December 3, 2002 A Survey of Feng Shui and Western Interior Design: Two Cultural Systems Collide Janet L. Fowlow Foreword As a design student interested in home ergonomics and the way it relates to interior spaces; I found myself naturally drawn to the idea of exploring the reality of design in eastern culture; and how many of their systems of theory correlate around the idea of the importance of the family unit. This, I was to observe, has many differences and similarities to our current definition of the Western sense of interior design - particularly in terms of domestic spaces. In researching for this paper, I decided that the most prevalent of these eastern theories was found in Feng Shui, and its inherent nature to consider the family s use of a space, even over its material construct. I also chose to use this manner of theory as an example because of its current use in the present North American design agenda, and how it s become such a current trend. In retrospect, some of this paper was written in attempts of finding out why this trend has occurred. Introduction When most North Americans think of Feng Shui, many are under the impression that the practice is at least in part, some kind of semi-religious hoopla that was created with a money-making vendetta. However, contrary to popular belief, it s Feng Shui (or rather the principals of it), which have more then recently found their way into the Western design mainstream as a viable and proven practice from the East. As a means of cultural verification, Feng Shui has reached into the homes and buildings of many famous personalities. Madonna, and Donald Trump, are prevalent users of the theory when it comes to their own residential and corporate spaces; such as Trump Tower in New York City. Several other famous buildings in North America have also utilized Feng Shui in their construction and design. Some of these include the MGM Grand Hotel in Las Vegas; the White Sox Stadium, Chicago; the Bank of Canada; and selected Borders bookstores (Skinner, 2001: 38). So why all the fuss? Why all the interest? It seems, that a great many designers today are realizing that their clients are looking for more then just a coat of paint and a great upholstered
sofa. After a rising concern over economics, social equality, and consumer manipulation in recent years, many interior design clients are looking for a method of approach that separates itself from the materialism often associated with Western design. In short, they are looking for an approach which is based more on what we already have (brand or no brand), and how it can mutually effect our families and relationships - rather then our wallets. It is with this in mind that many interior designers today have attempted to combine both disciplines in order to create a practice which successfully combines an Eastern theology, with a North American perspective. The Concept of Feng Shui The basic premise of Feng Shui (which is Chinese means wind, water ) lies in the theory that the physical and potential energy contained in the universe (particularly the earth), can be manipulated or redirected in ways that can substantially make changes, both bad and good, to our lives and environment. It is important to note, that even though Feng Shui has roots in Chinese Taoism, the practice is not directly related to any religious or spiritual practice; but is more related to the scientific canon of physics as we know it today. The origins of Feng Shui in Chinese culture stem from records found of the practice thousands of years ago, beginning at approximately 4000 B.C.. The more contemporary basis of Feng Shui, as we know it today, was established by King Wen, of the Chou dynasty (1027-221 B.C.), when he contributed to a previous Chinese book called the I Ching, while he was imprisoned for a short time during his reign (Skinner, 2001: 52). The characteristics or manipulation of Ch i, the Chinese term for life force, is a term that holds a characterization on many levels within Feng Shui practice. Ch i, as an entity, has several different variants. These variants do not attempt to tell of several different types of Ch i, but rather the various forms it can take. The three major forms of Ch i included in Feng Shui ideology are Sheng Ch i, which is positive Ch i; Ssu Ch i, which is dead or torpid Ch i; and Sha Ch i, which is a term used to describe Ch i that is flowing too quickly in an area, and can cause damage. Ch i exists within Chinese theology as the force or energy which animates all things. It could be explained as the energy that animates wind; or the energy which makes plants grow. In more scientific terms, Ch i could be explained as a way of expressing the potential energy behind gravity, or the transitional energy between hot and cold air which creates wind.
