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Electronic Theses, Treatises and Dissertations The Graduate School

2010 Growing Home and Neomorphism Creating Living Structures and a New Design Language Elena Vee Myhre

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COLLEGE OF VISUAL ARTS, THEATRE AND DANCE

GROWING HOME AND NEOMORPHISM

CREATING LIVING STRUCTURES AND A NEW DESIGN LANGUAGE

ELENA VEE MYHRE

A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts

Degree Awarded: Summer Semester, 2010

The members of the committee approve the thesis of Elena Vee Myhre defended on July 2, 2010.

______Professor Eric Wiedegreen Professor Directing Thesis

______Jill Pable Committee Member

______Professor Karen Myers Committee Member

Approved: ______Eric Wiedegreen, Chair, Department of Interior Design

______Sally E. McRorie, Dean, College of Visual Arts, Theatre, and Dance

The Graduate School has verified and approved the above-named committee members.

Commit to the Lord and whatever you do your plans will succeed. Proverbs 16:3

To my parents and sisters who help me to strive far beyond what I can see; My father who is always interesting and interested in what I am doing; My mother who has always encouraged my dreams in practical ways;

To my girls who keep me motivated and laughing;

To the hairstylist who keeps my look at its best;

To the boy who is always supportive;

To the dog who is always loyal.

You all are the reason this thesis is finished. Thank you forever.

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ACKNOWLEDGMENT

Eric Wiedegreen

For all the support, care, and critique. Your honesty and commentary has shaped the trajectory of my life forever. I could never have had such a wonderful experience in graduate school had it not been for your support and consideration.

Jill Pable

Your kindness and work ethic are qualities I aspire to emulate. Thank you for working so hard to make this thesis something of which I can be proud. I am inspired that you were willing to work with me and I hope to make you proud in the future.

Karen Myers

My beloved sister, I know that I am who I am and I am confident and content with that because of your love and guidance. Thank you for your intelligence and your wonderful critique. You saved my life so many times over this project and my time is graduate school. I can never repay your kindness.

Wallace Wilson, Alex Bothos, Jin Baek, and in memory of Richard Beckman

My USF undergraduate, unofficial thesis committee, who all supported me toward seeing myself as an intelligent person capable of working in this way. They continue to check in with me, keeping me motivated, and remembering when I fell in love with research and working within art and design. You and the institutional environment you created at USF are the reason I am in graduate school today and looking ahead to my doctorate tomorrow. Thank you for everything.

TABLE OF CONTENTS

List of Figures ...... viii Abstract ...... x

1. Project Overview, Explanation, and Justification ...... 1

Introduction ...... 1 Growing Home ...... 2

2. Review of Literature ...... 5

Introduction…………………………………………………………………. .. 5 History of Design Language and Vocabulary ...... 5 The Classical Design Language ...... 11 The Gothic Design Language ...... 14 The Modern Design Language ...... 16 Incorporation of Nature in Design ...... 17 Nature in Design ...... 36 Vegetative Based Design ...... 38 Landed Design ...... 40 Earth Architecture ...... 42 Organic Design ...... 45 Vernacular Design ...... 48 Conclusion ...... 50

3. Research and Design Program for Growing Home ...... 52

Introduction ...... 52 Project Description and History ...... 52 Project Context ...... 53 Social ...... 54 Political ...... 55 Economic ...... 55 Psychological ...... 56 Sample Population: Refugees ...... 56 Specific Sample Population: Lhotsampas Refugees in Nepal ...... 59 Project Goals ...... 63 Project Budget and Timeline ...... 63 Construction Design Materials ...... 64 Specifications ...... 64 Bamboo ...... 66 Adobe Cob ...... 69 Interior Specifications ...... 70 Codes and Regulations ...... 70

Conclusion ...... 72

4. Growing Home Design and Drawings ...... 73

Introduction ...... 73 Graphic Summation ...... 74 Design Project Scroll Images ...... 75 Diagrams and Detail Sketches ...... 89 Final Floor Plan ...... 92 Model Results ...... 96

5. Conclusions and Recommendations ...... 104

Growing Home ...... 104 Analysis of Needs and Requirements ...... 104 Changes in Design ...... 104 Model Results ...... 105 Potential for Relocation of Lhotsampas Refugees ...... 106 Recommendations for Future Research ...... 106 Growing Home Prototype Model ...... 106 Neomorphism ...... 107 Neomorphism as a Design Language ...... 109 Continuing Neomorphic Design Research ...... 111 Conclusions...... 112

APPENDICES ...... 113

A Elements and Principles of Classical Design ...... 113 B Elements and Principles of Gothic Design ...... 115 C Elements and Principles of Modern Design ...... 117 D Elements and Principles of Neomorphic Design ...... 119 E Elements and Principles of Growing Home ...... 120 F Letters of Reference from Nepal Organizations ...... 121 G Neomorphism Tern Organization ...... 123 H Growing Home Presentation Booklet ...... 124

REFERENCES ...... 138

BIOGRAPHICAL SKETCH ...... 149

LIST OF FIGURES

Figure 2.1 Viollet-le-Duc 1864 Architectural Drawing ...... 9

Figure 2.2 Michael Gabriel Paccard 1909 Parthenon Drawing ...... 11

Figure 2.3 Viollet-le-Duc, Reconstruction Drawing of St. Denis ...... 13

Figure 2.4 The Bauhaus building (1925-1926) in Dessau, Germany ...... 15

Figure 2.5 Pleaching Example ...... 18

Figure 2.6 Grown, Pleached Tree ...... 20

Figure 2.7 L’Alchimie by Jean Perreal (1455-1530)...... 29

Figure 2.8 L’ Inverno by Giuseppe Arcimboldo in 1573 ...... 21

Figure 2.9 Bowood Gardens, Sir Lancelot ‘Capability’ Brown 1762 ...... 22

Figure 2.10 Carson, Pirie, Scott and Company building by Louis Sullivan ...... 26

Figure 2.11 Decorative Ironwork on Carson, Pirie, Scott building ...... 27

Figure 2.12 Falling Water Hearth by Frank Lloyd Wright ...... 29

Figure 2.13 Park Guell by Antonio Gaudi in 1900-1914 ...... 31

Figure 2.14 John Krubsack and his living chair of 1919 ...... 32

Figure 2.15 House out of living trees by Arthur Wiechula ...... 33

Figure 2.16 Tree Circus by Axel Erlandson, 1947 ...... 35

Figure 2.17 Dymaxion House by B. Fuller, 1945 ...... 36

Figure 2.18 Tree Fab Hab Shelter by Terreform1, 1997 ...... 38

Figure 2.19 Willow Cathedral by Marcel Kalberer,2001 ...... 40

Figure 2.20 Barcelona: Wat-erg Design, 2009 ...... 42

Figure 2.21 Syrian beehive Houses ...... 44

Figure 2.22 Interior of cob house built in 1995 ...... 45

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Figure 2.23 Built structure with synthetic neoplasm ...... 47

Figure 2.24 Acoma Pueblo, Aerial Perspective ...... 49

Figure 2.25 Acoma Pueblo, Built Structure ...... 50

Figure 3.1 Map of Nepal ...... 54

Figure 3.2 Bhutanese Refugees ...... 58

Figure 3.3 Refugee Tents ...... 59

Figure 3.4 Lhotsampa Traditional Dress ...... 60

Figure 3.5 Druk Traditional Dress ...... 62

Figure 3.6 Bambusa Balcooa Plant ...... 68

Figure 3.7 Cob ...... 70

Figure 4.1 Growing Home and Neomorphism Graphical Summation ...... 74

Figure 4.2 Unit 1 of 15 in Process Scroll ...... 75

Figure 4.3 Unit 2 of 15 in Process Scroll ...... 76

Figure 4.4 Unit 3 of 15 in Process Scroll ...... 77

Figure 4.5 Unit 4 of 15 in Process Scroll ...... 78

Figure 4.6 Unit 5 of 15 in Process Scroll ...... 79

Figure 4.7 Unit 6 of 15 in Process Scroll ...... 80

Figure 4.8 Unit 7 of 15 in Process Scroll ...... 81

Figure 4.9 Unit 8 of 15 in Process Scroll ...... 82

Figure 4.10 Unit 9 of 15 in Process Scroll ...... 83

Figure 4.11 Unit 10 of 15 in Process Scroll ...... 84

Figure 4.12 Unit 11 of 15 in Process Scroll ...... 85

Figure 4.13 Unit 12 of 15 in Process Scroll ...... 86

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Figure 4.14 Unit 13 of 15 in Process Scroll ...... 87

Figure 4.15 Unit 14 of 15 in Process Scroll ...... 88

Figure 4.16 Color Space Planning and Growing Diagram; Process Sketches 89

Figure 4.17 Floor Plan ...... 92

Figure 4.18 Floor Plan, Metric ...... 93

Figure 4.19 Floor Plan, Imperial ...... 94

Figure 4.20 Experiment Photograph...... 95

Figure 4.21 Model Image ...... 96

Figure 4.22 Model Section Image ...... 97

Figure 4.23 Growing Plan ...... 98

Figure 4.24 Interior Overview Image ...... 99

Figure 4.25 Exterior Rendering ...... 100

Figure 4.26 Scale View ...... 101

Figure 4.27 Interior Detail View ...... 102

Figure 4.28 Interior Perspective ...... 103

ABSTRACT

Nature builds structures that evolve, self maintain, and eventually return to a natural state. Humans build in a few different ways, creating structures that will act as models of the desired goals, often with little regard for the impact of nature during the structures lifetime much less when its functionality has ended. Recently there have been projects and theoretical discussion on combining the human way of building and biological way of growing. One such project is presented here, titled “Growing Home”. Growing Home is a structure built from living bamboo, designed for stateless persons and refugee populations. Research has concluded that while numerous projects seek to combine growing elements within built structures, few structures have been created for stateless populations. An initial, experimental sample of Bhutanese refugees who have been living in Nepal since the early 1990s has been chosen as a target population. (Ranard, 2007).

CHAPTER ONE PROJECT OVERVIEW, EXPLANATION, AND JUSTIFICATION

INTRODUCTION

Nature builds structures that evolve and maintain themselves; humans build in a different way creating structures with the hope that the buildings will continue after them or act as a model to the desired goals of the specific culture. Recently, there have been projects and theoretical discussion on combining the human and biological ways of growing (Armstrong, 2008; Burger, 1986; Calts & Zurr, 2008; Cruz & Pike, Neoplasmatic Design, 2009; Gins & Arakawa, 2000; Richardson, 2001; Steele, 2005; Portoghesi, 2000; Watts & Affleck, 2008). This paper introduces Growing Home, presented as an example of these projects that use live, growing biological materials as an active part of the design program. Growing Home is a structure built from living bamboo, designed for stateless persons and refugee populations. Research has concluded that, while numerous projects seek to combine growing elements within built structures, few designs have been created for stateless populations. An initial, experimental sample of Bhutanese refugees who have been living in Nepal since the early 1990s has been chosen as a target population. (Ranard, 2007). The process of researching Growing Home necessitated examination of the history of structures of this type. In this research, it was concluded that Growing Home and other similar designs fall under a proposed new term, Neomorphism. Neomorphism is a new proposed design language that is different from past design movements. Chapter 5 contains the information concerning Neomorphic design. Neomorphism is a result of the research for Growing Home in this thesis and, thus is included within the final findings and remarks.

GROWING HOME

Growing Home is a prototype for a shelter that uses continuously growing elements as the structural framework. Instead of overpowering nature, it uses the innate qualities of the built environment as a primary construction element. The project defines a growing design element as a living organism, incorporated into a design scheme that is taking part by simply fulfilling its biological or ecological process. The Growing Home project is also a study of the interiors in structures comprised of growing elements. As the interior of a structure must interact with its user in a more immediate way than the exterior, this project will examine how a living home can fulfill the need for shelter and the traditions of dwelling. This thesis examines the viability of the Growing Home project in Nepal, a place where bamboo and architecture of mud brick is still used, and housing solutions are needed for refugee populations. The species of bamboo that will be tested, Bambusa Balcooa and Bambusa Nutan, mature within ten months and finish growing in two years. This two-year period creates the possibility of a livable, more permanent structure relatively quickly that can house refugees who need housing that will last longer than a tent might. Since the structure is livable within 10 months and will continue to grow, “building” these structures do not require the labor needed to build in the traditional way since it is grown. The types of bamboo proposed as a material are the species with which the Adobe and Bamboo Research Institute (ABARI) builds and recommends for Nepal. The species of bamboo used for construction in a given area would depend on the best species that grows in the different climate zones and soil composition. Bamboo is found in every climate zone, including Africa, where there are even larger refugee populations than in Nepal (Bystriakova, Kapos, & Lysenko, 2002). The project thesis will produce two graphic elements to illustrate different parts of the final design. The first graphic element is a concept model of the proposed “living” house. The model will show the basic layer of the structure’s built parts and provide a real visual for the committee members to inspect in respect to the structure and the space created within the structure. A three-dimensional model created with modeling software to create a basic image of the style and way the structure’s elements will relate

to one another. The second and final graphic will be rendered floor plans, elevations, and perspectives that will show how Growing Home would work and function in real life. The three-dimensional model created with modeling software will be the structure used for these renderings and then would create the basis for the renderings showing the interiors and how Growing Home would be utilized. In reality, this home will be planted and grow into a structure. Pleaching involves the creation of a smaller frame of cut and living bamboo within the larger frame of living, structural bamboo. For Growing Home, mature bamboo growing naturally will be found and pleached. An established agricultural technique, pleaching will be used to grow the structure bamboo together while a woven framework of bamboo will provide an elastic layer between the interior finish of adobe cob and the exterior bamboo framework. This woven framework around the pleached growing elements will act as a flexible moisture barrier for the structural bamboo. Cob is a combination of soil, water and vegetative material mixed together to create a moldable substance that dries into a hard finish (Rael, Earth Architecture, 2008). The use of framework and structural bamboo for the exoskeleton of the Growing Home makes it possible for the interior walls to be coated with a layer of cob plaster to seal the home. The components within adobe cob mixture will be better determined by the undergrowth and refuse from the environment where bamboo grows. Experimentation with undergrowth and other on-site materials is necessary to create the strongest and most functional dwelling possible. Refugee housing structures in general can be sources of contention, because native people already living in areas where a refugee camp is located may perceive the refugees as an intrusion. The Growing Home is offered as a long-term (but temporary) housing solution. This reflects the fact that unfortunately, some refugee camps have been in existence for three decades yet continue to be regarded as “temporary” to encourage the process of resettlement elsewhere (International Rescue Committee, 2007). Growing Home is a way to build that does not create total permanence but still offers functions found in permanent structures, such as elevated secure storage, built-in cooking areas, as well as solid walls for acoustics and visual privacy.

