Colour
Colour and light have always been a colossal part of the existence of human beings. One can appreciate colours’ significance with regards to changes within nature and its effects on people. Colour is one of the major factors that determine how one relates to their environment, as well as how that environment looks and feels.  (Sun, 1992, 139) the author continues to explain that the wrong colour choices within a certain space, could imbalance ones spychological and physiological wellbeing.

Complementary

Complementary colours are based on the fundamentals of Taoism, strongly related to the concept of yin and yang. The two opposing forces of yin and yang can be related to complementary colours, and is also closely related to healing environments, using colour therapies.  (Sun, 1992, 50) suggests that to use the principle of complementary clours one has to have an equal amount of colours to start off with, otherwiset the principle will not work, as it in concerned with balance of opposites.

The author contineues to explain that if two complimentary colours with equal intensity are placed together they will create a very strong contrast, in turn this could have a subtle or dramatic effect within a space. Complemetary colours give the feeling of completion of a space, the space will feel whole.  (Sun, 1992, 51) with regards to yin and yang, warm colours are considered yang, or masculine, and cold coluors are associated with yin, or feminity. Withinn each concept, exists a bit of the other.

Emotional colour

(Sun, 1992, 53) explains that scientific evidence suggests that light of certain colours can indricetly affect ones emtions. Colour influences the mind as it does the body, however people respond differently to certain colours. Some colours within a space can create a sense of calm whereas other colours are more vibrant and create a sense of dynamism and movement. Colour choices can however be overrided by peples personalities, their living conditions, ones circumstances, ones innermost desirtes as well as possibly subconsois decisions.

Each of the eight super colours have a great affect on health and well being of  ones body, mond and soul, the colours being; red, prange, yellow, green, turquoise, blue, violet and magenta.

Healing colours

The table below explains the colours within their spectrum as well as their affects of physical, mental and emotional well being.

Colour	Affect on wellness	space	Complementary
Red	Encourages activvity, most dramatic colour in specctrum, not good if excitement needs to be avoided, dark redds better in small spaces	Kitchens, diining rooms, dancing studios,
Orange	Both properties of yellow and red,better tolerated over large spaces than red alone, promotes happiness and joy	for hallways, recreation, dining rooms
Yellow	Vibrant, associated with intellect, not relaxing unless with its complementary	Kitchens, spaces with little light	violet
Green	Serene, soothing, evokes natural surroundings, calming, neutralises tension	Areas that lead to outdoors, courtyard,	red
Turquoise	Feelings of coolness, freshness, aliveness, expands sense of space, peaceful and resting, reflects cleanliness and purity	Bathrooms, waitng areas, bedrooms,s tudy areas, offices
Blue	Calm, reduces stress, rest, relaxation, peace,	Places of prayer and meditation, treatment rooms, bedrooms, bathrooms, office areas
Violet	Promotes meditation and retrospect, associated with religion ritual and ceremony, escapism, over indulgance	Treatment rooms, meditation rooms, recovery rooms	yellow
Magenta	Nurturing, loving quality, warmth, affection, reassuring, protective	Entrance halls, bedrooms, bathrooms, offices, kitchens, studt areas	green

4.1 Concept

4.1.1 Yin and Yang

The concept for the current design proposal is derived and based on the theories behind the yin and yang which will also form part of the chapter about Feng shui design.

According to () the yin and yang is synonymous with the circumference, which is equated with circular movement. () continues to describe the circle or disc to be closely related to or emphasised as an emblem of the sun. The circle also represents heaven and perfection, sometimes even eternity.