One of the most fundamental parts of Feng Shui, is understanding the behavior of Ch i in certain scenarios, and manipulating it to benefit your home and family. Within the Feng Shui practice, Ch i is divided into five universal elements. The transitional energy between these elements are believed to interact with each other and affect the flow of Ch i. These elements are water, fire, wood, earth, and metal. Understanding how these elements interact with each other is key to understanding how to properly function as a Feng Shui practitioner. The prime way that Feng Shui users affect the flow of Ch i in their home or office environment, is by understanding the fixed interactions of the five elements, and how balancing them can create a prosperous and more fulfilling environment. There are three main guides or cycles which Feng Shui practitioners use as a guide when attempting to harmonize the five elements. These cycles are labeled as the Production Cycle, the Destruction Cycle, and the Reduction Cycle. It is important to note that when you are manipulating the five elements in a space, that what you are really changing is the amount of transitional energy available between the two elements. How to Use the Three Cycles: Using the Feng Shui cycles to control elemental balance can be easily accomplished in part by understanding what elements effect others, and in what way. The Production Cycle is used if there is not enough of an element in a space - for example a lack of wood energy or a lack of water. The cycle works as follows: Wood -> Fire -> Earth -> Metal -> Water -> (repeat by starting at Wood again) An example of how to use this cycle can be explained if, for instance, there is not enough metal energy in a space. You can equalize the Ch i of the area by introducing an earth element, such as a zen sand garden. The cycle works on the premise that wood burns to create fire; fire produces ash (earth); the veins of earth produce metal; metal gets cold and causes water to condense upon it; and water feeds plants, or wood (Skinner, 2001: 103). The Destruction Cycle works in terms of completely destroying an element which is too prominent in a space. This theory works in extremes, and in order to equalize the element, you must add the element responsible for completely destroying an element when their transitional energy comes in contact. The Destruction Cycle works as follows:
Water -> Fire -> Metal -> Wood -> Earth -> (repeat by starting at Water again) An example of how to use the Destruction Cycle is that if there is too much Fire energy in a space (for instance, if the area has too many fire hazards like candles), then you would add a water fixture to create Water energy (in this case, you could add a water fire extinguisher or a small fountain). This cycle works on the premise that water puts out fire; fire melts metal; metal instruments cut down plants (wood); plants have their roots in the soil (earth), and the earth refreshes the water table (Skinner, 2001: 103). The third of these cycles is the Reduction Cycle. This cycle is used to reduce an element that is beginning to create an imbalance in Ch i, but is not so in abundance or production that it delegates removing it from the space entirely. This cycle works on the following basis: Earth -> Fire -> Wood -> Water -> Metal -> (repeat by starting at Earth again) An example of how to use this space would be in the case of if there was just a little too much wood energy in a room. You could remedy this slight energy interference by introducing a small fire fixture, like a single candle. The Reduction Cycle works on the premise that earth controls fire (imagine kicking dirt on a camp fire to smother it); fire controls/burns wood; wood controls water (lack of it can weaken a plant or kill it); water controls metal (rust); and metal controls earth (Skinner, 2001: 104). In understanding Ch i, it is important to realize that when taking into consideration the effects of the five elements, that we not forget ourselves in the equation. The human body contains quite a lot of water, as well a small amount of the metal element. We also ingest quite a bit of wood element as well (plants), which can also be considered when remedying the element balance of a space. It is also important to understand that the inherent nature of Ch i is not to travel in a straight line, but in its most pure form, to meander from one location to the next. We can visualize this idea by looking at a fire. The flames are not straight, but exhaust from side to side. As well, water droplets running down a window pane do not fall in a straight line, but meander from side to side, much like a river does. The danger that lies in contending with straight Ch i, is that it becomes Sha Ch i, the varient of Ch i that occurs when it flows along a straight path and picks up too much speed. Feng Shui practitioners attempt to avoid this type of Ch i at all costs, since it is associated with damaging the space or person who stands in its draining, fast moving flow.
