Browsing by Author "Alanko, Anna"

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  • Conquering SAD
    (2019) Marani, Fiorenza
     School of Arts, Design and Architecture | Master's thesis
    Seasonal Affective Disorder is a type of depression whose level of diffusion is in between 1% and 10% of the population (Meesters & Gordijn, 2016). The goal of this study was to discover whether the scarcity of subtractive colour causes fall and winter SAD together with the scarcity of light. It also examines the ways to alleviate winter Seasonal Affective Disorder symptoms through the use of colours in domestic interiors in applications such as textiles and wall coverings. The design outcome of this project are two collections, one for the living room and one for the bedroom. Each collection comprehends ten patterns, three material boards and three colour schemes proposals. Data was collected through a background research, one personal meeting with an expert in human-centred living environment, two personal meetings with an architect and a questionnaire. Such methods resulted being useful to collect information about the thesis topic. However, more interviews with colour experts, interior designers and architects should have been done in order to gain further specific information about the use of colour in interiors with therapeutic purposes. Indeed, most of the research had to concentrate on the topic of colour because of the complex nature of this phenomenon. For this reason, less time was dedicated to the study of colour and patterns for domestic interiors and to the production of the print collections. The research done on the topic of Seasonal Affective Disorder shows that traditional medicine does not give relevant attention to the use of colour in order to cure or alleviate Seasonal Affective Disorder symptoms although, at present, many researches show that colour can influence the human mind and body. Furthermore, disciplines like chromotherapy attribute to different colours the ability to cure specific areas of the body and specific ailments. Common alleviation cures for SAD symptoms suggest daily bright light sessions, healthy sleep-wake habits and other self help methods like exercise. However, no specific attention is given to the use of colours as a cure. Furthermore, the background research from the field of colour psychology and interior design shows that environment changes the mood of humans and that colour is a good influence on people’s mood especially when it is liked. Indeed, it is possible to create domestic environments that will influence us according to what we planned. In order to do so, we can find directions from different fields. 1) Guidelines on the way colour influences human’s mind and body, from the field of colour psychology and colour theory. 2) Guidelines on colour planning, from the field of interior design. 3) Guidelines on color combination and colour harmony from the field of colour theory and interior design. Additionally, for this project direct data was collected through a survey shared via mail with 20 participants from Finland (12), Italy (5), Taiwan (1), Corea (2). The age span was between 24 and 59, 3 were men and 17 were women, 17 lived in Finland and 3 in Italy. The survey investigated which colours people connect to the concept of energy or relax, which colours people would use in their homes to create energetic or relaxing atmospheres and which are the methods they find more useful to cope with winter darkness. The survey answers display that energy is linked mainly with yellows, relax with blues, convey energetic atmosphere with yellows and relaxing atmosphere with blues, greens and dark yellows and that the three most useful help methods according to the 20 participants are, in order of relevance: a) exercise, b) a walk outside, c) bright light therapy. The research findings do not imply direct connections between SAD and the scarcity of colour during fall and winter. However, at the same time, they suggest that a correct colour planning for our domestic interiors could make a positive influence on people’s moods. Therefore, by combining notions from different fields, it was possible to identify practical guidelines that were used to create two print collections for domestic interiors, six colour schemes and six material board proposals. Such guidelines and proposals could be used by clients and designers as reference to make informed decisions when decorating domestic interiors and designing interiors textiles.
  • Perception as an Integral Part of the Design Process
    (2013) Alanko, Anna
     School of Arts, Design and Architecture | Master's thesis
    This thesis is a personal exploration into perception and various perceptual phenomena. Through this thesis I question the traditions and limitations of my own perception in order to strengthen my design identity and to develop as a designer. Based on my findings I design and produce a collection of garments and textiles. The thesis is divided into two main categories: theoretical approach and design process. The theoretical part has an empirical approach on perception and is based mostly on literature concerning perceptual psychology and perception in the context of art. It covers the basic concept of perception as well as a selection of different perceptual phenomena. The focus is on the visual sense, however, the tactical sense is also considered. The theoretical part offers information on perception and arises essential questions that are then discussed in the production part as well as visualised in the final designs. In the production part of this thesis the gathered data is implemented and considered through the design process. As a result, my design methods are demystified as I explain and justify the colour, shape and material choices of the collection. Because I am a material-based designer, the focus of the production is strongly placed on pattern and woven textile design. Through this thesis I discovered that perception is highly subjective and hugely reliant on preconceived notions as well as context. Realising the limitations of perception made me question my own perception, which in turn enabled me to detach myself from the traditions of my previous design works. Inspired by the theory and by my observations of it I designed a women’s wear mini-collection of garments and textiles that challenges the viewer by questioning the traditions of perception and by visualising the ambiguous nature of perception through contrasting patterns, diverse woven textiles and surreal three-dimensional silhouettes.