Designing for Emotional Restoration: Understanding Environmental Cues

Author(s): Marni Barnes

Source: Journal of Therapeutic Horticulture , 1996, Vol. 8, Therapeutic Landscapes:
Designing Gardens for Health and Healing (1996), pp. 11-14
Published by: American Horticultural Therapy Association

Stable URL: https://www.jstor.org/stable/44025347

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 Designing for Emotional
Restoration
Understanding Environmental Cues

Marni Barnes , MLA, LCSW

suburban gardens and city parks to wilderness

round us have a tremendous impact areas).
The round on ouron sights, emotions.
our emotions. The usappearance
sounds, ofhavea rain-
The a and tremendous appearance smells that of impact a rain- sur- The study reveals that emotional healing is a
bow gives rise to a smile on the lips, memories complex process. Not only is there variety among
are triggered by fragrances, cleansing and releas- people, each individual has a range of needs and,
ing is assisted by a stiff breeze or a plunge into a over time, moves through a series of phases.
cool lake. Horticultural therapists and designers These phases, as they appear in outdoor settings,
of healing outdoor spaces can dramatically in-
crease the degree of therapeutic benefit derived
from our environment by attending to this "pas-
sive" impact of our surroundings. To do this ef-
fectively, the process of emotional restoration
and the relationship between our environment
and our feelings need to be understood. This re-
search elucidates the connection between emo-
tional restoration and the environmental settings
specifically chosen by individuals to assist their
healing process. The resulting conclusions have
significant implications for the design of thera-
peutic outdoor spaces.
Research Results
The subjects of this study were asked to describe
what types of spaces they went to when seeking
solace in the outdoors. Drawing on previous
work done by Fran Segal, Stephen Kaplan, and
Janet Talbot, the empirical reports were analyzed
in relation to the process of emotional healing as
experienced on therapeutically led backpacking
trips. Parallels were found between the process
of emotional change recorded on these wilder-
ness trips and the experiences of individuals in
this study who were
seeking solace in a va-
Drawing the eye through the

riety of outdoor set-space ises

, this stairway prom-
hidden vistas and
tings (ranging from suggests brighter times
museum courtyards to ahead.

Journal of Therapeutic Horticulture Ä 1 1

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have a strong correlation with the components of terns to a more basic and nonlinear per-
a meditative process outlined by Dr. Herbert ceptual mode, wherein one's sense of self
Benson. Dr. Benson has studied the physiological is experienced within the context of the
response that accompanies relaxed states and has whole 2.
concluded that one of the most efficient methods
Design Implications
for attaining a relaxation response is mindfulness
Each task has its own set of environmental cues
meditation. He lists the components of this medi-
tative process as being: that assist and facilitate the working through of
that phase. The design implications of using this
• A passive letting go analysis as an organizational structure for assess-
• Focusing on this moment ing and creating healing spaces are significant.
• A cognitive shift to more flexible thinkingThe breaking down of the process of emotional
• The attainment of an altered state of con- restoration into its component parts can serve as
sciousness 1 a structure for setting design goals and, in turn,
can facilitate the incorporation of appropriate el-
These same compo- ements in the land-
nents, or psychological scape. Design principles
tasks, were recorded in can be formulated for
outdoor settings. They each phase, and the ap-
are:
plication of the prin-
ciples can facilitate the
Phase I- creation of emotionally
Seeking healthy environments.
change and sepa- Paradoxically, by nar-
ration to allow for rowing down the focus
the opportunity of of design to the specific
perceptual move- needs of each phase,
ment.
The beauty and fragrance of this rose the range of possible
Phase II - draws us into the realm of our senses. solutions is expanded.
Si. Refocusing Instead of having to re-
one's atten- peat the use of identi-
tion through ab- fied elements - the
sorption and shopping list - again
fascination and, in and again, the function
so doing, shift to a of those elements can
differing perspec- be replicated in a vari-
tive. ety of other forms. This
s Phase III - Re- gives greater creative
' visiting the ini- flexibility and, even
' tial feeling state more significantly, al-
from the newly lows for the application
gained perceptual of healing principles in
orientation and a wider array of situa-
emotionally or tions. These needs can
cognitively work- be addressed in ways
ing it through. that relate to the larger
^ - -v. Phase IV - context, be it urban,
Shifting from suburban, rural, or
The critters of the wild can bring a
V__J/ analytical wilderness.
sense of wholeness and connected-
thought pat- ness into a garden. The first phase, The
12 Ä American Horticultural T herapy Association

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Journey, is a mecha-
nism for creating a
break, gaining distance
or making a separation
that allows the indi-
viduals to step back
from their situation. It
creates space for
change and resolution
and may serve to shift
the individual away
from an unproductive
perspective.