Yang, the white circle, depicting heaven; refers to the masculine principle whereas yin, the black circle portrays earth; referring to the feminine principle. The interaction between the two can be defined as implicit in dualism which can also be described as binary.  (Cirlot, 2002, 47)

As described by (Cirlot, 2002, 57) the two colours of the yin and yang are divided by a sigmoid line across the diameter; a sigmoid line is the curved line that crosses through the circle horizontally. The white circle has a black spot, and the black circle has a white spot, which signifies that one cannot exist without the other, that in everything masculine exists something feminine, and vice versa.  (Cirlot, 2002,25)

(Cirlot, 2002,25) explains that the sigmoid line also refers to the symbol of movement, as well as the idea of rotation. The yin and yang symbol can also be related to a symbol of binary. The binary symbol is emphasized through the top black and bottom white of the yin and yang, the inversion imparts a sense of cyclical movement.  (Cirlot, 2002, 57) The black and white of the yin and yang constrained by the circle also signifies stability. Movement can be incorporated within the design according to a healing journey, and pathways to growth and rejuvenation. Each pathway within the space leads one back out of the space again, emphasizes on the cyclical progression through the space. This movement through space can also be related to the intimacy gradient. Which is described by…..? as the gradient to which intimacy of a certain space can be measured. Some spaces need to be more private than others, for example changing rooms and the sauna would be a space that is regarded to be more private and intimate, especially considering gender separation and modesty.

Cirlot, (2002,71) relates to pathways to the concept of cross-roads, which is a mother symbol. Where the roads cross and enter into one another it can be a symbol for the union of opposites, which in turn relates back to the yin and yang.

(Cirlot, 2002) describes a healing journey as a spiritual perspective and should never be just a passage through space but rather an expression of the urgent desire for discovery. Cirlot, (2002,47) continues to designate that travelling may also be related to the complete cycle of the year, as does the yin and yang, the white half symbolises the first six months of the year, whereas the black symbolises the seconds six months of the year. There lies a mystery about duality which is the root of all action that establishes itself in opposing forces whether spatial, physical or spiritual.  (Cirlot, 2002,25)

Pathways

Stone curved walkway on gravel

straight path

Alternating brick walk way

Zen garden

Interior zen garden

4. Conceptual approach

4.1 Concept

4.1.1 Yin and Yang

The concept for the current design proposal is derived and based on the theories behind the yin and yang which will also form part of the chapter about Feng shui design.

According to () the yin and yang is synonymous with the circumference, which is equated with circular movement. () continues to describe the circle or disc to be closely related to or emphasised as an emblem of the sun. The circle also represents heaven and perfection, sometimes even eternity.

Yang, the white circle, depicting heaven; refers to the masculine principle whereas yin, the black circle portrays earth; referring to the feminine principle. The interaction between the two can be defined as implicit in dualism which can also be described as binary.  (Cirlot, 2002, 47)

As described by (Cirlot, 2002, 57) the two colours of the yin and yang are divided by a sigmoid line across the diameter; a sigmoid line is the curved line that crosses through the circle horizontally. The white circle has a black spot, and the black circle has a white spot, which signifies that one cannot exist without the other, that in everything masculine exists something feminine, and vice versa.  (Cirlot, 2002,25)

(Cirlot, 2002,25) explains that the sigmoid line also refers to the symbol of movement, as well as the idea of rotation. The yin and yang symbol can also be related to a symbol of binary. The binary symbol is emphasized through the top black and bottom white of the yin and yang, the inversion imparts a sense of cyclical movement.  (Cirlot, 2002, 57) The black and white of the yin and yang constrained by the circle also signifies stability. Movement can be incorporated within the design according to a healing journey, and pathways to growth and rejuvenation. Each pathway within the space leads one back out of the space again, emphasizes on the cyclical progression through the space. This movement through space can also be related to the intimacy gradient. Which is described by…..? as the gradient to which intimacy of a certain space can be measured. Some spaces need to be more private than others, for example changing rooms and the sauna would be a space that is regarded to be more private and intimate, especially considering gender separation and modesty.

Cirlot, (2002,71) relates to pathways to the concept of cross-roads, which is a mother symbol. Where the roads cross and enter into one another it can be a symbol for the union of opposites, which in turn relates back to the yin and yang.

(Cirlot, 2002) describes a healing journey as a spiritual perspective and should never be just a passage through space but rather an expression of the urgent desire for discovery. Cirlot, (2002,47) continues to designate that travelling may also be related to the complete cycle of the year, as does the yin and yang, the white half symbolises the first six months of the year, whereas the black symbolises the seconds six months of the year. There lies a mystery about duality which is the root of all action that establishes itself in opposing forces whether spatial, physical or spiritual.  (Cirlot, 2002,25)

Pebbles and rounded stones are formed in moving rivers, stones and pebbles could be used to represent water in some cases of transition from one space to the next.

cool staircases...