Yin and Yang The Chinese concept of Yin and Yang stem from the cultural belief of when the universe was formed by the Great Absolute. This Great Absolute, in Chinese culture, is considered to have split into the two separate states of Yin and Yang. Yin and Yang, in theory, represent the opposite characteristics of the universe. Below is a list of the comparisons which Yin and Yang characterize: Yin Dark Cold Soft Dead Even Shady Female Night Winter Yang Light Hot Hard Alive Odd Sunny Male Day Summer Source: Skinner, Stephen. K. I. S. S. Guide to Feng Shui. New York: DK Publishing Inc., 2001: 111. It is important to understand, when it comes to Yin and Yang, that the characteristics listed above do not solely characterize the states by themselves, but rather relatively, in comparison. The characteristics listed above are active in developing the functioning of the Pa Kua, a visual guide to Feng Shui; which will be explained later. Magnetism and Feng Shui The prime compass directions, as well as the magnetic compass, both have a very large part to play in the relationship of the elements and Yin and Yang in the practice of Feng Shui. Characterized in Feng Shui theory, the magnetic forces of the earth, deploy the greatest systematic flow of Ch i around the planet. In Feng Shui, it is believed that lining oneself up with the earth s magnetism would establish a better relationship with the Ch i surrounding you, rather then fighting the earth s prime Ch i flow of direction. It is imperative, then, that those who wish to
utilize Feng Shui, when possible, line up their home and its organization, with the front door in correspondence to the southern magnetic pole (the prime direction in China is South instead of North, as it is in the North America and Europe). This will allow for a proper orientation of the Pa Kua, when it is used in practice, to help with organization of a space. When using a compass to determine the correct usage of Feng Shui, it is good to note that directions on the compass are actively paralleled with the four seasons. Since the bulk of warm weather in China occurs to the south. We can then observe that the northern direction is associated with winter. Since the sun rises in the east and brings birth to a new day, it is associated with the spring. Since the sun sets in the west, the western direction is associated with fall. Understanding the Pa Kua The Pa Kua is a visual guide by which all of the basic determinates of Feng Shui are shown in a single diagram. The main premise of the Pa Kua situates itself around the guide of a compass, in which South is at the top (due to Chinese importance of South over North), while North is at the bottom, West is on the right, and East is on the left. There are also secondary directions which are made prevalent on the instrument. These include North-East, North-West, South-East, and South-West. To the more advanced Feng Shui user, these secondary directions have quite a few meanings in terms of Feng Shui organization of a space. The current version of the Pa Kua that is in use by Feng Shui practitioners is the Later Heaven Sequence, the second of two versions of the Pa Kua. The first version of the Pa Kua is called the Former Heaven Sequence, and is an earlier version of the tool. I will not discuss this particular sequence any further in this paper, as it is not relative to current Feng Shui practices. The directions on the Pa Kua also have very active relationships with certain seasons, as well as with yin and yang associations, the five elements, room placement, and family hierarchy. One major component of the Pa Kua is the inclusion of the eight trigrams. These trigrams relate themselves both to direction, and to family member hierarchy. The basis of these trigrams root themselves in yin and yang, as they represent various combinations of the two universal opposites in effort to code various members of the family. Trigrams are constructed by the vertical stacking of three lines, each representing either yin (a broken line), or yang (a solid line). It should be noted that such graphic representation of yin and yang in the trigrams stem from the sexual organs of male (yang) and female (yin) human beings.
