that
certain design aspects of their selected objects had on their feelings.
Elements of nature can be represented by a wide variety of characteristics or
features, such as shape and color. To capture these characteristics, the survey asked
participants to select the different choices of shapes and colors that most closely matched
the uploaded photographs. Tables 10a and 10b illustrate participants’ responses to survey
questions 6 and 7 that reflected their selected objects’ shape and color.
50
It was found that objects tended to display mostly green and brown colors (See
Table 10a). It was also found these objects consisted predominantly of curvilinear and
circular forms which are found in earth or trees (See Table 1Ob).
Table 10a
Frequencies o f Colors That Most Closely Matched Participants ’ Selected Object-Q6
Percent
32.5%
29.2%
16.7%
15.0%
6.7%
100%
N
39
35
20
18
8
120
Colors
Green
Brown
Red
Gray
Blue
Table 10b
Frequencies o f Shapes That Most Closely Matched Participants Selected Object-Q7
Shapes
Curvy
Rectangle
Circle
Triangle
Square
N
33
28
27
18
14
120
Percent
27.5%
23.3%
22.5%
15.0%
11.7%
100%
In addition to shape and color, the material features represented in the objects
were explored to ascertain the connection with natural elements. To capture these
material features, the author coded each picture as “ 1” (indicating possession) or “0”
(indicating non-possession) of the five elements. It should be noted that each object could
possess more than one material feature. Table 10c illustrates frequencies of elements that
most closely matched participants selected object. It was found that 60% of the objects
51
represented wood, followed by earth (22.5%), fire (18.3%), and metal (16.7%). Only
8.3% of the pictures represented the element of water.
Table 10c
Frequencies o f Elements That Most Closely Matched Participants Selected Object
Elements of Nature
Wood
Earth
Fire
Metal
Water
N
68
27
22
20
10
147
Percent
46%
18%
15%
7%
14%
100%
Note: some of the images contain multiple elements.
A cross tabulation was used to examine the relationship between shape, color, and natural
elements of the object material and the feelings that the object evokes for the
respondents. Table 1la illustrates the results in percentages and chi square analysis.
Findings indicate support for the view that elements such as shape, color, and material,
have an effect on the emotional connection of respondents. Specifically, the colors blue,
brown, and gray tended to elicit relaxation/inspiration (50%, 51% &61%, respectively).
Nevertheless, the color blue result did not reach statistical significance. On the other
hand, the color green tended to elicit bimodal feelings of growth/expansion and
relaxation/inspiration (33% & 33%, respectively). Similarly, the color red tended to elicit
bimodal feelings of passion/emotion and relaxation/inspiration (40% & 40%,
respectively).
52
Table 11a
Feelings Elicited By Color Sets o f Selected Object
........ V
Strength
Independence
p
Sample
Size
Grounding
Stability
Growth
Expansion
Passion
Emotion
Relaxation
Inspiration
39
3%
33%
10%
33%
10%
1 7 .7 9
p < .0 0 1
p < .0 0 0 1
35
11%
6%
11%
51%
20%
2 3 .4 2
20
0%
20%
40%
40%
0%
1 .6
p=ns
18
6%
6%
17%
61%
11%
1 9 .7 7
p < .0 0 1
8
13%
25%
0%
50%
13%
1 .0 0
3czII>
Color
(Q6)
Green
Brown
Red
Gray
Blue
Shapes also tended to elicit different feelings. The curvy shape tended to elicit
relaxation/inspiration (79%), while the circular shape tended to elicit
strength/independence (41%). The triangular shape and the rectangular shape tended to
elicit bimodal feelings with the triangular shape eliciting passion/emotion (56%) and
relaxation/inspiration (28%), while the rectangular shape elicited growth/expansion
(46%) and relaxation/inspiration (39%). Finally, the square shape elicited a mixture of
feelings such as grounded/stability (29%), growth/expansion (21%) and
relaxation/inspiration (36%), but was found not to be statistically significant (See Table
lib ).