Creative joy

3.2 Zen design

According to (Whately, 2000, p. 55), Zen is universally viewed as a Japanese concept, but is essentially an ancient Chinese belief which orientated in the sixth century as a merge of Indian Buddhism and Chinese Taoism. Whately (2000, 55) continues to explain that Zen is a bid to find the path to true enlightenment, through the joining of the speculative with the practical as well as the metaphysical with earthy.

Zen was enthusiastically adopted by the Japanese and throughout the eras the philosophy evolved to embrace the three main design principles; simplicity, functionalism and minimalism. (Whately, 2000, p. 55)The above mentioned has been reinterpreted by western designers and architects, since the nineteenth century. Japanese architects such as Tadao Ando, take inspiration from their own culture. (Whately, 2000, p. 55)

3.2.1 Simplicity

According to (Bodoano, 2003) the notion of a pared-down approach to life is appealing to people that are caught up in the chaotic web of one’s everyday life. One of the easiest ways of simplifying one’s life is to get rid of clutter. With regards to Zen’s seven principles to live by, simplicity or elimination of clutter, ‘Kanos’, is explained by (Montgomery, 2008,1) as avoiding extravagant, ornate and over embellished and rather focus on sparse, fresh and neat. (Montgomery 2008,1)Things are articulated in a plain, simple, natural manner. This allows for fewer distractions in one’s environment. Austerity is another principle of Zen ‘Kokou’ asks for reduction of everything to the ‘core of essence’. (Montgomery  2008,1) it can also be referred to as basic, weathered and bare essentials that are aged and evokes severity, forbiddance, maturity and weight.(Pilloton, 2010)

3.2.2 Space

Whately (2000, 55) describes the typical Japanese interior to be calm, understated and bereft of the innumerable belongings that frequently fill western interiors. Japanese interior design recalls peacefulness of the past, Zen living includes paring down and the importance of space and light. (Whately, 2000, p. 55)

Bridget Bodoano articulates that one’s desire for space reflects the need for relief from ones crowded, chaotic lives. (Bodoano, 2003, 14) Space is needed for the restoration of one’s soul, to relax and develop new ideas. Bodoano (2003, 14) explains that through the use of a restrained palette of light colours and natural materials, as well as keeping furniture to a minimum, a small space can be perceived as larger.

3.2.3 Light

Light is associated by the positive aspects of life, says (Bodoano, 2003, 21), and light is essential to one’s physical and spiritual wellbeing. Bodoano (2003, 21) continues to explain that the absence of light, both natural and artificial, dulls ones senses and effects ones emotions. Light is used to enhance the feeling of a space through creating a composed and calming atmosphere (Bodoano, 2003, 21). \

One can create moods that are favourable to the function of the room, as well as to the time of day, by manipulating quantity, quality and illumination of light. Bodoano uses an example of low-level glazing, which allows a room to light up, but does not disturb the spaces calm ambience.

3.2.4 Seven principles for changing perception

3.2.4.1‘Fukinsei’

There are 7 philosophies of Zen design. Montgomery (2008, 1) defines the first philosophy of Zen design to be asymmetry, odd numbers, unevenness or irregularity, which allows one to be free and spontaneous, rather human than godlike. According to (Pilloton, 2010) imbalance is used as a denial of perfection and symmetry does not occur in nature.

The image below is House 3R in Japan, by architect Hirouki Arima. The image below depicts an asymmetrical interior space that can be manipulated into many different variations. The three mobile timber panels provide one with many options of configuring the space.

3.2.4.2‘Shibui’

The term Shibui refers to beauty by being understated, or rather being precisely what it was meant to be and not elaborated upon. It is a direct and simple way, without being flashy. Elegant simplicity, articulates concision, it can be described as something cool, but also beautifully minimalist, which includes technology and some consumer products.

The image below is also part of the House R3; the space depicts a minimalist interior, with the bare essentials to a minimum. The floors a wall are painted white top maximize the amount of light quality within the space. The wall partitions are a translucent plastic to ensure for optimum amount of light, but still have privacy within the space.