In further determining the relationship between the eight trigrams and family hierarchy, we can gain a better understanding by learning about the basis of the ideal Chinese family: one mother and one father; with 6 children (three female, three male). This family is represented by the trigrams in terms of yin and yang. The trigram of three solid bars represents the father; while the trigram with three broken lines represents the mother. As to the children of the household, (starting from the center of the Pa Kua, and working your way out), trigrams with one broken line on the bottom and two solid on top, represent the youngest daughter. If this broken bar is moved to the middle, it represents the middle daughter; and if the broken bar is moved to the top, it represents the eldest daughter. This same concept can be applied to determining the age rank of the sons of the family as well, only with the relationship of the broken lines to the solid lines in reverse. The importance of family hierarchy is invaluable to the system of Feng Shui in determining the most positive and productive means of placing family members in relationship to each other in a domestic environment. Not only does the placement of family spaces, according to the Pa Kua, better balance the natural Ch i that flows within the domestic space, but it also helps to enrich the social relationships between family members. The concept behind this idea will be explained later in this discussion. A Basic Look At North American Interior Design After a basic introduction of Feng Shui, it is just as important for this discussion to take a look at the basic premise of North American Interior Design. By this term, I am referring to interior design which has been implemented within the last few decades, and not those of earlier times. Western interior design primary concerns itself on working on the premise of perception, and how it affects the home s user, as well as those who visit the space on a short term basis. This perception, encapsulates a concern over how a space will emotionally, mentally, and socially affect a person; and attempts to manipulate one in the space to feel or experience a certain definition of each. These ideals seem to have made their way through the course of interior and industrial design in the West over a period of time, and a number of movements. Speaking of more contemporary movement, periods of design, from the arts and crafts movement, Art Nouveau, Art Deco, the Neo-Gothic, and Modernist movements, have all in large been based on the user s perception of a space in order to make a statement.
From my own observation of the practice, both historical and recent, there have been two main canons of purpose within Western interior design. These stand from a humanitarian, and an economical standpoint. The two main ideological categories usually fall into one of two matters of purpose: that of the designer who is truly preoccupied with advancing human prosperity and comfort through a designed space; and those who do not see the space as primary to the user, but rather use it to make a political, social, or economic statement. This is the more selfish of the two purposes of practice. The arguments between these two trains of thought have been an ongoing conflict for years within the interior design arena. The former, takes a closer approach to the purpose behind Feng Shui, but under a different premise. In taking a closer look at two such different bases for practice, we can refer to Western interior design movements which have characterized both ideologies. When considering a movement in design that catered more to the user than its social context (though this is impossible to readily achieve fully in any case), one could consider the Arts and Crafts movement to be conclusive of the ideal of putting the user of the space before the designer s personal vendetta. It was because of designers at the time, such as William Morris, that a renewed look in interior design was aimed at being honest in workmanship, and creating products which catered to the practical and userorientated needs of the period. Though there definitely was a political vendetta behind this movement, the premise from which it sprung surrounds the concept of considering the client over the designer. Unfortunately, there are quite a few more movements in Western interior design which cater more to the second basis of design purpose - to perceive or express a social or political statement. A prime example of how this thinking created problems within Western interior design, was in the Modernist Movement. Although key figures such as Walter Gropius, and the De Stijl movement sought to claim a more utopian, utilitarian view of design; their ideals about simplicity and an almost complete move to form over function made for a very problematic system of design in which to practically live. Their work was definitely important in the development of contemporary interior design, but it catered more solely to the designer s ideals, than to a pragmatic approach in the use of a space. One specific example of this phenomenon is the Farnsworth House, designed by Mies van der Rohe in the late 1940's. The house, though complex, modernist, and utilitarian in nature, lacked a sense of shelter due to its glass exterior walls. The lack of privacy (something that Feng Shui sees as negative), is a Feng Shui faux pas. This is for reasons due to the home s unsettling visual openness to its surroundings, and an unlimited exposure to fast-rushing Ch i from the outside environment.