Growing Home is a structure that can be created to meet traditional and cultural building needs. It is also a more permanent structure than the currently used refugee tent buildings, yet is not a fully permanent structure. The lifespan of Growing Home acknowledges the temporary situation of the refugee camp and the desire for the process of resettlement into a permanent home in the future. Growing Home can meet the needs of displaced peoples and, when no longer needed, would revert to a grove of bamboo.

CHAPTER TWO REVIEW OF LITERATURE

INTRODUCTION

This review of literature provides a background for projects similar to Growing Home, because Growing Home is generated from historical precedents. Growing Home is also a part of the proposed new language of Neomorphic Design, which is discussed in further detail in Chapter 5. This review is traced from the stated inspirations of current designs as well as the historical perspectives of nature and nature’s relationship with humans. The history of nature and human interaction is not presented in its entirety. Only a portion of the ideas and views are expressed which relate to the design products that most relate to Growing Home, and this thesis. A review of the previous relationship of nature and within design is necessary to show how Growing Home is a part of this narrative and how it fits within the context of the history of design. The third chapter of this thesis provides background information on the specific sample population. This information is included with the programming data because it is inherently connected with the needs of the sample population used for this prototype project of Growing Home. Furthermore, an image-based process will be shown in the fourth chapter as a clarification for how these ideas actively inform the design process.

HISTORY OF DESIGN LANGUAGE AND VOCABULARY

Ellen Lupton’s definition in “Language of Vision” best describes what a design vocabulary is as she discusses its Bauhaus origins (Lupton, 1993). “Numerous textbooks have appeared since World War II which describe the ‘language’ of design as a ‘vocabulary’ of elements arranged according to a ‘grammar’ of formed contrasts” (Lupton, 1993). An institutionalized design language originated from the Bauhaus School by Paul Klee and Wassily Kandinsky as they were teaching at the school in the 1920s. The Pedagogical Sketchbook by Paul Klee and Point and Line to Plane by Wassily

Kandinsky were seminal works in creating what a design vocabulary would entail (Lupton, 1993). Further establishment of design vocabulary can also be traced in the 1940s and 50s to the published texts of The Language of Vision by Gyorgy Kepes and Vision in Motion by Laszlo Moholy-Nagy, whom were also Bauhaus faculty members. These books together with Gestalt psychology, ”lend the rationale for design language” as Lupton stated (Lupton, 1993). The fine arts as an area of study were not included in an academic setting until 1563 when the earliest known academy, the Accademia delle Arti del Designo, now the Accademia dell Arti del Disegno was founded. This Academic institution was created in Florence, Italy by Cosimo I de’ Medici under the supervision of Giorgio Vasari (Academia Dell Arti Del Disegno, 2009). The use of a vocabulary or specific sets of criteria required to describe buildings existed long before the accademia. A criterion upon which buildings are studied, judged, and built is defined by Watkin as being comprised of, “any written system of architecture, whether comprehensive or partial, that is based on aesthetic categories. This definition still holds even if the esthetic content is reduced to the functional”. (Kruft, 1994). Evidence of buildings, designs and art being described with specific vocabulary and having a specific criterion for analysis is seen as far back as Vitruvius, a Roman architect. Scholars such as Hanno-Walter Kruft, in A History of Architectural Theory: from Vitruvius to the Present, point out that the writings of Vitruvius were not the first writings, just the earliest record available, and that it is possible to discern specific perspectives and criterion on which design has been built and studied (Kruft, 1994). Through letters and other fragments Watkin asserts that one can deduce that even the ancient Greeks and Romans held specific design vocabularies or criteria upon which buildings and design were to be judged (Watkin, A History of Western Architecture, 2005). The writings of Vitruvius contain language that describes and examines architecture. Book One of Ten Books on Architecture has a portion titled The Fundamental Principles of Architecture, in which Vitruvius states that “architecture depends on order, arrangement, eurhythmy, symmetry, propriety, and economy” (Morgan, 1960). Although these are not the current decided elements and principles of design, they are the criteria upon which we believe buildings to have been evaluated

and built during the time of the text (Morgan, 1960). Today, the elements and principles of design are incorporated into design vocabulary. They are included in the curricular requirements for art and design programs across the country, illustrating that the use of art and design elements and principles is a major component of the art and design theory and education (Romans, 2005). In the early periods of the study of art and design, the theories behind the creation of work were dependent on the guilds, artisans, and crafts-persons. As time progressed, these communities began to wield more social and cultural influence, moving from mere technical makers to becoming creators. This is particularly true in the time of monarch rule, and continues until the time of the Industrial Revolution (Hargrove, 1990). As time passed, the use of theoretical vocabulary became more than just a political and social resource to be applied toward judging art and design. Watkin states that the informative inspiration for early modernist design is the theoretical anti- academic movement (Watkin, A History of Western Architecture, 2005). This anti- academic movement was a response to the Ecole des Beaux-Arts and supported a return to the workshop of the craftsperson. The Ecole des Beaux Arts was established as a successor to the architecture school founded by Colbert in 1671, the Academie Royale d’Architecture. When the Academie was dissolved during the 1793 Revolutionary Convention, the Ecole des Beaux Arts was founded to replace this royalty-based school. According to Watkin and correlated by June Hargrove who writes in The French Academy: Classism and its Antagonists, the founding of the Academie and the organization later under Henri Testelin Colbert consolidated a group of academics who “were to provide the theory that would be taught in school” (Hargrove, 1990). The history of the art and design education begins with the founding of the Academie under the earlier name, the Royal Academie as a challenge to the guilds created during the medieval ages. The Academie was different from the guilds because this institution would train an individual in art in addition to providing a liberal arts education (Hargrove, 1990).

This Accademie was focused on the classical period of design and art, and as an institution, the ultimate prize it awarded its students was the Prix de Rome; a prize awarded to students that allowed them to study antiquity in Rome and paid all expenses for the time of study. As described by Le Normand-Roamin in his essay “The Weight of Tradition”, “The School of Rome was very much sought after. Indeed it offered young artists the immense advantage of living for five years in Rome, and on their return to Paris, it attracted the attention of those liable to entrust them with official commissions”. The Prix de Rome was a major prize for any student to win, but all work was measured by the theory and vocabulary of the Classical aesthetic. For example, all of the Prix de Rome competitions were based on mythology or ancient history relating to Classical antiquity. This theme and other rules allowed “the academy to eliminate those who, when in Rome, might have compromised the respect for classical traditions”, thus “the young people who consecrated themselves to art labored to conform to the mold, the uniformity of which was strongly attacked as early as the 1830s” (Le Normand-Romain, 1990). It is under this rebellion from the Academie, named by Watkin, as an institution “which has no parallel in any other European country” that a new vocabulary apart from the language of the Academie was sought by several various groups. Pierre Francois Henri Labrouste was an actual Rome Grand Prix winner who came to become what Watkin terms a “Romantic Radical” (Watkin, The Rise of Architectural History, 1980). He left the academy over controversy of his study drawings that represented classical buildings as if they were being used, complete with slaves, litter, and graffiti (Watkin, The Rise of Architectural History, 1980). Labrouste’s ideas and drawings, “struck at the foundations of the classical language by implying that architectural forms are so deeply rooted in a particular time, place, and way of life that they cannot be transported to other periods or countries” (Watkin, The Rise of Architectural History, 1980).

Figure 2.1. Viollet-le-Duc 1864 Architectural Drawings. Proposed restoration of Sainte- Chapelle de Paris using iron and glass (Viollet-le-Duc, 2007).

Other theoreticians and designers such as Eugene- Emmanuel Viollet Le Duc shared a similar belief in the need for a new design language to reflect the nineteenth century’s time and place in culture. Le Duc’s ideas are illustrated in Figure 2.1 and summarized in the book, Discussions on Architecture. In Le Duc’s words, “Adherence to rational systems of structure and organization with new materials such as iron would

9 result in a new architectural language exclusive to the nineteenth century” (Viollet Le Duc, 1990). Each western art and design age, Classical, Gothic and Modern, searched for the appropriate way to design for the world in which they lived, looking to rework, or reshape their environment to answer their own cultural problems. Design vocabularies emphasize specific elements and principles of design and are a core feature of both design theory and the design discipline. The three significantly different design vocabularies that exist in Western culture are the Classical, Gothic, and Modern. The use of the word “vocabulary” may be misleading because, in many books, these words are called languages, styles, movements or manner (Van Der Grinten, 1969; Riegl, 2004). In this thesis, language will be used to reflect the lexicon of each aesthetic type. In reflecting on the history of design of western humanity, these three types of design have been acknowledged as being different or distinct from each other and informing many sub-types or aesthetics. The difference between the three styles and their respective aesthetics is not only their time and place in society but also other aesthetic differences that are visually obvious (Scully, 1991). These visually obvious differences, the unique combination of the elements and principles of design, and the theoretical character that differentiates these three vocabularies solidify them as distinct individual expressions and ways of designing. Because of these three individual and unique types, the word “language” is primarily used in this thesis to discuss their different visual and verbally descriptive types. Although this thesis project involves creating refugee housing for non-western test subjects it is created from the context and within the western mindset as the author is of western origin and has learned and continues to view design from this perspective (Baydar, 2008). Non-western design is significant within the context of a global design and within the mind of the thesis project creator, but historically non western design largely has not been viewed as a cohesive narrative and discussed as such (Choi, 2007; Irvine, 2009).

THE CLASSICAL DESIGN LANGUAGE

Figure 2.2. Michael Gabriel Paccard 1909 Parthenon Drawing. Restoration concept image of the Parthenon drawn by Paccard circa 1909. The Parthenon is an example of the Classical design language (Paccard, 2008).

The Classical Style is the first formal design vocabulary out of the three being discussed in this thesis. Classical “refers to the architecture and art of ancient classical Greece and Rome, or any architecture which follows the same principles and ideas, such as Renaissance, neoclassical, or revival styles” (Davies & Jokiniemi, 2008).This style is defined as having a strong horizontal and proportional focus. As defined in The Dictionary of Architecture and Building Construction, the elements and principles of design that today are associated with the Classical vocabulary is illustrated in appendix

A. The construction type that exemplifies this language is considered the temple, as seen in Figure 2.2, a drawing of the Parthenon (Paccard, 2008). To the Greeks and Romans, good art needed the following principles: vitality, beauty, sensuality, and soul (Stewart, 2008). Andrew Stewart’s research in Classical Greece and the Birth of Western Art defines these traits.

Vitality means that buildings must engage and excite our empathy, sparkling and shining whenever possible. The goal of vitality was to create something so lifelike that viewers would feel the emotion (Stewart, 2008). Beauty is the second principle for good design in the Classical Style. In this principle, the elements of structure, symmetry, and proportion are analyzed and examined to evaluate the beauty of a work (Stewart, 2008). Sensuality is referenced more in literal artwork than architecture, but the design of artworks that fulfill the sensual requirement are those that “appeals not just to the eye, but the heart and even hand” (Stewart, 2008). Soul equates to the discovery of the mind. In design, it was the need to convey individuality, purpose, and original thought within a design or creative artwork (Stewart, 2008).

Throughout the ages, the Classical Stylistic language has been reprised and parts of this style have been included in various other aesthetics. In the Renaissance, the Classical Style was viewed as an ultimate in man’s achievement (Watkin, The Rise of Architectural History, 1980). The writings of Leon Batista Alberti in 1452 are a reflection of these perspectives about the Classical style in this period (Kruft, 1994). Since the Renaissance, the Classical style has been viewed as both the ultimate and lasting language. It was perceived as such in the high period of the French Academie, where the classical tradition was overtly favored. Classicism was strongly criticized later within the avant-garde and modernist design and art communities beginning in the mid 1800s (Le Normand-Romain, 1990).

THE GOTHIC DESIGN LANGUAGE

Figure 2.3. Viollet-le-Duc, Reconstruction Drawing of St. Denis. Reconstruction of St. Denis with Gothic North Tower drawn by Viollet-le-Duc is an example of the Gothic design language (Stones, 2008).