3.2.4.3 ‘Kanso’ 

According to (Tierney, 2009) Kanso refers to the simplicity and/or elimination of clutter. Things are expressed in a plain, simple, natural manner which reminds us contemplate in terms of clarity rather than decoration, a kind of clarity that may be achieved through omission or exclusion of the non-essential.

The interior below is part of the house Hempel situated in London, by architect Anouska Hempel. Each interior space has been designed independently; the common factor in each space though is the importance and validity of light to create mood and atmosphere. Simple geometric shapes form part of this space, as well as the objects and floors being timber, to give a warm feeling of elation.

The interior below is a bedroom in House Maison Pawson, by architect John Pawson, the interior depicts a simple bedroom suffused with natural light. The materials of the space are as simple and direct as possible.

The image below is an interior by Bridget Bodoano (Bodoano, 2003); the bed is in the centre of the room to add ritual to the act of sleeping and waking.

3.2.4.4‘Shizen’

Naturalness is the fourth philosophy and depicts that Zen is unworldly, without deception or pretences. It is bare wood, unpolished stone, and flowers from the backyard. (Montgomery, 2008) Dinah Hall describes stone to have strength past its utter physical carrying chattels. She continues to say that stones raw elemental nature connects one back to earth; meanwhile its natural abrasion allows one to find tactile comfort in the passing time. (Hall 2005, 118)

The image below is House Finca in Mallorca, Spain, by architect Vincent van Duysen. The interior has a sensorary richness of materials, such as anded and stained oak, stone and marble as wellas ceramics. The furnishing solutions for each room are based on simple plane and elementary volumes, solids and space. Elements for storage and display, makes reference to a austere classical living.

3.2.4.5‘Datsuzoku’ 

The fifth philosophy depicts freedom from worldly attachments it is said to not be attached to worldly things, or rules (Montgomery, 2008, 1) discusses. It can be referred to free and true creativity.

3.2.4.6 ’Yugen’

The sixth philosophy is subtle profundity or suggestion rather than revelation, within Zen, there is a deep reserve for a mysterious, shadowy darkness. The hint of soft moonlight washed onto a wall or floor would be Yugen. (Montgomery 2008,1) it can be described as a suggestion and not reveal layers of meaning hidden within. It is invisible to the casual eye and avoids the obvious.

The image below depicts that sense of mystery, of ‘yugen’, the light washes gently onto the dark wall, giving intimacy and mood.

3.2.4.7‘Seijaku’

Lastly Silence, portrays being inwardly oriented and tranquil as well as calmness, stillness and solitude. (Montgomery 2008,1) seijaku can be referred to as blissfull solitude with the absence of noise and disturbances. Seijaku will form a big part of the art of meditation.

3.2.5.8 Zen garden

According to (Rossbach & Yun, 1998)people who want to enjoy outside spaces, but are not bothered by actual gardening and growing things, should have a zen garden. Rossbach & Yun, (1998, 115) continues to explain that a zen garden concentrates on horticulture rather than flowers,the meticulous arrangement of stones, shrubs, water, trees and sand have evvollved into art forms. Where flawlessequilibrium of yin and yang occurs, it allows the life giving forces of nature to reach their complete potential.

(Rossbach & Yun, 1998) goes on to say that Zen gardens revolve around three main features, namely; water, stone lantern, and stepping stones. The ‘tsukabi’ or water basin, is a simple, rounded stone with a recess or dip, filled with water, together with the water, there is ladle, to wash the face and hands before entering the tea house. (Rossbach & Yun, 1998, p. 115)further explains that the stone lantern or ‘ishidoro’, is a symbol for a guiding light, that steers one safely along lifes chaotic paths. The third element according to (Rossbach & Yun, 1998) is the stepping stones, which create pathwys to certain parts of the garden, if good Feng Shui is desired, rounded plants should be used in the garden, which synbolises weath and prosperity. Laslty zen gardens encompass have a tea house, a moon viewing apavilian, as well as stone or timber benches, for quiet contemplation.