It is in this observation that we can see that interior design functions on a number of levels. An ever changing medium, Western interior design seems to implement a design strategy which focuses on the opinions and ideals of a current society or personal vendetta. This is an observation which has deep roots in its differences with the Feng Shui practice. Feng Shui in itself, does not have movements, but rather has ingrained itself in a psychology that has been successful, yet unchanged for thousands of years. One thinking critically about these two canons of design (both Feng Shui and Western interior design), has to think of the reasons why both of these canons still exist, and how or if it can be possible to merge the two together successfully for contemporary practice. One other important observation to make about Western interior design, is that it is largely implemented and designed by those who will not be involved with the space for the long term. The majority of interior design projects in the West, are constructed and carried out by a number of business associates and workers, who have no intention of living in the space once they have finished developing it. This in a way, creates a major blind spot in Western interior design, such that it can never quite accurately perceive the personal needs of the actual user. Indeed, many of the developers of large living systems, like condos, have no idea who their tenants will be, and base many of their design decisions around financial availability and the social class which they wish to attract to the building. Hardly ever is the person who will live in the space actively present or involved in the complete process. Practical Comparisons of Feng Shui and Western Interior Design After considering such implications of Western interior design on a space, it is imperative to look deeper, into the basis of the design, and what the canon s main practical purposes hope to achieve. A look at the practical side of both Feng Shui and Western interior design, can help to enlighten those who truly wish to see the fundamental differences between the two canons of design. Western interior design builds much of its practical basis upon an emphasis of protection and structural integrity. The structure s main purpose is to shelter and protect the occupants inside from the elements of nature that may harm them. It is also the space in which a family unit raises children, and physically grows together. The house as a structure is a tool by which offspring can explore their immediate surroundings without the harm of the outside world (which may include hazardous influences from nature, animals, or other human beings).
Although the purpose behind a Feng Shui home does aim to protect its occupants from the negative physical elements of nature; it also stresses an importance in learning how to control the energy erupted by these elements in such as way as to decrease the amount of negative energy one has in contact with them. The Feng Shui home is also the primary structure within which children are raised, but instead of completely blocking them from the elements, it introduces them to small, controllable quantities so that the child/children may learn how to positively interact with them. Another practical application of interior design (both Western and Feng Shui), is to design a home that comforts the occupants of the space. In terms of Feng Shui, these occupants are referred to as the family unit. The design of the space is usually geared towards creating a pleasurable environment by which various family members can grow and interact with each other in order to strengthen and bond relationships. We have all observed that individuals in close proximity, within a pleasant environment, often gain interpersonal skills and relationships which help nurture the positive energy of their surroundings. This idea not only applies to the design of the domestic area, but also to private offices and public work spaces. Feng Shui utilizes this idea, and attempts to create remedies and rules by which to enhance this positive energy. This is accomplished through object placement, room organization, and the homes balance of Ch i energy. As an example of Feng Shui s attempts at practical living dynamics, the Pa Kua attempts to plan the interior of a home so that specific rooms are placed in specific areas, in order to achieve greater family morale and a more pleasant living area. This system works so that wet rooms (Skinner, 2001), such as bathrooms, kitchens, and storerooms, are often systematically placed on one side of the house (usually within the North to East area of the Pa Kua compass) in order to create a more pleasant, culminated living area. By strategically placing these rooms which channel Sha Ch i (bad Ch i) in, and take Sheng Ch i (or good Ch i) out, Feng Shui attempts to keep bad smells and germ-producing rooms to one side of the home; while visiting areas, the main living area, and bedrooms are combined on the other side of the structure. This helps in making wet rooms less prominent in the everyday lives of the occupants of the home, and increases family moral - not only by less chance of sickness (from germs); but also by encouraging the family to stay in close quarters in order to develop strong, positive relationships. Privacy and its relationship to Ch i in the home is also of prime concern in Feng Shui. It is seen as a valid issue when it comes to practical living and protection of the family unit. Feng Shui deeply respects privacy, because it shelters the occupants of the home from negative Sha Ch i which might be present in or outside of the home. Doors, for example, are of great importance to the