The second design language discussed is the Gothic vocabulary created during the Middle, or Medieval Ages. The Medieval Age sought in design not the achievements of man but that which reflects God as the supernatural light of the world (Erlande- Brandenburg, 1995). Instead of the Classic Style illustrating the political and cultural achievements of man, Gothic Design aimed to show the “infinite light” of God himself through the objects as being “material lights” (Watkin, A History of Western Architecture, 2005). The Gothic Style is the “religious architecture of Europe in the Middle Ages, originating in France and characterized by the use of the pointed arch” (Davies & Jokiniemi, 2008). Gothic architecture and design represents a reflection of the belief in God and the effect the individual has from this belief. Originally termed several other names based on region and time period, the name commonly acknowledged, Gothic, was a derogatory term created during the ascension of the classical language revisited during the Neo-Classical movement of the eighteenth Century. The Gothic vocabulary is a product of a change in spatial organization within ecclesiastical architecture to accommodate the religious pilgrims who were traveling to see sacred sites (Kostof, 1995). The first example of this transition is during the tenth and eleventh centuries with the Church of St. Denis, in France. Side aisles were created for religious pilgrims, allowing them to visit and not disturb worship, which resulted in the invention of the flying buttress as an exterior construction element (Watkin, A History of Western Architecture, 2005). With flying buttresses, larger, taller churches ensued, leading to the colossal size of cathedrals that were often the only structure of size within a town or village. The height of the church was a competition between the patrons who paid for it and the individuals in charge of building. A new, beautiful, tall church building could also inspire the religious leaders of the diocese to further divide the diocese and make the new larger church a cathedral, or principal church (Erlande-Brandenburg, 1995). The elements and principles of design used in the Gothic Style, shown in Appendix B, are illustrated with Figure 2.3 in a reconstruction drawing of St. Denis by Viollet-le-Duc (Stones, 2008). The most significant focus of the Gothic Style is the colossal verticality of the spaces and large light sources of colored glass. The Gothic Style is very significant, in that it has a core vocabulary. There were many different

14 aesthetic variations, or interpretations of only one particular style. As Watkin writes to describe Gothic architecture, he uses specific styles of the “decorated”, “court”, “perpendicular”, “flamboyant, and “rayonnant” to situate the individual works in time and place under the Gothic Manner umbrella (Watkin, A History of Western Architecture, 2005). Over time, the Gothic Style, after being abandoned by a resurgence in taste for the Classical aesthetic was proposed during the search for an appropriate style in the mid 1800s as not just a style but “ a principle, the result of honest material use” (Pugin, 2006). However, Gothic as well as Classical, was widely regarded as “too deeply rooted in the social and economic conditions of its time to serve as a model for the nineteenth century” (Hubsch, 2006).

THE MODERN DESIGN LANGUAGE

Figure 2.4. The Bauhaus building (1925-1926) in Dessau, Germany. Bauhaus School building designed by Walter Gropius is an example of the Modern design language (Mickens, 2008).

The Modern style is defined as “an architectural and design movement originating in Europe based on the use of modern materials and methods that disregard decoration or historical precedents” (Davies & Jokiniemi, 2008). Modernism is best defined by the words of Le Corbusier as being, “an expression of faith in the future” and, “architecture unfettered by the traditions of the past” (Vogt, 1998). The Modern style uses the elements and principles of design as described in Appendix C and is illustrated by the photograph in Figure 2.4 of the Modernist style Bauhaus school building designed by Walter Gropius (Mickens, 2008) . This modern style arose from the loss of momentum within social structure and cultural evolution because of the First World War. As mentioned before, this vocabulary arose from a “combination of anti-academic models and the renewal of the goal for artistic training” (Wick, 2000). As a style whose aims were to unify the world, the Modern Style was greatly advanced by the Bauhaus School. It began with a program proposal in 1910 by Walter Gropius, the founder of the Bauhaus School. Gropius called for the artist to come to terms with the machine and “press it into his service” (Wick, 2000). Walter Gropius wrote in a letter reflecting on the Bauhaus manifesto stating the Bauhaus development was a result of “the ardent hope that something new could be built up” (Wick, 2000). Over time, the Bauhaus gravitated toward architecture. In the words of Hannes Meyer who became the director of architecture at the Bauhaus in 1926, “Architecture is no longer a building art. Building has become a science… building is an act of superior organization” (Hays, 1992). The principles of the Bauhaus came to the United States when the institution was closed by the Nazi Party in 1932. The academic community of the United States welcomed the leaders of the Bauhaus. The move of Bauhaus design educators into the United States educational system created a new, contemporary curriculum. The Bauhaus principles did not reinforce the perspective of current life, but created a new world with a new art and design language that sought to synthesize the craftsperson with current technology (Wick, 2000). Today the Bauhaus principles are still used in the study of art and design.

Currently under debate is the perspective of whether Modernism is a style or movement (Huxtable, 2008). There is a major shift in perceiving what design should value and take into account, as evidenced by the paradigm shift seen after the World Wars leading to the cohesive style of modernism throughout the developed world (Kostof, 1995). Consequently, while modernism was created to answer to a specific set of problems, the contemporary push toward design seeks to answer the contemporary issues within the world today. Today the universal culture is again searching for “a prevailing, dominant, or authentically contemporary view of the world by those …who are able to phrase this experience in forms deeply congenial to the thought, science and technology which are part of that experience” (Collins, 1965). As shown in the appendices the elements and principles are a united set of attributes that can be used to analyze each design language. Classical, Gothic, and Modernist design languages all address the elements and principles of design in different ways as a reflection of the needs and values they were created to represent (Riegl, 2004; Roth, 1993).

INCORPORATION OF NATURE IN DESIGN

Besides using the elements and principles of design in different ways and creating works that perform the same basic functions, each of the above vocabularies also utilizes the natural world and products that can be obtained from nature. The incorporation of organic elements is unique between the Classic, Gothic, and Modern languages. Organics is defined here as being from nature, “of, relating to, or derived from living organisms (Merriam-Webster Online, 2009). As this review of literature will demonstrate in Classic design, organic material is one that is manipulated into known human created forms. In Gothic Design, natural elements are replicated in refined, traditional building materials. Modern design sought to use nature as part of design in spirit. “Spirit” here means, using the major topography of the land and other elements such as wind. But the actual building natural elements are reduced to the decorative as a symbol of the natural world.

Organic material and theory about incorporating natural elements in design can be traced as far back as the First Century (AD) when Pliny the Elder discussed trimming topiaries in his writings about a Tuscan garden. Pliny describes topiaries being created in many different forms and shapes. Although mostly decorative, the use of growing plants into known designed shapes marks the beginning of arbor sculpture, a sculptural technique that uses various horticultural techniques, primarily pleaching to create human designed forms out of living plants and flowers. Pleaching, the weaving or grafting together of plants so that the branches of one connect with the branches of the other, gradually physically joining the two plants. An illustration of the pleaching process is shown in Figure 2.5 (JKP Company, 2009). A pleached tree is shown in Figure 2.6 to illustrate the possibilities of combining arbor sculpture and pleaching to create a designed work (Reames, Arborsmith Studios, 2007).

Figure 2.5. Pleaching Example. Pleaching example-showing trees becoming one organism (JKP Company, 2009).

The process of pleaching, inspired by topiary design, helped to create additional walls to keep housing safe during the Middle Ages. There is evidence that pleached platforms were grown and used as foundations for huts during the medieval ages. These huts were grown high enough to avoid the regular flooding in the low-lying areas around the English countryside. Trees can be grown together in such a way as illustrated in Figure 2.6 (Reames, Arborsmith Studios, 2007). Flora and fauna were not considered raw building materials, but natural elements to collect and categorize, reflecting the scientific drive of the Middle and Renaissance periods to determine what comprised the known world and its relation to the role of humanity (Watkin, Morality and Architecture Revisited, 2001) . As stated by Gehard Jaritz and Verena Winiwater in “On the Perception of Nature in a Renaissance Society”, the view of nature in the Middle and Renaissance ages dealt mainly with creating a “clear schematizing and collecting” as nature was still appreciated and revered as an “omnipresent phenomenon” (Jaritz, 1997). Imagery depicting the idea of live biological materials in designed objects is shown in Figure 2.7 by Jean Perreal, a portrait painter for the French Royalty in the sixteenth Century (Perreal, l'Alchimie). Perreal created an illuminated manuscript illustration, “Le Achemie” that depicts an Alchemist talking with a figure as represented by nature. In the illustration, the figure of nature is seated on a chair created by a single living element, shown to be a live flower blossoming at the top of the chair. Other artists such a Giuseppe Arcimboldo used natural objects to create human portraits, showing the fascination with using nature to build. Arcimboldo’s portrait paintings during the sixteenth century depict various people composed of fruits, flowers, or trees, as shown in Figure 2.8 (Arcimoboldo). In the seventeenth Century, nature in design can be seen in Le Notre’s design for the gardens of Versailles for the court of Louis XIV. Le Notre used topiary hedges to create outdoor-like rooms, direct vistas, and specific viewing planes. Peter Collins proposes that the perspective of biological forms in architectural and design history can be traced to the publishing of the entire vegetable kingdom classification, Historie Naturelle (1965).

Figure 2.6. Grown, Pleached Tree. Example of living trees grown together through pleaching (Reames, Arborsmith Studios, 2007).

Figure 2.7. L’Alchimie by Jean Perreal (1455-1530). Miniature illustration for a poem in 1516 by Jean Perreal: The Lament of Nature to the Wandering Alchemist (Perreal, The Lament of Nature to the Wandering Alchemist).

Figure 2.8. L’ Inverno by Giuseppe Arcimboldo in 1573. Arcimoboldo’s oil on canvas portrait using natural tree elements as the human figure, currently part of the Musee Du Lourve collection, Paris, France (Arcimoboldo).

Writings about these designs can first be seen in the works of Immanuel Swedenborg, an eighteenth century Swedish scientist, public official, philosopher, and religious writer. In a selection of his miscellaneous religious writings, Swedenborg

commented on spiritual beings he envisioned to be constructing structures growing from trees (1871).

“They were constructed from trees, not cut down, but growing in their native soil. They said that on their earth there were trees of wonderful growth and height. These from their beginnings they arrange in order, so that they serve for porticos and walks, and by cutting and pruning the branches when they are tender, they fit and prepare them so that while they are growing they may intertwine and unite to make the base and floor of the sanctuary, and rise on the side for the walls, and bend above into arches for the roof (p. 155).”

Collins credits the beginning of a concrete organic vision in design and architecture as part of the modern movement. Collins states that nature was respected from the time of the ancient Romans and Greeks, but that in the mid-1800s architectural writers equated progress in architecture and design with Darwin’s theory of evolution (Collins, 1965). Collins’ perspective concerning the interconnectedness of society, evolution, nature and design is shared by other sources. David Watkin illustrates the evolution and the incorporation of this perspective on nature with the picturesque gardens of Sir Lancelot “Capability” Brown. One such garden is shown in Figure 2.9, Bowood Gardens, where Brown created natural appearing landscaping around a completely engineered lake. The setting looks as if it was always present and the only manmade object was the small temple shown in the photograph. (Watkin, A History of Western Architecture, 2005).

Figure 2.9. Bowood Gardens, Sir Lancelot ‘Capability’ Brown 1762. Picturesque style gardens created by Brown include this engineered lake in Willshire, England (Bowood House, 2009).

The turning of the formal garden into a more natural state and combining it with architecture is further referenced in the architecture of John Nash and his partnership with Humphrey Repton, a landscape garden designer. Karl Fredrich Shinkel’s 1826 design for Schloss Charlottenhof, the royal summer palace of Fredrick William IV of Prussia in Potsdam, is also a work that combines nature and space by interconnecting a garden, park and house to illustrate the idea of engineering nature to incorporate the environment (Porter, 1997). Yet, true organic design in which built forms were engineered to create harmony within the existing environment was not fully represented

until the work of Americans Louis Sullivan and Frank Lloyd Wright in the late nineteenth and early twentieth Centuries (Collins, 1965). Sullivan’s literal foliate decoration is part of the exterior façade in The Carson, Pirie, Scott and Company building of 1898 in Chicago, as illustrated in figure 2.10 and 2.11. This building is an example of Sullivan’s work featuring a pure geometric form with floral ornament (History of Chicago, Landmarks, 2003). Sullivan’s use of floral details using modern ornament references can be visually linked to the Art Nouveau movement (Craven, 2003). This French based style can be traced to the Arts and Crafts as well as the Aesthetic styles of the late nineteenth century (Howard, 1996). While the Art Nouveau movement, based in Europe, sought to incorporate natural elements in design, Jeremy Howard notes that this movement encapsulated the cultural ideal that wanted to “...understand, conquer, and manipulate nature in order to transcend them in some way.” (1996). Sullivan’s work cannot be seen solely as a continuation of the European Art Nouveau perspective because his work sought to revere the natural world and to create modern structures that enable the user to acknowledge this relationship. In his article, “ Ornament in Architecture”, published by Engineering Magazine in 1892, he expresses the conviction to turning to nature instead of manipulating or conquering the natural world.

“But for this we must turn again to Nature, and, hearkening to her melodious voice, learn, as children learn, the accent of its rhythmic cadences. We must view the sunrise with ambition, the twilight wistfully; then, when our eyes have learned to see, we shall know how great the simplicity of nature, that brings forth in serenity such endless variation. We shall learn from this to consider man and his ways, to the end that we behold the unfolding of the soul in all its beauty, and know that the fragrance of a living art shall float again the garden of our world” (113).

Figure 2.10. Carson, Pirie, Scott and Company building by Louis Sullivan. The Carson, Pirie, Scott and Company building of 1898 has a geometric form with applied decorative floral ironwork on the façade (History of Chicago, Landmarks, 2003).

Figure 2.11. Decorative Ironwork on Carson, Pirie, Scott building. Detail Image of the ironwork on the façade Carson, Pirie, Scott, and Company building by Louis Sullivan (Sandquist, 2008).