Table li b
Feelings Elicited By Shapes o f Selected Object
Shape
Curvy
Rectangle
Circle
Triangle
Square
Relaxation
Inspiration
Strength
Independence
x2
p
6%
79%
6%
5 1 .0 0
/X .0 0 1
11%
39%
0%
1 4 .8 5
p < .0 0 2
p<.027
p<.0 1 2
p= ns
Sample
Size
Grounding
Stability
Growth
Expansion
Passion
Emotion
33
0%
9%
28
4%
46%
27
11%
4%
19%
26%
41%
1 0 .9 6
18
6%
11%
56%
28%
0%
1 0 .8 8
14
29%
21%
7%
36%
7%
4 .5 7
53
Table 11c also illustrates that the material represented in the uploaded picture
tended to elicit different feelings. The materials fire and metal tended to elicit bimodal
feelings of relaxation/inspiration (50%) and growth/expansion (20%), while fire alone
elicited feelings of relaxation/inspiration (68%). Growth/expansion was 23%, while wood
and water tended to elicit feelings of relaxation/inspiration (33% and 50%). Wood was
found to be statistically significant, while water was not. Wood and water elicited
feelings of Passion/emotion at rates of 22% and 20%, respectively and growth/expansion
was 22% and 20%, respectively. Finally, earth tended to elicit feelings of
relaxation/inspiration (41%), growth/expansion (19%), and strength/independence (19%);
but was found not to be statistically significant.
In response to Research Question #4, the expected frequencies associated with
shape (curvilinear forms - also found in Feng Shui theory) and color (green and brownassociated most directly to nature) appear to illustrate the anticipated relationship to
feeling and also correspond with claims made by Olmstead (2013) in her book. Though
the findings show the strongest correlation between wood and relaxation/inspiration, they
also indicate that feelings associated with each element of nature are different - but that
they still exist.
54
Table 11c
Feelings Elicited By Elements o f Nature o f Selected Object
Element
Wood
Earth
Fire
Metal
Water
Sample
Size
Grounding
Stability
Growth
Expansion
Passion
Em otion
Relaxation
Inspiration
Strength
Independence
72
27
22
20
10
8%
7%
0%
20%
22%
19%
23%
10%
20%
22%
15%
5%
10%
20%
33%
41%
68%
50%
50%
14%
19%
5%
10%
10%
0%
X4
p
13.00 p < . 0 1 1
8.37 p=ns
23.81 p < . 0001
12.00 p <.o \ i
3.60 p = ns
Finally, Table 12 describes the current study sample demographics. There was
higher proportion of females to males (64% to 34%, respectively). The sample was broad
with the highest proportion of individuals falling within the 36 to 55 age category (44%),
followed by the 56 and above category (28%) and the 26 to 35 age category (23%). The
smallest proportion of the sample group was in the 18 to 25 age category (5%). Finally,
the study sample was more represented by Middle-Eastern and Caucasian ethnic groups
(34% and 20%, respectively), followed by European and Asian (18% and 11%,
respectively), and under-represented by African/American and Native/American ethnic
groups (8% and 7%, respectively). Future studies may want to replicate the research with
a more diverse sample.
55
Table 12
Demographics
Gender
Male
Female
N
43
77
120
Percent
36%
64%
100%
Age
18-25
26-35
36-55
56 - Above
N
6
28
53
33
120
Percent
5%
23%
44%
28%
100%
Ethnicity
European
Asian
African/American
Native/American
Middle-Eastern
Caucasian
Other
N
21
13
10
8
41
24
3
120
Percent
18%
11%
8%
7%
34%
20%
3%
100%
CHAPTER V
DISCUSSION AND CONCLUSIONS, IMPLICATIONS, RECOMMENDATIONS,
LIMITATIONS
Discussion and Conclusions
The basis of this study was an examination into the extent to which nature
influences our experience of spirituality within the home. More specifically, when natural
elements are included in the design of a space in the form of an object or architectural
feature, these elements may have an impact on how the space is experienced.
Respondents had a feeling of spirituality connected with elements of nature found in
objects in their home.
The color, texture and shapes found in design objects can make us more
connected to the natural world. In this study, responses indicated that it is important to
facilitate a spiritual experience for some human beings by incorporating the utilization of
elements from our natural world that carry their own essence.
Research findings indicated that the specific choice of design objects was
enhanced by the individual needs and experiences of the respondents. For example, the
perception of each element of nature was specific to each respondent leading them to
focus on different aspects of the element. Thus, each element of nature represented
different things for different respondents. When considering the element of wood, for
example, one respondent saw wood, while others saw texture, color or shape.
57
According to Olmstead (2009), not only is there a direct connection between
color, shape, material, and how we feel, but there is also the matter of how we experience
each aspect of nature in our spiritual awareness. The results of this study seem to support
the theory postulated by Olmstead (2009), in that the majority of respondents indicated
similar preferences for each element. Most subjects selected shapes, colors and textures
as postulated in her theory.