Feng Shui home. They not only provide privacy, but they also protect those within the space they enclose by blocking fast moving Ch i which may be running down a long, narrow hallway. In efforts to understand this idea, it helps to consider that Ch i has many of the same physical characteristics of water, and how it can have negative effects if it is allowed to flow too quickly (for example river rapids can be dangerous in comparison to a meandering stream). The predicament by which someone is hit and affected by fast moving Ch i (or Sha Ch i) is called the poison arrow effect (Skinner, 2001), as it darts at an unsuspecting occupant, often without them knowing. One type of poison arrow predicament is when there is an unobstructed flow of Ch i from the interior of the home, to its outside surroundings. This can be characterized by an internal doorway that opens to face a window to the outside. It is considered dangerous to place anyone for long periods of time within this flow of Sha Ch i, and it is imperative, according to Feng Shui, to ensure that no accommodating furniture is allowed to stay there. Therefore, such a thing as a chair should never go in its path. The same is said for Ch i which meets us in a space without our knowing. One rule of Feng Shui is that you should never have a desk chair in an office turned with its back to a door - a situation where you don t know who may come in, or what they might do. In layman s terms, it s the feeling we get when we physically have our back turned to a stranger - we feel subconsciously nervous because we never know exactly what they might do. This similar feeling is supposed to occur when a rush of Ch i sneaks up behind you, or flows towards your back. One other Feng Shui suggestion is to never have your bed s headboard or your back towards a window or open space where Ch i can surprise you from behind. Instead, it is better to have these things supported by a solid wall. Aesthetic Applications of Feng Shui and Western Interior Design The differences and similarities behind the aesthetics of Feng Shui and Western interior design have quite a lot to do with the attitude that both cultures have on the importance of material possessions, and the projections, whether emotional, political, or social, that they might express. In terms of social standards and scale, Western society mainly bases its projections of wealth on material objects: how many of them we have, and what quality they connote. Money is a prime objective, defining the term of success in many facets. Wealth is seen as having a lot of money and material possessions; which in turn, is supposed to create happiness. The Chinese, particular within the Feng Shui practice, approach design from a different perspective; putting its ideas of success and happiness more in terms of overall good health, how people treat you, and how you treat others. Success, so to speak, is based more on humanitarian grounds, instead of being something material which can be physically shown, presented, or expressed. The Feng
Shui practitioner, in principal, sees wealth and success as a by-product of happiness, whereas the Western view sees wealth as the producer of success and happiness. Interior design, and design in general in these two cultures, also have very different ideas about the true control of our environmental space. Western interior design connotes that man has the ultimate power over the success of a designed space. The Feng Shui, however, see good design as the proper understanding and manipulation of certain elemental principals which have already been established before any man-made action has occurred. In short, Feng Shui seriously considers the suggested ideal of nature s perfect blueprint. Feng Shui, through this belief, marks an attempt at properly channeling Ch i as less of a function of material possession, than of arranging what possessions you have in a particular way. It is in this aspect that the Feng Shui practice transcends the economic restraints that sometimes reside and limit Western interior design. On the Western front, better design is considered to be utilized by those elements which are of higher quality ; a term which in the West often connotes to define expensive objects or frivolous, meaningless fixtures. Feng Shui, on the other hand, through its able application to any number of possessions, which can hold any value, can reach further into a more pure design agenda and can be applied by occupants of all economic classes. The manipulation of Ch i in Feng Shi, is more concerned with the relative effects of Ch i on the occupants of a space, regardless of the aesthetic worth of the objects present. The control of the flow of Ch i through the rooms of a home, when properly balanced, correspond to the energy needs of each occupant in their respective spaces. Cleanliness and organization in both the Feng Shui practice and in Western interior design is emphasized as a logical, aesthetic-enhancing method of creating better energy within the home. Feng Shui promotes organization as a way to further good business relationships by projecting a more systemized way of working. Feng Shui, through this, attributes itself as a means of gaining greater success, both in the workplace and at home, where organization allows occupants to spend more time with family or fellow users of the space. Not only is organization an aesthetic concern, but a social one as well. Re-organizing a space is one of the prime ways in which Feng Shui remedies are practiced. The correct balance of Ch i in a space, can many times be restored with a simple re-organization of objects and the five elements within the building. In Western interior design, organization creates a more appealing impression of a space, and is a main consideration when creating a space that is to exhibit