Frank Lloyd Wright began to work for Louis Sullivan as an assistant in 1888. Wright can be linked to the European sensibilities of the Arts and Crafts and Art Nouveau movement as his responsibilities included creating decorative elements for projects (Hanks, 1979). Wright was also a charter member of the Chicago Arts and Crafts Society, founded in 1897 (Hanks, 1979). While Sullivan is credited for providing the theoretical foundation of organic design, Frank Lloyd Wright is attributed with fully formulating the perspective (Scully, 1991). Frank Lloyd Wright was born in Wisconsin and frequently reflected on the impact the landscape had on him growing up. Wright’s statement on nature and incorporating it into design makes his position self-evident, “study nature, love nature, stay close to nature- it will never fail you” (Frank Lloyd Wright Foundation, 2008). Frank Lloyd Wright’s theory that buildings should form organically from their environment is best evidenced in Falling Water of 1934 located in Bear Run, Pennsylvania (Hoffman & Kaufman, 1993). In Falling Water, the house was built over a stream, incorporating the natural rock formation in the fireplace as illustrated in figure 2.12. Here Wright created a design that illustrates “nature completed” instead of violated (Huxtable, 2008). While the connection between the people of the United States and the environment has been shown in contrast to the general perspective of European culture during this time, some individuals in Europe were seeking to return to the land for the basis of manmade design. The individual who most exemplifies the European perspective of returning to the land is the work of Spanish architect Antonio Gaudi (Crippa, 2003). Antonio Plàcid Guillem Gaudí Cornet’s most significant example of environmentally sensitive architecture is Guell Park, shown in Figure 2.13. It was designed for the architecture to conform to the topography of the land, so much so that no trees were allowed to be removed (Nonell, 2001). Gaudi’s work has been documented in Europe as an interesting part of the eccentric or Bohemian early modernists, often as part of the New Catalan School (Robinson, Falgas, & Lord, 2007). Affecting Gaudi and other designers in Europe and in the United States was the stereotype of the early modern creator as a subversive social operative. Robinson,

Falgas and Lord write about the somewhat inhibitive stereotype that made the modern movement, “synonymous in the public mind with perverse affectations, excessive emotionalism, antisocial behavior…” (10).

Figure 2.12. Falling Water Hearth by Frank Lloyd Wright. Built in 1934 by Frank Lloyd Wright, the building and hearth were created around the rocks and included in the fireplace design as shown (Merkus, 2007).

Because of this public perception, designers who wanted to combine the natural and the manufactured have been historically viewed as creating a novelty or fantastical attraction that is not seen as a realistic possibility (Smith, 2004). This perspective of the modernist designers is a public opinion that was held in both Europe and the United States, and while architects such as Wright and Sullivan were popularized, others who were experimenting with new forms have often been disregarded as counter cultural. Such a case is true in the work of John Krubsack, Axel Erlandson and Arthur Wiechula. In 1919, John Krubsack created the first known growing chair. This chair was grown out of one birch tree and is still on display in Wisconsin (Mack, 1992). This is perhaps the first known instance of actually growing an object of decorative art out of a living thing instead of a typical construction method (Nestor, 2007). Today this growing chair is no longer growing, as shown in Figure 2.14.When Krubsack was satisfied with his growing chair, he cut it from the root system (Reams, Arborsmith, 2007). In 1926 Arthur Wiechula, a German “tree dome grower” published a book of arbor sculpture titled “Developing Houses from Living Trees”. In his book, Wiechula details how to pleach together trees to create a tree dome, a round structure entirely supported and created out of living trees (Reames, Arborsmith homepage). An example of his illustrations showing his growing structures is shown in Figure 2.15. As discussed with Wiechula and Krubsack creating structures and objects out of trees was often viewed as a novelty, but this trend created the term “arbor sculptor” to describe designers who work with manipulating trees to construct designed objects.

Figure 2.13. Park Guell by Antonio Gaudi in 1900-1914. Park image shows how Gaudi created architecture with the topography of the land (Sullivan M. A., 2001).

Figure 2.14. John Krubsack and his living chair of 1919. This chair was created by John Krubsack out of one living tree (Reams, Arborsmith, 2007)

Figure 2.15. House out of living trees by Arthur Wiechula 1926. This illustration shows Wiechula’s vision for creating houses out of living trees (Tree Shapers, 2007).

The most well known arbor sculptor in America who created growing elements in designed form was Axel Erlandson. Erlandson was a Swedish immigrant farmer who became an innovative tree, or arbor sculptor. He created a tree sculpture attraction, eventually called “The Tree Circus”, in 1947 around Scotts Valley, California (Beal,

1991). Wilma Erlandson, Axel Erlandson’s daughter, writes that, although her father had little formal education and began “The Tree Circus” in order to make extra money, he came to believe that the potential for such creations were limitless (Erlandson, 2001). Figure 2.16 is a photograph of Erlandson’s Tree Circus while it was open for visitors (Reams, Arborsmith, 2007). The “Back-to-the-Land” sub-movement of the 1960’s counter-culture popularized the idea of living closer to nature. A primary source of inspiration for creating structures that imitate the processes of nature and incorporate organic materials within the design of the houses is seen in the work of Buckminster Fuller (Armstrong, 2008). Fuller received a patent for the geodesic dome in the 1950s. The dome imitated the composition of molecules, creating a lightweight dome structure. His most well known contribution to interior design, which incorporates live biological materials, is the Dymaxion House created in the late 1940s (Baldwin, 1996). This all aluminum house was developed with a central mast system that rotates to harness wind for air-cooling, heating, circulation, and debris removal from the flooring through the downdraft system. The Dymaxion house was intended to be constructed in airplane factories after the war. A Dymaxion house would be purchased or leased, like a car and delivered to the site (Ford Motor Company, 2009). An image of the Dymaxion house structure and interior view with wind mast is shown in Figure 2.17 (Buckminster Fuller Institute, 1998). Writings about using the environment in design were also the main catalysts for the counter cultural movement, as seen in the Whole Earth Catalog (Sadler, An Architecture of the Whole, 2008). This catalog, published from 1968 to 1972, is the only catalog to have won a national book award (New Whole Earth LLC., 1968). The catalog had seven categories in which anyone could submit writings; one category was Shelter and Land Use (Sadler, An Architecture of the Whole, 2008). These categories were focused to include specific information for using new technologies to grow closer to the earth and more in unison with the environment on an individual level. The Whole Earth Catalog is evidence of a user-based program that turns away from the environmentally removed designed structures of modern architecture and toward nature. The Whole Earth catalog is seen as a written product in the spirit of Louis Sullivan and the other aforementioned designers who sought to create within and

34 with nature, not to conquer and isolate society from the natural environment (Sadler, An Architecture of the Whole, 200; Calts & Zurr, 2008; Mack, 1992; Senosiain, 2003). Currently, many design projects take into account the use of organics or living organisms as design materials. These projects use organics in a wide range of ways from the active, kinetic use of organics or live biological materials, to the passive use of the elements within the world: earth, wind, sun, and water.

Figure 2.16. Tree Circus by Axel Erlandson 1947. Image from Erlandson’s Tree Circus attraction in Scotts Valley California (Reams, Arborsmith, 2007).

Figure 2.17. Dymaxion House by B. Fuller, 1945. Dymaxion House cut away view showing the mast system that generated power and created ventilation for the home (Buckminster Fuller Institute, 1998).

NATURE IN DESIGN

The language of nature in design has been explored in the past, but is currently being reinvestigated in the current climate of our cultural, economical, and ecological needs. Nature is currently viewed in design contexts as a necessary tool to create the

most efficient and effective structure, as part of the solution, not the problem. This incorporation of nature is evidenced through the many different terms currently being used to describe the earth and the natural process within design. The following discussions of how nature is used in design in this thesis divides these designs into their respective categories with headings such as vegetative based design and landed design to describe how the natural elements are used within the design program. This drive toward sustainability is noted as well by Peter Buchanan in his book titled “Ten Shades of Green; Architecture and the Natural World” (Buchanan, 2005). Published by the Architectural League of New York, this book was organized to document the exhibition by the same name held by the Architectural League in 2000. The book and exhibition sought to illustrate the different uses of nature within design from passive designs to in depth designs. One example is the Howard house, which was built by Brian MacKay-Lyons in Nova Scotia in 1998 using standardized components, and was constructed based on the topography of the site. This allows the house to utilize the natural temperature and elements of the environment. A more active use of nature in design can be illustrated in the Gotz Headquarters in Wurzburg, Germany designed by Webler and Giessler Architects in 1995. In this building, plants and an atrium space are used as active components within the design system. Within the building, a central atrium draws the wind and ventilates the building, with the living vegetation actively cooling the building. Solar heating panels are also installed to utilize the sun for further energy efficiency. Other books published in the past decade also discuss and illustrate the growing interest in the relationship human culture has had with nature, as well as the future of incorporating more natural elements and processes into design. In 2000 Paolo Portoghesi published Nature and Architecture, identifying the “separation seen from building and nature”, but pointing out the history of gardens as illustrating the human desire “to live with nature and the beauty of the earth” (Portoghesi, 2000). James Steele authored a book titled Ecological Architecture in 2005 which claimed to provide a critical history of nature in architecture, as well as defining what was then known as the “ecological aesthetic” (Steele, 2005). Most recently, Simon Sadler published an article tracking the interest of the countercultural movement of the “back to the land

movement” in the context of the use of technology (Sadler, An Architecture of the Whole, 2008). In this work, Sadler provides a brief explanation of the Back-to-the-Land movement, the movement’s origins and inspirations. In his essay, Sadler compares the Whole Earth Catalog to the internet it that it provides an almost unedited compilation of information.

Figure 2.18. Tree Fab Hab Shelter by Terreform1, 1997. Designed with one-hundred percent living material Tree Fab Hab would be fully integrated into its environment (Terreform1, 1997).

VEGETATIVE-BASED DESIGN

Terreforme 1 is a non-profit design group created by Mitchell Joachim. It furthers a project developed by Joachim in 2008 while he was attending graduate school at MIT

38 titled Fab Tree Hab. This is an example of using biology and ecological processes to build human structures that work with instead of in opposition to nature. Fab Tree Hab, shown in Figure 2.18, is a structure with the goal of fully integrating society within the ecological community (Terreform 1, 2006). Although originally intended to be used by anyone and to come with all the ‘perks’ of modern society, such as wireless technology, this project now proposes to be used for a new Habitat for Humanity design (Vancouver Sun, 2007). More contemporary projects of Terreforme 1 include Green Brain, which is an urban community design based around a park that uses technology to monitor and balance natural resources. Other designers are also creating work using living technology; some projects have been created using living trees. Examples of such work are the designs of Swiss- born architect Marcel Kalberer. Using willows, Kalberer creates framework pleaching and joins the individual trees into an actual structure. As Esa Laaksonen writes for the Architectural Review, “Since ancient times, myths of natural architecture derived from growing trees have haunted European imagination”. In Kalberer’s designs, such an integration of nature and design has been successful and functional, such as his design of Willow Cathedral in Rostock, Germany in 2001 as shown in Figure 2.19 (ARCPROSPECT International Foundation, 2001). This work is an explicit use of a growing tree as a major component within a design scheme, thus creating something with active elements and principles of design (Laaksonen, 2002).

Figure 2.19. Willow Cathedral by Marcel Kalberer, 2001. Kalberer built this cathedral with 700 volunteers in 2001 to create a new connection between man, religion, and nature (Kalberer, 2001).

LANDED DESIGN

Landed design uses the earth as a main design element. One type of design that would fall under such a subcategory would be Bioarchitecture. This design style is evidenced in a book written by Javier Senosain. Senosain features his own organic design with “the aim of creating spaces to suit our physical and psychological needs and well as our environment.” (Senosiain, 2003) The Bioarchitectural homes Senosain designs are “underground”, as earth covers the entire structure. In these designs, trees are spared and topographical studies are part of the first phase of design (Senosiain,

2003). The construction of these structures is concrete sprayed over wire mesh then covered with earth. Mortar is used as the interior finish while the earth acts as an exterior envelope (Senosiain, 2003). Land based architecture has also been known as Biometric or Genetic Architecture. It describes a new design method using plant, animals, and other natural forces that mimic composition and create new materials (Dollens & Arnal, 2002). Genetic Architecture is a program title for university study within architecture in Barcelona, Spain (Dollens & Arnal, 2002). This program at the Escola Superior d’Architectura at Barcelona’s Universidad Internacional de Catalunya, brings together architectural design and a lab that uses digital visualization to integrate “the environment, biometrics, traditional architecture, and new forms of prototyping”. It is organized and envisioned as a center for “bridging analog and digital as well as design, science, and technology” (Dollens & Arnal, 2002). An example project from this program is the Wat-erg Design shown in Figure 2.20 designed by Gabriella Castellanos, Enrico Crobu, Ki hoon Nam, Alfonso Pezzi and directed by Willy Müller (Institute for Advanced Architecture of Catalonia, 2008). This project uses a growing tree grid and utilizes carbon nanotubes to create a healthy waterfront living space (Institute for Advanced Architecture of Catalonia, 2008).

Figure 2.20. Barcelona: Wat-erg Design, 2009. Self-Sustaining city design by creating a natural tree grid and carbon nano-tubes to clean the air and water of the city. Project is designed by Gabriella Castellanos, Enrico Crobu, Ki hoon Nam, Alfonso Pezzi and directed by Willy Müller (Institute for Advanced Architecture of Catalonia, 2008).

EARTH ARCHITECTURE

Earth architecture is a category of architecture that primarily focuses on using dirt and other earth based materials for building. The main way earth is used as a building

material is by shaping the earth into specific forms and mixing additional components with the soil. Rammed earth, mud brick, compressed earth, cob, adobe or loam are just a few examples that Ronale Rael explains in his book and updates on his website Earth Architecture. Rael references traditional building techniques, such as the Syrian beehive houses created of mud brick, that works to funnel hot hair through the top of the cone shaped structure (Rael, www.eartharchitecture.org, 2003). Modern structures such as the Handmade School of Bangladesh designed by the firm Linz and Berlin in 2006 use earth in a cob composition of mud and bamboo refuse (Rael, www.eartharchitecture.org, 2003). According to the Handmade School in Bangladesh cob was chosen as the material because it reflected the school’s strong emphasis on the use of local materials and resources, as well as being economically and ecologically responsible (Modern Education and Training Institute, 2006). An example of a cob house interior is shown in Figure 2.22 (Glynn, 2008).