In exploring the emotional connection with an object or an architectural feature,
this study found that most participants felt that their selected objects represented their
connection with nature despite the fact that the instruction was to select an object which
somehow elicits nature for each respondent. This connection was exemplified by
descriptions of feelings such as relaxation, growth and passion which tended to relate to
the nature inspired aspects of the object.
Personal meaning, feelings and spirituality were all found to be positively related.
Additionally, love of nature was positively correlated with being connected to, and in
balance with nature. This would seem to support the theory postulated by Parsons,
Tassinary, Ulrich, Hebl, and Grossman-Alexander (1998) that people and nature are
interconnected and that our separation from nature results in diminishment in the quality
of our lives. According to the wisdom of the Frank Lloyd Wright (Costantino, 1995)
Feng Shui Institute of the Midwest):
“ Spaceshould satisfy the fundamental, aesthetic, and spiritual needs o f man.”
58
Implications
Based on the outcome of this research, there appears to be evidence of a
connection between nature and spirituality for the sample. This indicates that there is a
foundation for deeper research within the interior design industry that looks to the human
association between nature, spirituality, and the objects that we use to manifest these
concepts into a reality in the spaces we inhabit. As we tend to spend a major portion of
our time in our homes, this has the potential of contributing to a personal spiritual
connection and perhaps a focus away from the material, competitive, and destructive
directions which seem to occupy the desires of mankind in this day and age.
Though the sample in this research was small, the implications for the
improvement of our society are nonetheless important. The profession of interior design
can play a major role in facilitating the spiritual growth and development of clients and
our society at large by focusing on the purposeful incorporation of earth, wood, water,
fire and metal in designs with the intention of using these elements to provide a vehicle
for spiritual reflection by clients. At the very least, it would be incumbent on designers to
include spiritual needs and desires in their client data collection process and to
understand the universally accepted belief that humans are biophilic by nature and that
for some; this translates into a connection with spiritual needs that are supported within
the design of the home. According to Emerson (2009), nature can be used to help us
achieve a better understanding of our spirituality.
59
Recommendations for Further Study
The sample was selected by invitation to and through known acquaintances which
resulted in a predominant ethnicity in the sample (Middle Eastern), gender bias (female),
and an age focus (mostly 36 and over). As such, the survey responses may reflect an
increased weight on the sentiments of the demographic breakdown. The results of this
research study, though marginally significant and only generalizable to this specific
sample, provide insight into the connection between nature and spirituality. These
findings may point to the need for a deeper investigation of how design objects that
surround us can be used to promote healing and spiritual development to some degree.
As Kellert (1996) stated, the use of natural elements contributes to the enrichment of the
human experience by facilitating the interaction with nature in the built environment. If
designers embrace the concept of bringing nature into the home through multiple
channels, to include objects which evoke the elements of nature, they can help promote a
higher standard of living in terms of the utilization and appreciation of natural materials.
The aim of this research was to investigate the connection between spirituality
and nature and their effects on our experiences and how we feel about objects we use in
the design of our interiors. The findings of this study which examined the elements of
nature for use within interior design support the views of Kellert (1993) who postulated
that the well being of humans was facilitated by the inclusion of nature in their
environments.
60
Further research into this area is necessary as the findings of this study are
preliminary and offer only a bird’s eye view of the possibilities inherent in the study of
this area. Qualitative research should be conducted in an effort to present a greater
understanding of the spiritual experience in its many forms. This may lead to a better
understanding of how we can reduce negative emotions and turn them into positive and
spiritually oriented experiences through multiple methods.
Limitations
Individual interpretations of spirituality are highly personal and individualized,
even disputed. They may rely on nuances and several factors, some of which are: culture,
environment, religion, and personal experience. Therefore, any attempt to measure
spirituality will have some inherent individual interpretation issues. Nonetheless, for the
purpose of this study spirituality relied on the definition provided.
The majority of respondents in this study had some spiritual awareness and tended
to be in the over 36 year old age bracket which may have played a role in their
perceptions. The sample group was small and not necessarily representative of the
general population in the area but was overly represented by Middle Eastern and
Caucasian ethnic groups.
Due to the nature of the survey question format in the Qualtrics system, in some
cases the researcher was not able to control the manner in which subjects responded to
specific survey questions. Specifically, Qualtrics gave them the option of either ranking
in order of numerical importance or rating them by degree of differentiation, which posed
a problem where the direction stated for item rankings only. Further study should
preclude multiple options of responding to survey items.
