Evaluation

Plant wall 0.2 is an eco-phenomenological exploration into ways in which a learning spaces can transform the ways in which students (of any age) can learn creatively. By exploring learning spaces through eco-phenomenology, it has aided me to understand how our mind and body connects and reacts to its surroundings. I took a stance at exploring the ways in which cognitive science, psychoanalysis and eco-phenomenology can aid or at least aid in articulating pedagogy advancement and how collectively they can aid in navigating a way of transforming educational spaces for the better. Plants are known for their healing properties internally and externally, placing them within a creative educational environment not only enhances the capabilities of the students cognitive abilities to learn through stimulation and colour, it also aids in creating an environment where students are calmer, less tired due to the air quality within the space but more productive as the space becomes more simulative. Comparing research from the archival visits of our school of art specifically how the spaces within the school used to be with the research that I have done on changing environments through this philosophical standpoint I do believe that there is space for both plants and a more structured way of teaching.

I began building plant wall 0.1 which is plant wall 0.2’s prototype from the research that was informed by my group’s feedback on the few experiments and workshop I did that grew from the collaborative group I formed called cAre Collective which consisted of Dottie Abner, Gabriela Natasa and I. Collectively we examined changing learning spaces into calming spaces through the idea of group workshops, setting up our own website and finding groups to work with. However, Dottie and I became more fascinated by soft spaces and how you could transform a learning space to create productivity and calm through the transformation of the physical space. Dottie and I ran a workshop on soft spaces and calm with our course. we also altered a section of our studio into a soft space, which is continuously used by our group. After critical evaluation from that workshop I realised that soft spaces produce too much calm and not enough productivity within the space in which it inhabits. Realising that too much calm is not good in an educational environment and a potential health and safety hazard in an art and educational environment, I re-evaluated my stance on what constitutes to a calm space, realising that colour, psychology and perception play a huge role in the cognitive functions of a learning environment specifically in art education.

Growing my narrative of what constitutes to a productive yet calm art educational environment, I began to construct plant wall 0.1 (the prototype), this structure consisted of recycled mdf board which had planting shelved cut and screwed to the back with holes just big enough for the plants to fit through the front, with the methodological idea that the wall would be constructed eventually to fit an entire wall within a space and would have a fertilising water filtration system behind it in the planting beds. Overall the construction of plant wall 0.1 was flimsy, made of very absorbent wood and only fitted its purpose as a prototype. From the outcomes of plant wall 0.1 and the reactions from the public at night school to it, grew plant wall 0.2 my final outcome.

Plant wall 0.2 is a 10.5ft Rough sawn timber frame planting wall consisting of hanging foliage and floor foliage plants. Built over a few weeks by myself and my father considering health and safety, material strength, absorbency of material, strength of fixtures and aesthetical values and how it constitutes to the theoretical methodology of my work. I feel that is resonates with everything that I have researched and creates the environment which I intended it to do. If I was to do this again or continue from here which I intend to do, I would look deeper into not only the visual and phycological effects that plants have but also the benefits they bring internally through ways of digestion. I would make the wall bigger and perhaps create more functionality within the frame in terms of interaction with the audience.

Overall throughout this module I have grown mentally learning through the narrative of philosophy which has been highly inspired by my optional module of philosophy and aesthetics. Learning and understanding the beginnings of Eco phenomenology, cognitive science and psychoanalysis. Connecting that to art education through gallery visits such as ikon and the Yorkshire sculpture park and understanding how this research can transform a space for pedogeological advancement. Comparing it to archival study, learning and growing through these learnt narratives taught me to pare back my physical outcomes to a more succinct outcome, creating a more powerful yet intentional result.