Figure 2.21. Syrian Beehive Houses. Beehive houses are made completely of earth. The dome shape helps to shed water while the circle creates ventilation and manages indoor temperatures (Real, 2008).

Figure 2.22. Interior of cob house built in 1995. An interior of a house built by the Cob Cottage Company shows the possibilities of a more personalized interior when using adobe or cob within an interior design. (Cob Cottage Company, 1995).

ORGANIC DESIGN

Ecoarchitecture is another term that is referenced to describe forms and designs that use organic materials within their design. Peter Davey discusses an example of Ecoarchitecture when describing an English home at No. 0 Stock Orchard Street in London by Sarah Wigglesworth Architects. It uses the formation of rock material from sandbags and the active decay processes that are found in the straw bales used within the design as well (Davey, 2008).

Neoplasmatic architecture and design establishes a design style of emerging organisms, partly designed, partly living material as shown in figure 2.23. This design subset focuses on the object as a partly living material. In the words of creators, Marcos Cruz and Steven Pike, neoplasmatic design was created (or more appropriately evolved) as a result of “the biologicalisation of life, the architectural result of a hybrid within architecture, associated with biology” (Cruz & Pike, Neoplasmatic Design, 2009). The future vision of Neoplasmatic design envisions a slow, physical takeover of preexisting structures over time by the living entities within the design and the building (Cruz & Pike, Neoplasmatic Design, 2009). The projects in Neoplasmatic design are all highly computer generated in seemingly sterile lab environments, although the proponent style criticizes contemporary design for the hyper-hygienic nature of current aesthetics. Society is called to reject the clean, modern style, to “escape hygiene embrace dirt, impurity, and ugliness” (Cruz & Pike, Neoplasmatic Design, 2009). In some ways it seems that Neoplasmatic design is an almost post modernist response to modernism as it directly addresses the “aesthetic of hygiene and cleanliness…born of the social and medical reforms of the 19th century …adopted enthusiastically by the Modern Movement” (Pike, 2008).

Figure 2.23. Built structure with synthetic neoplasm. A future vision of architecture as part living part designed objects in which the natural and artificial parts become indistinguishable, designed by Marcos Cruz (Glynn, 2008).

VERNACULAR DESIGN

Vernacular design is another form under the general category of organic design. According to Vicky Richardson, vernacular architecture is the “unconscious work of craftsmen based on knowledge accumulated over generations” (Richardson, 2001). Her contemporary book on Vernacular design covers contemporary structures such as the Chhebetar Orphanage created in Nepal by Hans Olav Hesseberg and Sixten Rahlff. While the building was constructed by local people using traditional skills, Hesseberg and Rahlff were part of the Bergen School of Architecture in Norway. Sibyl Moholy-Nagy wrote a book in 1957 titled Native Genius in Anonymous Architecture that is true to the definition of Vernacular design as stated by Richardson. What is presented as anonymous or vernacular architecture in Nagy’s book is organized under three criteria: expression of site and climate, expression of form and function, and expression of materials and skills (Moholy-Nagy, 1957). Nagy’s examples cover different building types in a variety of environments. Examples include the Farm in the Foothills of Diablo Range in California that can be traced back to the 1850 Land Grant and Home Stead Act; a townhouse in Cap Haitian, Haiti; and even Acoma Pueblo in New Mexico, created close to the 12th century by Navajo Americans (Moholy-Nagy, 1957). No architect, or even specific builder, is cited in these examples, but a physical description of the structure and the possible construction methods used are discussed, thus providing the known history of the building. Figure 2.24 and 2.25 are photographs of the Acoma Pueblo, showing the aerial perspective of the site and the actual housing structures on top of the mesa (Encyclopedia Britannica, 2009); (Nite, 2007).

Figure 2.24 Acoma Pueblo, Aerial Perspective. The Acoma Pueblo is an example Mohohly-Nagy presents as a form of Vernacular Architecture (Encyclopedia Britannica, 2009).

Figure 2.25 Acoma Pueblo, Housing Structure. The Acoma Pueblo is an example Mohohly-Nagy presents as a form of Vernacular Architecture (Nite, 2007).

CONCLUSION

The review of literature in this chapter provides the background of projects similar to Growing Home within the context of design and design theory. This chapter has also provided the research about the interaction between people, nature, and design as it relates to the project in this thesis. The third chapter of this thesis will provide background information on the specific sample population of this thesis. This information is included with the programming data because it is inherently connected with the needs of the sample population used for this prototype project of Growing

Home. Chapter two and three present research, while chapter four includes programming and project results. Chapter five states conclusions. The research reviewed in the literature review and the needs assessed in the programming data in the third chapter will provide a research foundation for the thesis project Growing Home. The history of design language provides the broad framework for how design is classified. Within this design framework is seen how nature, culture, and design relate is most evident. The next chapter is the programming data for the specific culture group, based on the background information gathered about the sample population.

CHAPTER THREE RESEARCH AND DESIGN PROGRAM FOR GROWING HOME

INTRODUCTION

This chapter will present the project and discuss the history of the project called Growing Home. The history of design and nature as well as design languages preceded this chapter to provide the background of how natural elements and nature have been a part of design. This chapter focuses more on the immediate history and culture of the sample population, the Bhutanese refugees who are currently living in Nepal. A broader view of refugee life, and life in Nepal is provided as well to help the reader understand the context of the sample population.

PROJECT DESCRIPTION AND HISTORY

Growing Home will be a test of growing live elements of bamboo together to create a building structure. The structure created by incorporating the bamboo elements is conceived as a possible alternative housing method for long term, or protracted refugee populations. The project not only examines nature and natural processes; it uses these natural processes to create a structure that helps sustain humans and nature simultaneously. The Growing Home project is also a study of the interiors in these structures, and is comprised of growing elements. This project will examine how such a design can fulfill the need of Nepalese refugees by providing shelter, and the traditions of home, as opposed to simply existing as a roof overhead. This project would promote the idea of making living spaces that are deeply connected with the earth; a house made of living materials.

PROJECT CONTEXT

Nepal was chosen as the region where this design could be implemented because of the need for sustainable refugee housing and its environmental characteristics. Nepal also provides social, political, and cultural contexts to create a more realistic program. This project could, however be used in a multitude of environments. Nepal is an Asian landlocked country about the size of Arkansas. The altitude ranges from 70 meters to 8848 meters and the climate varies from tundra to polar. The country stretches from east to west with a mean length of 885km and a mean breadth of 193 km. There are three ecological zones of Nepal: the North, Middle, and Southern Range. The North Range contains the Himalayas with an unbroken mountain range in which there are 8 peaks higher than 8,000 meters. The Middle Range (including the Kathmandu Valley) also has mountains but contains most of the population. The south range is full of forests, wildlife reserves, and conservation areas. Nepal is bordered to the North by Tibet and to the East, West, and South by India. There are five administrative development zones, 75 administrative districts, 3915 Village Development Communities and 58 municipalities. There are 26.9 million Nepalese as of the most current population census from 2001. Nearly one third of the population lives below the poverty line according to the Nepal Living Standards Survey (Central Bureau of Statistics, Nepal, 2008).

Figure 3.1. Map of Nepal. Map of Nepal (ACE project, 1998).

SOCIAL CONTEXT

Nepalese society is headed by a small, ruling elite and an intermediate-sized group of officials, landholders, and merchants. The majority of the population is considered “peasants”, a word used to reference the Marxist feudal mode of production (Savada, 1991). These divisions are not social class entities but an extension of the historical social structure in Nepal. Most members of the ruling elite and government functionaries have a lineage from the historic ruling, landed elite. Traditional extended family-based social systems continue (Savada, 1991).

POLITICAL CONTEXT

Individual regions within Nepal were occupied by princes and kings associated with Hindu culture. They were recorded in ancient Indian history as early as 700 B.C. According to the Government of Nepal, the warrior King Prithvi Narayan Shah unified many different smaller states to create the modern day country of Nepal, beginning with the 16th century and the rise of the Shah dynasty (Nepal, 2008). The Shah dynasty ended in 1847 when the Rana family took over the nation in a coup. They in turn ruled for over a century. The Rana monarchy peacefully ended the hereditary monarch ruling system and created a cabinet system in 1951 (Agency, 2009). In 1990, a multiparty democracy was formed within the constitutional monarch framework. In 1996, an insurgent Maoist rebellion was launched, and a ten-year civil war began between the government and the Maoist rebels. It ended in the dissolution of the cabinet and absolute rule again by the Rana monarchy. In November of 2006, a peace accord and interim constitution were implemented. In 2008, Nepal had a nation- wide election in which the Maoists received the majority of the votes in the Constituent Assembly elections (Agency, 2009). The Maoists formed a coalition government, but in 2009 riots and political turbulence again affected and continues to affect Nepal (Telegraph Nepal, TGW, 2009).

ECONOMIC CONTEXT

Nepal is one of the least developed and most economically disadvantaged countries in the world. The main source of revenue for the population is agricultural, as it encompasses almost one third of the Gross Domestic Product. The prospects for trade and development are not likely to succeed because of the small size of the economy, technological backwardness, the country’s susceptibility to natural disaster, and civil strife (Agency, 2009).

PSYCHOLOGICAL

Refugee housing structures in general can be sources of contention, as people already living in areas where a refugee camp is located may perceive the refugee settlement as an intrusion (Banki, 2004). Growing Home is offered as a long-term temporary housing solution, to reflect the fact that some refugee camps have been in existence for three decades, but is still temporary to encourage the process of resettlement (International Rescue Committee, 2007). Growing Home is a way to build that does not create total permanence but still offers functions found in permanent structures, such as elevated secure storage, built in cooking areas, and solid walls. Growing Home is a structure that can be created to meet traditional and cultural building needs, an issue that affects the psychological well-being of a refugee who is forced to live in a refugee camp and is the victim of circumstances beyond their control (Didier, 2000). The name of the project specifically includes the term home to reflect the psychological desires one has in a home as opposed to a house. A home as defined by Anthony Giddens is more than a physical place, but a “setting in which basic forms of social relations and institutions are both constituted and reproduced” (Giddens, 1984). Growing Home is also a secure, more permanent home than currently used refugee tent buildings but without being a fully permanent space. Growing home can meet the needs of displaced people, and when no longer needed, would revert to a grove of bamboo.

SAMPLE POPULATION: REFUGEES

Refugees or stateless persons are those who do not have any official documentation from a recognized entity granting individual privileges of citizenship. This happens for many reasons, from military coups to legislation that marginalizes specific population groups (International Rescue Committee, 2007). Currently there are 31.6 million refugees in the world and many refugee camps to house them. The United Nations High Commission for Refugees (UNHCR) has studied the issues affecting

refugees and refugee camps since it was founded in 1951. Currently the UNHCR assists people internationally and cooperates with a variety of organizations such as the World Food Program and the Red Cross to provide services and supplies in refugee camps. The UNHCR has researched the effects of people living in these camps for an extended period. Published data shows that while the camps initially help those they serve, the longer the stay the less effective the camps are at providing a healthy and productive life (Didier, 2000). Because of travel restrictions, safety, and environmental conditions (like employment opportunities or education) often people who have lived in refugee camps for a long period of time have to struggle simply to survive in hopes that one day they may again live a normal life (Banki, 2004). Figure 3.2 is a photograph taken from one of the refugee camps in Nepal (Tattva, 2008). Currently seven million refugees worldwide have lived in refugee camps for ten year or longer. The housing for these longer term or protracted camps is not significantly different from the temporary camps, as the population uses UNHCR tents created to house six individuals. Immediate and long-term refugee camps are also shown to be unhealthy according to UN reports citing that the rapid spread of malaria, dysentery and other diseases that spread because of close quarters and shared resources such as water and waste disposal sites (Slaughter, 2009). Host countries of refugee camps also complain of environmental degradation and natural resource depletion (Berry, 2008). Other UNHCR reports discuss the fatigue that contributing countries feel because these protracted refugee camps require constant upkeep. A 2004 report states that, “40 percent of UNHCR’s budget is spent in care and maintenance of refugee camps rather than on solutions” and that these limited funds and waning commitment by donors lead to “stop gap solutions” such as sheathing plastic (moisture barrier) to replace the typical work tent shelter materials, as shown in Figure 3.3. (United Nations High Commission for Refugees, 2004).

Figure 3.2. Bhutanese Refugees. Refugees from Bhutan living in Nepal under tarps. The roof in the background is the area for supply distribution (Tattva, 2008).

Figure 3.3. Refugee Tents. Refugee tents provided by the UNHCR for shelter (Hike to Help the Refugees, 2003).

SPECIFIC SAMPLE POPULATION: LHOTSAMPAS REFUGEES IN NEPAL

According to the United States Department of State Cultural Orientation Resource Center (COR), refugees in Nepal are of Bhutanese origin and are descendants from those who immigrated to southern Bhutan in search of farmland. As a culture, these immigrants were isolated from most of the rest of Bhutan. This distinct cultural group is called Lhotsampas, which means people of the south. The Lhotsampas traditional dress is shown in Figure 3.4 (Bhutan, 2008). Because of their isolation, a distinct Lhotsampa culture remains, retaining much of the Nepali language, culture, and religion. In 1958, Lhotsampas were given Bhutanese citizenship and allowed to work for the government. In the 1980s, the ruling majority of Bhutanese or Druk Buddhist culture became concerned over the population shift that was occurring as the Lhotsampas

59 began to gain a larger minority. The Druk Monarchy and government created a series of policies that imposed traditional Druk customs while banning Nepali and Lhotsampa languages and customs. The traditional dress of the Druk culture is shown in Figure 3.5 (Government of Bhutan, 2008). Lhotsampas began to organize and advocate for democracy and freedom, resulting in large-scale violent protests in the early 1990s. Bhutanese authorities targeted ethnic Nepalese with violence and forced those of Nepali ancestry to sign “voluntary migration certificates”, which expelled them from the country. In December 1990, the government of Bhutan declared that any Lhotsampas who could not prove citizenship would be expelled from the country. Since 1990, Bhutan has not permitted a single refugee to reenter the country. Currently there are an estimated 130,000 refugees in Nepal from Bhutan (Ranard, 2007).