^ df 'p for
principle for
this phase is to empha-
size transition, change,
thresholds, and move-
ment.
Finding a private spot from which to observe , yet retain some
Examples of the application of this design seclusion can be a creative endeavor.
principle are:

• A series of focal points to draw one into the to create a variety of micro climates - to
space - creating movement; stimulate the tactile perception of heat and
• Variety in scale to create a sequence of out- humidity;
door rooms - providing thresholds; • Plants that are edible for humans and other
• Changes in elevation leading to increas- animals - to delight the taste buds;
ingly expansive views - demonstrating • Running water or wind chimes - to pro-
new perspectives; vide soft sounds.
• Bridges - replicating transitions and a
sense of "leaving behind"; The third phase, Self Awareness, focuses on the
• Limiting the view back along a path self.
- This phase requires a safe haven for turning
emphasizing the distance traveled. inward and opportunities for self-reflection.
The design principle for this phase
The second phase, Sensory Awareness, involves incorporates two aspects: 1) allow for
attunement to external stimuli in the moment. This safe seclusion and 2) promote esteem-
building experiences.
serves as a method of escape from everyday think-
ing, a refocusing on qualities of our surroundings, Examples illustrating this principle of allowing
and a shift in perspective and thought processes.for safe seclusion are:
^ The design principle is to provide sen-
sory stimuli of a non-invasive charac- • Benches with a backdrop that allows the
ter. Examples illustrating the principle individual the opportunity to visually
are:
scan the surroundings - creating the secu-
rity that comes from that orientation;
• Fragrant foliage underfoot and scented
• Seating around the perimeter of a space -
blooms planted along pathways and near the safety that comes from be-
providing
seating areas - for olfactory stimulation;
ing part of a group;
• Pleasing combinations of colors and •textures
A fountain - to provide insulation from
others with "white noise";
throughout the space - for visual interest;
• Areas of overhead shade and reflected heat • Trees to climb or a pond with small islands
Journal of Therapeutic Horticulture Ä 1 3

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 or secluded peninsulas - for solitary activi- windows - marking the rotation of the
ties that are visually defensible, yet private. earth;
• High nectar blossoms to attract humming-
The second aspect of this principle incorpo- birds and butterflies - incorporating the
rates traditional design concepts to support psy- ephemeral;
chologically enhancing activities that • Groves of trees that sway and rustle in the
complement periods of self-reflection. It also ex- wind - calling our attention to the forces
tends beyond traditional design, into the realm ofof nature.
community participation. The esteem building
aspects of pride of ownership, or sharing one's
As demonstrated in theses few examples, by
self by helping others, can be facilitated by good looking at how healing occurs, step by step, and
design. addressing those needs, the environmental re-
Examples illustrating this principle of promot- quirements become focused, and the variety of
ing esteem building experiences are: design options open out. The development of
these design principles distills the relationship
• Challenging par courses, adapted and between environment and emotional healing
aimed to serve differing ages and abili- into concrete, applicable, design considerations.
ties - to increase confidence; The incorporation of the principles into the de-
• Space for solitary and social games, such sign process allows for the maximum flexibility
as a half basketball court - to develop and appropriate adaptability to the site and its
skills; surroundings. Using design principles to guide
• Physically strenuous trails and activities - the design concept and incorporating the context
to build strength; into their application is the key to innovative,
• Community garden and instructional fa- successful design for emotional restoration.
cility - to offer a sense of belonging;
• A design process that incorporates com- Bibliography
munity participation - creating pride of
Barnes, M. "A study of the process of emotional healing in
ownership. outdoor spaces and the concomitant landscape design impli-
cations." Masters thesis, Dept. of Landscape Architecture,
The fourth phase, Spiritual Awareness, facili- Univ. of California, Berkeley, 1994.
tates the deeper awareness of a connectedness Kaplan, S. and J. Talbot'Tsychological benefits of a wilder-
that expands on the sense of well-being and tran- ness experience." p. 163-203. 1. Altman and J.F. Wohlwill
scends time. (eds.). Behavior and the Natural Environment, New York:
Plenum, 1983.
TTfl The design principle for this phase Kutz,
is I., Borysenko, J. and H. Benson. "Meditation and psycho-
17Î1 rj j.f to play with the majesty and mystery
therapy: A rationale for the integration of dynamic psycho-
ļlTrcļ of the site and its surrounds. Ex-
therapy, the relaxation response, and mindfulness meditation."
T amples illustrating this principle are:The American Journal of Psychiatry, 142 (1985), p. 1-8.
Segal, F. "Wilderness experience: A phenomenological
• A human scale sundial - to demonstrate study." Ph.D. dissertation, Dept. of Psychology, California
Institute of Integral Studies, Berkeley, 1988.
the passage of time;
• Plantings with seasonal variation - calling
attention to the cycle of life, death, and decay; Footnotes
• A bench from which to observe the strike 'Kutz, p. 2.
2Barnes, pp. 70-72.
of the setting sun on a multitude of distant

1 4 Ä American Horticultural T herapy Association

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