62
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Appendix #1
72
Default Question Block
Introduction
Hello and thank you for taking the time to participate In this research project. You will he
participating and contributing to the field of Interior design, furthering our ability to Increase
our knowledge In the field and Improving the profession as a whole. For this research you will
be asked to first take a photograph, and then respond to fifteen brief survey questions about
home design. This will Improve our understanding of various design objects, elements and
their potential Influence on spirituality.
Further, nature as used in this study is defined as;
"Any natural elements derived from the earth that are not man-made."
Please know that your information will be kept confidential and utilized solely for the purposes
of this research project. Thank you,
Instructions:
Take a picture of a design object or architectural feature in your home that represents elements
of nature(Wood, Water, Fire, earth, metal). This should be an original picture taken by you of
an item in your own home and should not be taken from any 3rd party source. By submitting
this image, you are certifying that you are not violating any copyright laws. Please note that
participation In this research is voluntary; however, if you decide to participate, we would
appreciate your commitment to completion of the process. Further, please also be advised that
any pictures submitted for this research project will not be returned.
Please respond to the following questions about the object in the photograph you took.
Please upload your picture here:
Click on "browse" below, then select your own picture from your own device. Then press
"open”. When you see your own picture please click the arrow on the lower right hand corner
to complete the survey questions.
Browse*.
No file selected.
Please briefly describe the image you are uploading
1-Does this object or feature make you feel deeply connected to nature?
Very much
Somewhat
Neutral
Very little
Not at all
#
m
m
•
&
73
2-When in the presence of this object, does it inspire you to feel somehow in balance with
nature?
Very much
Somewhat
#
m
Neutral
Very little
Not at all
#
0
#
3-PIease Rank , why you selected this object* The numerical values are between 0 and 4 with 0
being unimportant and 4 being the most important* .Considering the definition of spirituality as
"An increasing openness to exploring a relationship with an intangible and pervasive power or
essence that is beyond human existence and rational human knowing."
0
It has personal meaning to you. Please explain
0
It has spiritual meaning to you
0
It has a cultural meaning to you
0
It triggers a pleasant memory
0
It evokes your (ove for nature
4-£ank in order of importance which set of objects listed below, would help you achieve a
feeling of spirituality, with ”0” being unimportant *‘4“ being the most important.
0
A plant, a floral arrangement, wood object
0
A candle, a fireplace, lamp
0
A fountain, a picture of waterfall, fish tank
0
A metal or glass sculpture, metal or glass object
0
A pottery, a terracotta, stoneware object
5-If you were able to build a sacred space in your home, what Is the most important aspect you
would want to incorporate? Please rate the following items and assign a numerical value to
each item. The numerical values are between 0 and 6 with 0 being unimportant and 6 being the
most important.
0
light
0
Sound
0
Boor plan
0
Smell
0
Color
0
Elements of nature
0
Symbol
6-Consider the following color sets. Select the one that most closely matches your selected
object.
H
e
A
a
a
J
4
©
e
7-Consider the following shapes. Select the one that most closely matches your selected object.
Triangle
A
Square
Cirde
□
Curvy
Rectangle
8-Consider how the object you selected for your photo makes you feel.
Passion, Emotion
Grounding, Stability
Strength, Independence
Relaxation, Inspiration
Growth, Expansion
9-Which of the following adjectives listed below best describes your home?
Complex
Simple
10>Considering the definition of spirituality as "An increasing openness to exploring a
relationship with an intangible and pervasive power or essence that is beyond human existence
and rational human knowing/', how much does having elements of nature (For example:
fire,wood, plants, ceramic, water) in your home elicit feelings of spirituality?
Very much
Somewhat
Neutral
Very little
Not at all
0
0
0
0
0
ll~Do you think the interior design of your house can affect how you feel?
Very much
Somewhat
H
#
Neutral
Very little
Not at all
#
#
12-According to the definition of spirituality as "An increasing openness to exploring a
relationship with an intangibie and pervasive power or essence that is beyond human existence
and rational human knowing/’ rank how spiritual you are,
Very much
Somewhat
Neutral
Very little
Not at all
#
#
#
%
#
13-AGE
m
18-25
# 26-35
# 36-55
a
56-Above
14-Ethnicity
European
m Aslan
African/American
Native/American
Middle-eastern
Caucasian
# Other
15-Gender
Male
# Female