Figure 3.4. Lhotsampas. Traditional dress of the Lhotshampa. The Bhutanese refugees in Nepal identify with this cultural group. (Bhutan, 2008).

An estimated 60 percent of Lhotsampas adhere to Hinduism, but Buddhism, Kirat, and Christianity are the other significant minority religions (International Organization for Migration, 2008). Arranged marriage still exists, though marriages in which men and women choose their partners, then consult their families, are becoming more common. The traditional caste system of Hindu culture is still adhered to in Lhotsampa culture but it includes additional castes also recognized in Nepal. This system uses four main castes from highest class to lowest class as follows: Brahmins, Chhetris, Vaishyas, and Sudras. Other castes and sub-castes are also common such as the Kirat which itself is divided up into Rais and Limbus (International Organization for Migration, 2008). Although practices that are more modern are becoming common within the culture, traditional dress among adults, of a sari style skirt is common. Men wear the traditional daura suruwal. The daura suruwal includes a wrap jacket, which ties in four places while the suruwal is the specific name for the pants. The Suruwal pants are tight around the calves and then become loose close to the waist, where they are also fastened with ties. Additional parts of the traditional dress include the topi, which is a square shaped hat and a traditional westernized vest or sport coat (Born, 2008). The Lhotsampa culture is considered patriarchal, but women are typically respected in the family, and are permitted to hold leadership positions within the community. Refugees are permitted to work or settle outside of the refugee camps so jobs are scarce. If a woman is able to work outside the camps, this can cause great stress on the family, however in younger generations, women are continuing education and working if an opportunity is presented (International Organization for Migration, 2008). Elders, no matter what gender, are respected by everyone. Refugees are given two meals per day typically of rice, lentils and dried vegetables. Meat can be bought, but many individuals are vegetarians. Utensils or cutlery is not typically used so food preparation most often involves simple tools or hands to prepare. Refugee camps do not have electricity, private running water or plumbing. Water sources are available but often individuals must stand in line to access the water sources. Toilet facilities are pit toilets dug and shared by two families, typically located between the family shelters in huts. Littering is common in the refugee camps, and

Figure 3.5. Druks. Traditional Druk Dress. The Government of Bhutan considers the Durk customs to be the official culture of Bhutan (Government of Bhutan, 2008).

debris removal is typically located close the toilet facilities, but is not always isolated or contained in any way. The typical housing area per family is twenty feet by eleven feet (International Organization for Migration, 2008). Currently housing consists of UNHCR tents subsidized by cut bamboo shelters with bamboo or other homemade partitions for privacy. Floors inside the shelters and tents are dirt floors daily swept with handmade brooms. No permanent structures are permitted to be built within the refugee camps so the quality of the shelters that subsidize the tents varies significantly and cannot be strong enough to appear to be permanent. (International Organization for Migration, 2008). Lhotsampa families typically consist of a seven person immediate family that is part of a larger extended family (International Organization for Migration, 2008). According to a cultural profile published by the International Organization for Migration

Lhotsampas, consider an immediate family as consisting of a parental unit and children as well as grandparents, typically paternal. Unmarried siblings of the parental unit, particularity of the male parent’s can also be included in this framework. Lhotsampa families ideally want to live with or around the extended families as well. This however, is somewhat difficult given the current housing situation. Lhotsampas in refugee camps want to become involved in training programs and education programs, as well as becoming proactive in the administration of the refugee camps, seeking them to be run based on democratic processes. The refugees within the Nepal camps are also proactive about getting medical care; however, Lhotsampas still face higher rates of depression and anxiety than the local population. The suicide rate of the refugees in Nepal is four times higher than the local population (Watch, 2003).

PROJECT GOALS

The overall project goal is to create a sustainable structure out of living bamboo that will provide shelter for stateless persons and refugees, specifically the refugees of the Lhotsampa culture living in refugee camps within Nepal. The specific structure will be a prototype to house a typical immediate family of Lhotsampas refugees living within a refugee camp in Nepal. The sample family for the prototype shelter will consist of the following: one parental unit of a male and female, two children, the female parent’s mother and father, the male parent’s sister, and the male parent’s widowed mother. The sample family will reflect the sample population and follow traditional customs, as well as the prominent religion, Hinduism.

PROJECT BUDGET AND TIMELINE

It takes the bamboo ten months to grow, but a model of the proposed design will be created in order to illustrate the concept. The concept model for this thesis will be constructed in a 1:10 scale. Renderings will not be to scale but will be produced to

illustrate the real concept image of the project and Growing Home’s use. There is no budget for this project, as all materials are found where this project would be used. A model will be created out of bamboo, and clay to signify the adobe cob. Two types of bamboo will be used, Bambusa Multiplex (commonly known as Fern leaf bamboo) and Bambusa Nutan. Bambusa Multiplex is chosen because it is generally smaller in diameter and size than the average sizes of Bambusa Balcooa and Bambusa Nutan, making it suitable to create a model at 1:10 scale (ABARI, 2008; National Mission on Bamboo Applications, 2008: United Nations: Food and Agriculture Organization, 2007). Bambusa Nutan will be used as well because smaller shoots of this type in the appropriate dimension have been collected (Kanapaha Botanical Gardens, 2009). The model, because of size, will not be living bamboo but will illustrate the design of the growing version presented in this thesis as realistically as possible.

PROJECT CONSTRUCTION MATERIALS

The project thesis will produce a model of the proposed “living” house. In reality, this home will be planted and pleached into a structure. Pleaching involves the creation of a smaller frame of cut and living bamboo within the larger frame of living, structural bamboo. An established agricultural technique, pleaching will be used to grow the structure bamboo together while a woven framework of bamboo will provide an elastic layer between the interior finish of adobe cob and the exterior bamboo framework. This woven framework around the pleached growing elements will act as a flexible moisture barrier for the structural bamboo. For this project, a concept model will be created on a scale of 1:10, while final presentation renderings will illustrate how the structure would look and be used in reality.

SPECIFICATIONS

A bamboo structural framework will be grown and kept growing as the rest of the structure is built. There will be a layer of weaving using strips of bamboo in such a way as to separate the structure from the adobe cob mixture so that the interior is able to

function as needed and so the exterior planted structure can grow as intended. The estimated cost for required materials is dependent on the size of the end-product structure. For this thesis, a small home to accommodate the typical family of Bhutanese stateless persons is being modeled. The sample family for the prototype shelter will consist of the following: one parental unit of a male and female, two children, the female parent’s mother and father, the male parent’s sister, and the male parent’s widowed mother. This structure could be grown as large as necessary to allow the extended family living situation as traditional in Nepal, but for this model and project, only a basic house structure will be completed to illustrate the process (Andrea Matles Savada, 1991). An adobe-cob mixture would be used as the interior surface material for the structure. The term adobe-cob is used to reflect the composition of the soil and the content of the actual mixture for the interior finish in Nepal as referenced by ABARI, the Adobe and Bamboo Research Institute, located in Nepal. There is a range of soils in Nepal, from thin, desert type solids on the highest mountains, to rich alluvial soils in the valleys; all but the desert type soils have clay substance (Negi, 1994). The International Centre for Integrated Mountain Development (ICIMOD) has also published studies on the soil compositions of Nepal in which the types of soil are divided into five different categories: Alluvial, Sandy and Alluvial, Gravelly, Residual, and Glacial soils. Of these soil types, glacial soils seem to be the least useful for this Growing Home project. Residual soils are mostly coarse and dry but mixing water and residue plant matter can help to create the needed cob composition. In creating an effective adobe or cob mixture Gerot Minke, author of Building with Earth, provides excellent reasons why an adobe-cob mixture is a positive choice for building. Adobe- cob can be molded, much like clay to incorporate such elements as built in design features within the walls. Adobe-cob is also a material that can be created and used by unskilled workers with little training, but has efficient and effective insulation and shelter properties (Minke, 2006). He also adds that the most effective mixture for an adobe-cob building material is the right amount of clay-like material with organic fibrous content to hold the clay-dirt together. A specific percentage is not needed but an informal clump test is done when the materials are mixed. One must take

a handful of the adobe cob and pack it together. If this packed unit sticks together and can be set down without crumbling, the adobe cob is the right consistency. According to Minke, the material can be combined with plant and other matter to replicate clay-like substances. Soil that has too much clay needs more sand to be added to the composition (Minke, 2006). It should be noted that recent soil erosion in Nepal is an issue, as the rivers around Nepal routinely flood and erode the sediment layers. Planting of vegetation with fibrous, deep root systems can help to keep the soil layers from running off during the heavy raining seasons (Thapa, 2005). The bamboo that will be used in this project does have a deep root system that spreads out, thus helps keep the layers of soil from eroding, if the bamboo is left planted with the root system living.

BAMBOO

The species of bamboo that will be tested, Bambusa Balcooa (see Figure 3.6) and Bambusa Nutan matures within two years, and could create a livable, permanent structure relatively quickly. In other areas, the specific species of bamboo would depend on the climate zone and soil composition. The species of bamboo, if this project were to be built elsewhere, would vary. Bamboo can even be found in many parts of Africa, where there are also large refugee populations. In some countries and cultures, building with bamboo is considered the more primitive way to build. These biases towards bamboo as a building material are largely cultural and based on perspectives of what is “industrialized” and “modern”. Thus, the popular cultural perspective of bamboo is to refer to it as “poor people’s timber” (Alter, 2008). While organizations such as the International Network for Bamboo and Rattan (INBAR) are working with many countries to fight the stigma associated with bamboo materials, a structure that is an actual structure and not a United Nations Refugee tent could be a positive option. Research in bamboo construction shows that processing bamboo takes 1/8 of the energy as concrete, 1/3 of the energy of wood, and 1/50 of steel construction made for the same capacity. Furthermore, INBAR research and information holds that

bamboo homes stand up to earthquakes better than other forms of construction because they are more flexible and elastic in material properties (Alter, 2008). The properties of bamboo are well adapted to be used in many building situations. Like steel, bamboo is strong in both tension and compression, and ten times stronger than wood in tension (Adams, 2008). Bamboo’s composition has an internal structure that makes it more cohesive and almost architectural in its natural growing form. Bamboo is also twenty percent more stable than wood during moisture and temperature changes. Because it reproduces from its rhizomes, or underground stem bearing roots, bamboo grows extremely fast. By protecting the bamboo stalks on the interior with the adobe-cob finish this design is more fire safe, as bamboo can be protected from fire by using plaster, a similar compound to adobe-cob (Hidalgo-Lopez, 2003).

Figure 3.6. Bambusa Balcooa. Bambusa balcooa (B and T World Seeds, 2009).

ADOBE COB

The use of woven bamboo framework and structural bamboo for the exoskeleton of the Growing Home makes it possible for the interior walls to be coated with a layer of adobe plaster to seal the home. It is envisioned that the woven layer of bamboo and the bamboo “studs” will create a watertight surface, much like the thatched and woven bamboo roof surfaces common in countries such as Nepal (Adams, 2008). The soil content for Growing Home project is important, because of the types of bamboo species that a certain soil can support and because of the possibility of using soil as a material for the interior. The actual composition of the interior finish will be better determined based on soil and resources from a chosen site for an actual house. These treatments of the interior using earth mixtures are common not just in Nepal but much of the world. In the project model, earthenware clay will be used to replicate the feel of the interior finish. Adobe cob is a mixture of soil, water and vegetative material mixed together to create a moldable substance that dries into a hard finish (Rael, Earth Architecture, 2008). The structure interior of adobe-cob would be found on site and manipulated in such a way that all materials and formation can be created and formulated by the displaced persons who would live in the structure and make it a home. Adobe cob is a common building material as two thirds of the world lives or works in earthen structures (Minke, 2006). Creating a building of cob is a common structure in the world of building, adding a bamboo framework further solidify the structure and allows for creation of a structure that continues to grow and produce a product which the host country can use after the refugees have been relocated.

Figure 3.7. Cob. Close-up image of cob being created with organic refuse and dirt (Blaha, 2009).

INTERIOR SPECIFICATIONS

Interior Specifications will include storage of dry food, preparation space for food, personal storage for each family member, private sleeping areas for married adults, single adults, and group sleeping for children. During the day, little time is typically spent inside because all members must get food, schooling, or employment. However, common space will be created so the family can comfortably sit within the space all together if needed.

CODES AND REGULATIONS

Few, if any building codes exist in Nepal. There are no regulations at all, about how refugee housing is built or utilized. Refugee housing is primarily organized by the UNHCR. In the past, non-governmental organizations (NGO), or the government of Nepal have helped to run the refugee camps of Nepal. However, because of complaints, specifically of abuse towards women, the UNHCR again has direct control of the camps (Watch, 2003). As stated before, immediate and long term refugee camps are unhealthy according to UN reports that cite the rapid spread of malaria, dysentery and other diseases because of close quarters and shared resources such as water and waste disposal sites (Slaughter, 2009). Host countries of refugee camps also complain of environmental degradation and natural resource depletion (Berry, 2008). Other UNHCR reports discuss the fatigue countries, which support refugee camps, feel in providing for the constant upkeep protracted refugee camps require. A 2004 report states that, “40 percent of UNHCR’s budget is spend in care and maintenance of refugee camps rather than on solutions” and that these limited funds and waning commitment by donors lead to “stop gap solutions such as sheathing plastic (moisture barrier) to replace work tent shelter materials. (United Nations High Commission for Refugees, 2004). Growing Home is a secure, more permanent home than currently used refugee tent buildings, without being a fully permanent structure. Growing home can meet the needs of displaced people, and when no longer needed, would revert to a grove of bamboo. A resource that the refugee camp essentially creates would assist in soil reclamation as well as providing a natural resource to the host country. Current restrictions on refugee camps do not permit permanent structures specifically to encourage resettlement. Growing Home fulfills this requirement but also provides a positive daily task of keeping the structure maintained. This responsibility provides an activity that refugees can benefit from by their actions. This benefit based on personal action may also psychologically empower the refugees as defined by Maslow’s Hierarchy of Needs (Huitt, 2007). In summation, a house made from living resources could potentially create healthier spaces, combat environmental depletion, be built with minimal cost and upkeep expense, as well as provide a more permanent, sustainable

71 shelter. This housing structure could create a more secure physical environment and contribute to the psychological well being of the population in question.

