At present, most people in modern Western society do not value a relationship with non-human beings and nature, which leads to parasitic interactions with nature. It is a utilitarian relationship, in which man consumes the instrumental and material resources of nature for his benefit. This has led to serious environmental problems, including the loss of biological diversity as well as the loss of terrestrial and aquatic ecosystems, and continues to lead to a global collapse of the ecospheres. In order to prevent the worst effects of the ecological crisis and, consequently, to ensure human survival, it is necessary to strive for a reciprocal, equal relationship that nourishes the lives of humans, non-human beings and nature.
It follows that the environmental problems are in essence relational problems which have their roots in social and ecological disconnectedness.
Here design offers a unique potential, because we humans develop in interaction with what we design - not only because of the evolved environment, but also by adapting our ways of thinking and living. A design that focuses solely on a communication with humans is no longer sufficient, but nature as a relationship partner must be equally taken into account.
Therefore the fundamental question of this research is how the design discipline can mediate a connection between human and nature underlined by its medium of form. The aim is, on the one hand, to conceptualize the impact of theoretical findings on the design discipline in relation to the research topic, and, on the other hand, to translate these findings into a practical approach to design.
The following pages provide an insight into this research work.
“Who, or what, will sustain what?
Does ’nature’ sustain us?
Can we sustain nature?“ (Wood, 2017)
One example of how sustainability is currently viewed can be seen in the three pillars of sustainability, namely “social sustainability“, “economical sustainability“ and “environmental sustainability“, in which the environment is placed as an element under the umbrella of human actions.
But for a reciprocal relationship, more-than-human beings and nature need to be placed as an equally important element in an exchange with humans.
What does it mean “to connect“?
Connecting
Interweaving
Swirling
Epistemic Styles for a Human and Nature Connectedness
Design creates relationship by communicating ideas through the medium of form-creations, of (in)tangible products, services to the human within a field-of-impact, who responds cognitively, emotionally, behaviorally.
Design implies craftsmanship that is strongly influenced and linked to technological advances. Just as design shapes the human environment, technology, be it handicraft, mechanical, digital or biological, can change the understanding and relationship between human and environment, between human and nature.
(H&N)STEM+ACD
Beyond human-centered design:
Design is in service of the relationship between
human and (in)tangible objects,
between human and human,
between human and nature,
between (in)tangible objects and nature,
between human and nature and (in)tangible objects.
Towards a Human and Nature Connection
An Example:
The Inclusion Model by Schultz (2002)
Different approaches and theories on a human and nature relationship exist, be it derived from sociological, philosophical or psychological research bodies.
The following psychological model “Inclusion with Nature“ by Schultz (2002) outlines a general framework to understand the dimensions of a human and nature relationship. The main aim of the inclusion is to increase the overlap between an individual and nature. The focus is put on an individual’s understanding, valuing and behaving that impact the natural environment. Thus, it stresses a multi-dimensional human connection towards nature, consisting of cognitive (“Connectedness with Nature“), affective (“Caring for Nature“) and behavioral (“Commitment to protect Nature“) responses.
Thoughts for giving form to the theoretical findings:
For the design study, the following approaches and elements, among others, can be inspiring:
What form is created between human and nature in the attempt, or rather on the different paths, to establish and strengthen their connection?
How can a form that visualizes a connection in its (growing) intensity be attempted?
The Connection between
Design, Matter and
Nature, Life
Envisioning a life-based material profile:
A material within its lifecycle, or life-spiral, meaning its production-phase, existence-phase, decay-phase and “death-phase“ or a “continue-to-live-phase“, is characterized by varying degrees of life-saturation, compared to life-loss. Accordingly, the following interrelated life-based material profile contains the parameter of life-saturation within the lifecycle and describes characteristics of natural materials.
The aim of this profile is to provide theoretical guidelines for approaching a connection between a human-made product and nature by maintaining and reinforcing the life-saturation of a material as far as possible in its lifecycle. Therefore, insights from nature‘s principles and from the cultural, social design perspective are derived and conceptualized. Consequently, the profile points to potential future possibilities with insights for a more sustainable, connected material perspective that in turn influences the cognitive, emotional and behavioral human connection towards nature.
Thoughts for giving form to the theoretical findings:
For the design study, the following approaches and elements, among others, can be inspiring:
What form is created between human and nature in the attempt, or rather on the different paths, to establish and strengthen their connection?
How can a form that visualizes a connection in its (growing) intensity be attempted?
The first drawing studies deal abstractly with the negative space, and the volume and barriers that can arise in the field of connection between human and nature.
Within the negative space a relational force is created between the objects, which either pushes towards or away from each other (push, pull). This dynamic of the field of tension can be irregular or regular, can be extensive or partial. Consequently, different intensities, tensions, arise in the connecting space, so that different densities can be seen in some parts of the volume.
If one breaks down the field of tension between the subjects further, connecting lines or, phrased differently, relational bonds can arise. The lines can be represented in various ways depending on the emotional and cognitive response that is to be triggered and the intensity and characteristics of the connection.
For this purpose, the textile medium is chosen to capture the dynamics of the connection and its three-dimensionality.
Further the question arises of how a form might change when experiences natural forces, such as the four basic elements of nature (water, fire, air, earth). The following two examples, here using the example of the spiral form, show a possibility of the effect of firstly water and secondly of light.
In reference to nature: creating abundance through minimalism
(maximum diversity through minimum inventory).
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The depicted textile representation focuses on the aspect of action, or rather a call to action: cords, which embody the line of tension, are attached to the coat-body and can be changed from the hanging form - a form that is averted from nature and yet inevitably connected to it - into an embryonic form that embraces nature.
It is a human decision to enter into this connection, to embrace nature and to see nature as a partner and not a a amere resource. A future, in which we live in balance, in harmony with other living beings and nature, is ours to decide, to envision and to create.
- Kessler, 2019