CONCLUSION

The previous chapters have created a foundation upon which this thesis project Growing Home is built. The next chapter will graphically illustrate the process and product of this thesis Growing Home, the result of the research foundation established in the first three chapters of this thesis.

CHAPTER FOUR DESIGN AND DRAWINGS

INTRODUCTION

The previous chapters have created a foundation upon which this thesis project called Growing Home is built. The designs and drawings in this chapter illustrate the concept and plans for Growing Home. The initial graphic is a summation of Growing Home, and subsequent photographs are images of the process scroll that was created to illustrate how Growing Home came together, blending the drawings and the research in an image based format. Also included in this chapter, are various drawings and detail images of the floor plan and home details. Final images of Growing Home are shown of the model created for the thesis project and graphic renderings of the structure and interior are included as well.

Figure 4.1 Growing Home and Neomorphism Graphical Summation. This is a graphical summation of Growing Home and the subsequent finding of Neomorphism.

Figure 4.1 is a graphic summation of Growing Home and the subsequent conclusion of this thesis, Neomorphism. Neomorphism is discussed further in chapter 5. This summation responds to the issues found in the research of the previous chapters. Figure 4.2- 4.15 are images of the process scroll that was created to illustrate how Growing Home came together, blending the drawings and the research in an image based format.

Figure 4.2. Unit 1 of 14 in Process Scroll. Photograph of section1 of 14 from project process scroll.

Figure 4.3. Unit 2 of 14 in Process Scroll. Photograph of section 2 of 14 from project process scroll.

Figure 4.4. Unit 3 of 14 in Process Scroll. Photograph of section 3 of 14 from project process scroll.

Figure 4.5. Unit 4 of 14 in Process Scroll. Photograph of section 4 of 14 from project process scroll.

Figure 4.6. Unit 5 of 14 in Process Scroll. Photograph of section 5 of 14 from project process scroll

Figure 4.7. Unit 6 of 14 in Process Scroll. Photograph of section 6 of 14 from project process scroll

Figure 4.8. Unit 7 of 14 in Process Scroll. Photograph of section 7 of 14 from project process scroll

Figure 4.9. Unit 8 of 14 in Process Scroll. Photograph of section 8 of 14 from project process scroll.

Figure 4.10. Unit 9 of 14 in Process Scroll. Photograph of section 9 of 14 from project process scroll.

Figure 4.11. Unit 10 of 14 in Process Scroll. Photograph of section 10 of 14 from project process scroll.

Figure 4.12. Unit 11 of 14 in Process Scroll. Photograph of section 11 of 14 from project process scroll.

Figure 4.13. Unit 12 of 14 in Process Scroll. Photograph of section 12 of 14 from project process scroll.

Figure 4.14. Unit 13 of 14 in Process Scroll. Photograph of section 13 of 14 from project process scroll.

Figure 4.15. Unit 14 of 14 in Process Scroll. Photograph of section 14 of 14 from project process scroll.

Figure 4.16. Color Space Planning and Growing Diagram; Process Sketche. This is a complied image of the final process sketches for Growing Home. The top left portion shows a color diagram of the final floor plan. The bottom left portion illustrates the distance between and the direction of the growing bamboo framework, and the right side sketches show construction details of Growing Home.

Figure 4.16 is a complied series of final sketches illustrating different details of Growing Home. The top left portion of the figure shows the final floor plan for Growing Home, illustrating the different spaces required color-coded and annotated. The bottom left portion of Figure 4.16 is a construction drawing detailing idea of how the bamboo

would grow into Growing Home. The numbers shown represent feet, and the arrows the directions the bamboo would grow. The left side of Figure 4.16 illustrates different elements of construction including how to grow bamboo is a specific direction, and different woven elements of Growing Home. Figure 4.17 is the final rendered floor plan for the Growing Home design. It features different areas for socializing, cooking or food preparation, and sleeping. The exterior features an outdoor social area also for food preparation and opposite this space an additional exit to the home that directs one toward the waste facilities. These spaces were created to provide privacy, which has previously not been given to any family member during their time in refugee camp stay. Different cooking spaces away from waste facilities will reduce the likelihood of disease. Outdoor social spaces will be used for group cooking during holidays and other special occasions. The previous living condition and situations of these refugees was that of rural farmers who often lived in small structures similar to those of the rural populations in Nepal discussed in the programming. Growing Home will create structures comparable to the homes these refugees had before their displacement. Figure 4.18 and 4.19 are the measurements of Growing Home, shown in metric and imperial units. Figure 4.20 is a photograph illustrating the ability of bamboo to be woven with medium and small pieces. These experiments and studies were conducted in Pensacola, Florida at the Glendale Nature Preserve. Figure 4.21 to 4.22 are images of the model created to represent what Growing Home could look like and how Growing Home components could fit together. This woven structure is covered inside with adobe mixture creating an insulated and water repellant structure. The sides of this model illustrate how the bamboo would be woven into the growing bamboo studs. The section of this structure is annotated in Figure 4.22. No roof was shown for better visibility of the interior of the structure. This same woven bamboo framework will also be used to create a roof. The growing bamboo studs would be grown bent to create roof rafters. Additional woven matting would be supplemented by a more traditional thatch roof providing the means of interior water- proofing. This structure building method has been reviewed by affiliates, whose letters are shown in appendix F.

Figure 4.23 is a growing plan that illustrates how bamboo would be cultivated to grow into a specific direction to provide structural support to Growing Home. Figure 4.24 is an axonometric view of the interior of Growing Home with examples of interior wall treatments such as shelving and niches. These would help create the opportunity for a personalized space that the sample population could make their own. Sleeping quarters are shown adjacent to the indoor social space. The space allotted is acknowledged minimal. Figure 4.25 is an exterior rendering of Growing Home showing the fireplace chimney protruding from the structure as well as scale figures for approximate sixe. A table is provided outside for social gatherings and outdoor food preparation. Food is a cultural staple for the Lhotsampas culture and many festivals celebrated revolve around large meals with family and friends. Creating and indoor private cooking space as well as an exterior cooking and gathering place can help support these traditions. No doors are present in the design to illustrate the bare minimum needed for a better shelter than refugees are currently provided (doors are not even an option in the current refugee tent housing). Small windows are created between bamboo studs and are sized in relation to the stud spacing. While more windows could be created, they were kept to a minimum for maximization of insulation. Figure 4.26 illustrates the approximate scale that Growing Home would be built to incorporate the average size of the bamboo within the walls and roof support. The average size of this bamboo is 40 feet in height at maturity, so creating a structure that fully incorporates this growth is necessary.` Figure 4.27 is a detail view showing the possible sleeping room divisions. Interior walls could be created in a number of different floor plans, but for the sample family this floor plans was chosen to provide privacy for the couples within the sample family. The average refugee from the sample populations as stated before has little is any privacy and by created private sleeping quarters for the couples of the sample family this reintroduces the privacy they once had in their normal living conditions. Figure 4.28 is an interior perspective of the social living space in Growing Home. This area provides a private social space for immediate family within the sample population. Storage will be created and provided by wall niches or shelving, all of which

can be personalized to meet the individual family’s needs. Floors can be treated with woven bamboo mats, while the same weaving on the outside of the structure wall and roof is covered in the interior with adobe cob on the walls and thatch on the ceiling.

Figure 4.17. Floor Plan. Annotated floor plan for Growing Home

Figure 4.18 Floor Plan. This image of the final floor plan for Growing Home dinensioned in metric units, centimeters.

Figure 4.19. Floor Plan. This image of the final floor plan for Growing Home dimensioned in Imperial units, feet.

Figure 4.20 Experiment Photograph. Photograph of Growing Home model experiments in Glendale Nature Preserve located in Pensacola, Florida.

Figure 4.21. Model Image. Graphic image of Growing Home model.

Figure 4.22 Model Section Image. Image of Growing Home model, showing home section.

Figure 4.23 Growing Plan. Graphic illustration showing how bamboo would grow into the wall and roof support structure of Growing Home.

Figure 4.24 Interior Overview Image. Overview Image of the Interior of Growing Home.

Figure 4.25 Exterior Rendering. Exterior rendering of Growing Home.

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Figure 4.26 Scale View. Scale figure view of Growing Home.

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Figure 4.27 Interior Detail View. Interior detail view of common area in Growing Home.

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Figure 4.28 Interior Perspective. Interior detail view of common area in Growing Home.

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CHAPTER FIVE CONCLUSIONS AND RECOMMENDATIONS

GROWING HOME

Completing the model of Growing Home helped to illustrate in reality what has been examined through computer-generated models (see Figure 2.23). The act of physically making the model and working with approximate materials created a new sense of understanding about the technical production aspects of the model. Trying to create a living version and later turning to a replica model also created the opportunity to understand and experience how climate factors could affect construction. Working to create a space plan and finishing this project allowed for evaluation of the design and potential future applications, which revealed unanticipated opportunities (the development of Neomorphism discussed at the end of the chapter).

ANALYSIS OF NEEDS AND REQUIREMENTS

The proper components needed to create this structure may seem insufficient to a contemporary viewer examining the guidelines for everyday living. The standards and basic requirements for these shelters are estimated from the average housing conditions of Nepal citizens. In this manner, growing home can be used as refugee housing, yet can also provide relief for the growing squatter populations that are appearing on the outskirts of urban areas according to the Nepal Shelter Report and A Policy Study on Urban Housing in Nepal, which was sponsored in turn by the government of Nepal and The Economic Policy Network (Pokharel, 2006).

CHANGES IN DESIGN PROGRAM

Trying to grow the model from the ground up was unfortunately unsuccessful in all three locations attempted for different reasons. The first site selected was the Glendale Nature Preserve and Memorial in Pensacola, Florida that has a mature bamboo forest. All of the initial experiments were conducted in the mature bamboo

104 forest planted on the nature preserve in the 1950s. This research was abandoned due to illegal militia activity that compromised the safety of the researchers. The second location that was unsuccessful was the Kanapaha Garden Facility in Gainesville, Florida. Researchers’ distance from the experiment site and disputes from facility volunteers kept the research from being completed. The third site was a privately owned field located in Wakulla County, Florida. The weather and the location of the field in a flood plain during heavy rain and severe cold weather kept the bamboo shoots from growing. Typically, bamboo shoots are planted during the warm spring months, then the bamboo matures when the weather becomes cooler.

MODEL RESULTS

The model is reflective of the initial sketches and renderings, illustrating the possibility for effectively being able to reproduce this structure. Creating a working prototype in real scale would take ten to twelve months, depending on the growth and the workforce to create a single structure. Producing a shelter out of pre-existing, mature and growing bamboo in a forest could produce a structure immediately for living if a moisture barrier and rope or twine was available. This solution may be the best for immediate refugee housing, while the planted and planned structure was being grown in an adjacent area. The plan to create a sustainable model out of the organic material clay and bamboo with a recycled cardboard base was abandoned. The clay construction proved to be too fragile and heavy to transport even small distances, and thus spray foam insulation was substituted for the clay. Bamboo and a recycled cardboard base were used with success.

The most successful aspect of the model was the construction and process, which informed the design and allowed the structures to be seen in the third dimension. The bamboo experiments outdoors were helpful in understanding the capabilities of the bamboo and adobe cob but the construction of the large-scale model created immediate understanding of the size and possibilities of Growing Home as well as the amount of

105 bamboo studs that would be required for building. In the process of the model it was discovered more studs would most likely be needed to increate the structural stability of the rood structure. Because of the construction of the model, plans and drawings were altered to feature more bamboo studs than previously shown. The window openings are currently now also different because of the placement of the bamboo studs.

POTENTIAL FOR RELOCATION OF LHOTSAMPAS REFUGEES IN NEPAL

Currently, Nepal is facing multiple conflicts within the country and around their borders (Xuequan, 2010); (Newar, 2009). More than 25,000 refugees are now in other environments with the United States welcoming 22,060 after accepting 60,000 two years ago (United Nations Refugee Agency, 2009). Refugees coming to the United States have had some English and workforce training. However, in only eight months these refugees are expected to get themselves on their feet in the United States. As legal refugees, they receive one-time grants of 450 dollars and qualify for Medicare, food stamps, and cash assistance through welfare as well as resettlement agency assistance. As mentioned before, this assistance ends after eight months (Matza, 2010). Due to the economic downturn and high unemployment rates in the United States and of the global economic downturn, resettlement of the Lhotsampas as promised could be problematic. The realistic possibility of an immigrant worker with poor fluency and literacy and no access to language training competing well enough to become fully self-sustaining in a tough economy and competitive job climate does not seem plausible to this author.

RECOMMENDATIONS FOR FUTURE RESEARCH

GROWING A PROTOTYPE OF GROWING HOME

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Creating a full-scale prototype is the next logical step for the Growing Home design project. Minimum construction time for a growing home shelter is estimated at eleven months. At least a decade or more would be needed to further study a real scale model to analyze the model’s ability to house individuals throughout the average lifespan of the bamboo materials in the building. Unfortunately, there seems to be no solution to the issue of refugee housing in protracted refugee camps, nor does there seem to be an end to the need for long-term refugee housing. Different locations are options for further research because there are many different refugee camps in Asia where bamboo is native and plentiful. Using the idea of growing housing but with different growing materials, such as willow trees or other large flora is another option for further research. Creating refugee housing without clearing land or having to create structural support allows for more sound and secure immediate housing.

NEOMORPHISM

As stated before, nature builds structures that evolve, self maintain, and eventually return to a natural state. Humans build in different ways, creating structures that will act as models of the desired goals, often with little regard for the impact of nature during the structure’s lifetime, much less when its functionality has ended. Recently, there have been projects and theoretical discussion on combining the human way of building and biological way of growing (Armstrong, 2008; Burger, 1986; Calts & Zurr, 2008; Cruz & Pike, Neoplasmatic Design, 2009; Gins & Arakawa, 2000; Richardson, 2001; Steele, 2005; Portoghesi, 2000; Watts & Affleck, 2008). These ideas use the biological processes of natural elements, or growing elements, in a built human design scheme to further the design goals. Such a combination of nature and human building requires a new design vocabulary to describe the design project. This is a new design language I have termed Neomorphism. The main difference between previous design languages and that of Neomorphism is the use of the growing element. A growing element is a living organism incorporated into a design scheme, taking part by simply fulfilling its biological or

107 ecological processes. This thesis does not intend to provide a complete academic treatment of the concept of Neomorphic Design, but rather create a thorough introduction of this potential classification theory through the context of the proposed project, Growing Home. The idea of creating structures out of live biological materials, like Growing Home as this thesis proposes, is being experimented with as more sustainable ways of building are sought. Although many of these projects are still conceptual, the integration of them into the narrative of design is necessary for the growth of design as a whole. It is argued that such a combination of nature and human building requires a new design vocabulary to describe the design project. The term Neomorphism comes from neo, meaning new and morphism, descending from morph, which means to change. Neomorphism, as a term, is taken from geology, and was once used to describe crystallizing processes of minerals. Debate on how appropriate this term is to describe the geological function continues today (Machel, 1997). The nature of its root words and origin, however, illustrate how it is potentially appropriate as an umbrella descriptive term by bringing together the languages of building, growing, science, technology, and the Earth. Neomorphism was chosen as a word because of its Greek roots. Literally, “New Growing” symbolizes the progressive nature of the projects without creating a definitive label that would constrict or limit the concept of what Neomorphism is or could be. Neomorphic Design describes all projects that use living organic materials in the design. Because of the use of actual living elements within Neomorphic designs, each has the potential of constant evolution as a design product and creation. Neomorphism is a language that combines neoplasmatism, morphogenesis, bio-architecture and other existing terms within design and art in which the growing elements of the design program change in some way as a contribution of the creation. This new language uses adjectives and verbs connected to the existing elements and principles of design. Appendix D is a compilation of these actives, or active terms of Neomorphic Design. Actives are also created in this thesis to describe what kinds of words are used in fully defining the elements and principles of design within a product. While each creation may be unique in sharing information in an academic or historical setting, the

108 creation of a structured vocabulary can facilitate further development. This structured vocabulary may prevent the projects from falling into more definitive categories that may be limiting to projects not yet conceived, which incorporate some form of organic material. Unlike Growing Home, many of the designs that fall under the umbrella term of Neomorphism can be so conceptual in form that often there are no recorded signs or experiences of how humans would interact with the forms. As poetic as many of these images are, they fail to illustrate in their graphics how the user would navigate the design and how, if such designs were to be built today, they would interact with current general building structures. This suggests that Neomorphic design, as a definition, is representative not just of specific architecture or art. Neomorphic design compares, associates, and connects what is being and has been done in the narratives of art, architecture, and design as a totality rather than viewing the works as relevant only in the history of their respective narratives. Neomorphism is, in itself, a free-descriptive term that can encompass all of the arts, humanities, and still have a connection to the hard sciences. This term is also immediately descriptive of the creations that define Neomorphism. As a word that is derived from root words used throughout history, Neomorphism brings that history together. Previous languages sought to separate the natural element from the finished product, but the natural element is integral to the finished product in Neomorphic Design. The project that is described herein is used as an example of using growing elements and Neomorphism, the proposed new design language. A review of literature in the field of Neomorphic Design is presented below to illustrate this new design language, its antecedents, and its present development. An organization chart is provided in Appendix G.

NEOMORPHISM AS A NEW DESIGN LANGUAGE

Neomorphism is proposed to encompass designs beyond the cellular and biological forms experimented currently. It stretches to include the mortal process of biology, the processes of geology, and the inherent potentials within art and design.

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Architecture need not be created with the goal of permanence, as it was in Gothic and Classical design vocabularies (Kostof, 1995). Attempting to organize and archive such a current event may seem to be too regimented and presumptuous. Current works being proposed as Neomorphic are built on the dreams of many predecessors, as illustrated the review of literature of this thesis. If the preceding ideas of Neomorphic design are documented, current works can be better viewed in their full context and further academic or design study of the Neomorphic design is possible. Creating an appropriate vocabulary now can help support and encourage multidisciplinary connections needed for advancement. Elements and principles are a binding force among all design and art professions. This vocabulary is academically viable in an effort to bring synergy with technology, biology and design. The vocabulary resulting would lead to the opportunity within the Neomorphic Design language to explore a new dimension of design. As Sibyl Moholy-Nagy wrote, describing design in her book titled Native Genius in Anonymous Architecture, a new building vocabulary is forming that includes, “not just aesthetics but a selective and new coordinative function” (Moholy-Nagy, 1957). Neomorphic design is proposed as a possible new language like that which Moholy- Nagy sought to describe. It is not just concerned with aesthetics and function but also the incorporation of the Earth that sustains us. It seeks to reflect those actions within the elements and principles of the Neomorphic design language and terminology. These actions are literally illustrated with the verb prefixes (actives) that connect to the known elements and principles of design as illustrated in this thesis in appendix D. An example of such a verb or adjective prefix is illustrated using the Growing Home design as an example, as shown in appendix E. Growing Home is used because it is through the work and research of this project that the need for a new design language was discovered. Using established terminology could create and promote universality of this new design language. Using descriptive verbs, or actives (such as growing line, or oozing form) allows an institutionalized language to progress. Expanding the meaning of these principles and elements in design will result in a free and universal language appropriate to Neomorphic design.

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CONTINUING NEOMORPHIC DESIGN RESEARCH

Continuing research into the proposed new design language of Neomorphism is clearly a possibility. In completing the review of literature for this thesis, it was noted that little, if any, serious academic discourse or writing has appeared on the new, experimental works mentioned in the review of literature. The sources of these new design projects came from high style and design magazines or avant-garde architecture books. Even in examining the history of nature within design, this information did not come from sources considered appropriately academic. Perhaps this is because these ideas have not been properly vetted in non-academic circles to reach the point of serious inquiry; however, based on the trend of sustainability for economical and survival reasons, exploring these ideas may become necessary in the not too distant future. Some examples and projects of a particular category within Neomorphic Design could be applied to any number of other categories, however, the categories were created and defined based on the literature available for consideration. In the future any of these categories could change as results in of shifts of culture and construction. The use of organics in design dates from the beginning of recorded history and will likely continue to impact building, design, art, and construction. A possible reason for the lack of historical categorization and academic discourse among these topics are their anti-establishment, counter-cultural roots. Such movements, being on the fringes of society, are assimilated into popular but radical culture. They could be perceived as too frivolous, confrontational, debatable, or unconventional for research. Another barrier to continued research in the Neomorphic design language is the challenge of being able to provide a fully researched treatment on the language that combines multiple disciplines. While the trend toward cross disciplinary and multi-disciplinary study has become popular in higher education, the act of being able to adequately research multiple disciplines effectively to the standard of academic excellence seems to be a hard task to complete because academic study is, by nature, divided into different disciplines. Knowledge dispersal through the internet could be an advantage to this kind of study in the future

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Possibly, what is required for Neomorphic design and design in general to progress, is the breaking down of these disciplines as borders to study and the acceptance of ambiguity in research. These new Neomorphic projects discussed within this thesis allow for progressive growth and creativity, even if unanticipated in the initial conception of the work. Perhaps the established territorial nature of academic study, particularly in the United States, is decaying in light of the global rediscovery as to how interconnected we all are.

CONCLUSION

Future research of Growing Home will focus on creating a full-scale prototype and researching other potential areas that could benefit from the Growing Home design. Additional research in the area of Neomorphic design as well as how design languages and public perception of design affects what kinds of design are accepted in an academic setting are other avenues worthy of study. The futuristic and progressive nature of this kind of design and thus, of this research may inhibit its perceived potential. The following quotations are given for reflection of the potential of Growing Home.

“The difficulty lies, not in the new ideas, but in escaping the old ones, which ramify, for those brought up as most of us have been, into every corner of our minds.” John Maynard Keynes

New ideas pass through three periods: 1) It cannot be done. 2) It probably can be done, but it is not worth doing. 3) I knew it was a good idea all along!” Arthur C. Clarke

“It's easy to come up with new ideas; the hard part is letting go of what worked for you two years ago, but will soon be out-of-date.” Roger Von Oech

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APPENDIX A ELEMENTS AND PRINCIPLES OF THE CLASSICAL DESIGN VOCABULARY

Elements Line: Shape: Golden Rectangle (Davies & Jokiniemi, 2008) Form: Balanced (Kostof, 1995) Texture: Related optical and visual texture (Roth, 1993) Pattern: Form based, balanced (Harris, 2000) Light: Color: Intense, bright hues (Roth, 1993) Principles Proportion: Mathematical, balanced, and optical Scale: Proportional (Harris, 2000) Balance: Structural (Roth, 1993) Rhythm: Ordered variety (Roth, 1993) Emphasis: Total work design using elements like orders and types (Cruickshank, 1996) Contrast: Harmony: Through structure (Summerson, 1966)

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Design Language Appendix Image: Victoria and Albert Museum Architectural Style Micro site

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APPENDIX B ELEMENTS AND PRINCIPLES OF THE GOTHIC DESIGN VOCABULARY

Elements Line: Vertical (Harris, 2000) Shape: Narrow (Kostof, 1995) Form: Horizontally stacked (Swaan, 1985) Texture: Optical and visual, carved ornament inherent in structure (Davies & Jokiniemi, 2008) Pattern: Depiction of the literal and metaphysical (Davies & Jokiniemi, 2008) Light: Creating pattern, color enhanced (Roth, 1993) Color: Rich tones, hues (Scott, 2003) Principles Proportion: Scale: Grand or majestic (Cruickshank, 1996) Balance: Rhythm: Infinite, layered (Roth, 1993) Emphasis: On verticality, decoration, and light (Erlande-Brandenburg, 1995) Contrast: Harmony: Total unified work (Watkin, A History of Western Architecture, 2005)

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Design Language Appendix Image: Victoria and Albert Museum Architectural Style Micro site

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APPENDIX C ELEMENTS AND PRINCIPLES OF THE MODERN DESIGN VOCABULARY

Elements Line: Horizontal (Roth, 1993) Shape: Geometric, Rational (Harris, 2000) Form: Dynamic (Cruickshank, 1996) Texture: Material and function determined (Roth, 1993) Pattern: Material and function determined (Roth, 1993) Light: Color: Principles Proportion: Expresses function (Kostof, 1995) Scale: Human scale (Davies & Jokiniemi, 2008) Balance: Rational (Harris, 2000) Rhythm: Unwavering (Watkin, The Rise of Architectural History, 1980) Emphasis: Function, rationalism (Harris, 2000) Contrast: Harmony: Interior and exterior unified in expression of function (Collins, 1965)

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Design Language Appendix Image: Victoria and Albert Museum Architectural Style Micro site

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APPENDIX D ELEMENTS AND PRINCIPLES OF THE NEOMORPHIC DESIGN VOCABULARY

The elements and principles of Neomorphic Design are particular to that design which uses live, growing elements. The general characteristic of Neomorphic design, as an emerging design language, is not solidified. The language of Neomorphic design however, not only expands design but the need for additions to the traditional elements and principles of design. These additions are listed in this appendix. The “growing” term is added as an element to the elements and principles of design. Another category is listed in this appendix, as actives. The actives list is a sample of the possible active terms that are combined with the elements and principles of design when describing Neomorphic design.

Elements Principles Sample Actives Line Proportion Stretching Shape Scale Dying Form Balance Crawling Texture Rhythm Multiplying Pattern Emphasis Shrinking Light Contrast Swimming Color Harmony Eating Growth Breathing Oozing

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APPENDIX E GROWING HOME AS AN EXAMPLE OF NEOMPORHIC DESIGN ELEMENTS AND PRINCIPLES OF DESIGN

Elements Principles Line: Horizontal Reaching Proportion: Evolving Function Shape: Individual/Angular Scale: Expanding Human Scale Form: Individual/Solidifying Balance: Rational Growing Texture: Evolving: Rhythm: Replicating Material Based Emphasis: Progressing Function Pattern: Material/Individual Contrast: Growing/Decomposing Light: Individual/Functional Harmony: Interior/Exterior Unified Color: Evolving, Individual Based

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APPENDIX F LETTERS OF REFERENCE FROM NEPAL ORGANIZATIONS

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APPENDIX G

NEOMORPHISM TERM ORGANIZATION

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APPENDIX H

GROWING HOME PRESENTATION BOOKLET

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BIOGRAPHICAL SKETCH

Elena Vee Myhre is a native Floridian who loves the warm weather. Born in Wakulla County she never dreamed she would be blessed with all the opportunities she has been given, particularly the chance to complete a Masters of Fine Arts in Interior Design at Florida State University. Elena previously received her undergraduate degree in Art from the University of South Florida.

Elena Vee Myhre hopes to continue her research at other institutions and teach at the university level in addition to designing and contributing to the world in a positive and constructive way.

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