objects to be sold (like a showroom), or in which a good impression about hygiene is important (like when hosting a dinner party). Colour theory also holds parallels in both Western interior design and the Feng Shui practice. Colour, within the Feng Shui practice, is a visual expression of yin and yang - with yin colours being dark and more subdued; while yang colours are bright and vibrant. Both systems agree that colour plays an important part in the perception of a space, and how it may effect an occupant mentally and emotionally. On a Feng Shui level, colour is more readily corrected through the control of light in a room, with light being representative of yang, and darkness more representative of yin. According to Feng Shui writings, the most beneficial ratio of yin to yang is a balance of three parts yang to two parts yin. Within the practice of Western interior design, colours play an important part in metaphor and emotional effect. Colour, within the interior design canon, can often connote specific relationships with things other than itself. The semiotic relationships, for example, of red to the Western world, can connote the idea of Valentine s Day, blood, hearts, a stop sign, lips, sex, or candy. On a more emotional standpoint, red could mean love, hatred, and anger; and has been known to induce subconscious anxiety when we are enveloped by the colour in a space. This is why we do not see red in a hospital lobby or recovery room - it adds stress to those associated with the area, even if only for short periods of time. Instead, hospital rooms are painted blue or green, which are colours that psychologically induce a calming of the body, and decrease the amount of time needed for the body to heal. Social Applications of Feng Shui and Western Interior Design The idea that we are directly affected by the space around us, whether by colour or other stimuli, also brings to light the effects an area has on our perceptions and relationships of people around us. The social constructs that surround both the Feng Shui practice, and Western interior design, do indeed have a specific agenda. The ideals expressed in Western interior design, by any designer, is a relevant social medium of expression. For those who hold Western ideals, this phenomenon allows an opportunity to express wealth and success to onlookers as they pass through their environment, as well as to themselves, either domestic or work-related. Creativity and luxury are also part of the social commentary of Western interior design; as they often speak of the occupants ability to create or maintain the wealth and success of a household. This wealth and success, as was
previously mentioned, is usually based on the number of possessions, and their projected value; which include both their expense in purchase, and their expense in upkeep. One unfortunate downfall of this system, however, is that it socially alienates those who are not able to economically afford expensive, or large numbers of possessions; whether because of their economic background or their station in life. It connotes that only the rich are able to obtain a well designed living environment and be happy - which according to Feng Shui ideology may not necessarily be the case. For those who practice Feng Shui, the social aspect of its application is grounded rather, in the upkeep of family relationships, and how they relate and interact with each other in a domestic space. The same can be concluded in terms of maintaining good business relationships within the work environment. It can be observed as well, by understanding that basic Chinese culture is based on the wellness of the family as a whole, and that it is seen as more important to have good relationships with the people you live with, rather than to attempt to constantly spend time impressing people you hardly know (i.e. guests) with wealthy possessions. That is not to say that Feng Shui is not involved with the self - as Western interior design is - but it primarily places its worth in attempting to balance the Ch i that not only affects yourself, but also those around you. An example of this lies in the very core of the Pa Kua. In utilizing the various family hierarchal placements shown by the arrangement of the trigrams, it can be easy to see how Feng Shui attempts to produce better practical relationships between family members - or members within the same space. As mentioned previously, it is important to note that this model is based on an eight person family unit; including a father, mother, and six children (three male, three female). The system works to improve family relationships by metaphorically placing them in relationship to each other in terms of the place of various family members in traditional Chinese culture. The system of relationships encouraged by the Pa Kua can be based around a number of practical applications; from room placement in the home, to where members of a family sit at the dining room table. As an example, I will use the analogy of a dining room sitting as an illustrated example. In taking a look at the Pa Kua, it can be observed that the mother and father do not sit straight across from each other. This tactic enables the figureheads of the family to keep a watchful eye over all the siblings of the family without having to look from one side of the table to the other in order the see and direct the children (this takes into consideration that table sittings in Western cultures usually have the family figure-heads at the ends of the table, with children on the sides.) Another meaningful placement shows that the eldest daughter is being protected by both the mother and father of the family. In Chinese culture, the eldest daughter was often the most vulnerable, since
she soon had to leave the family, deal with suitors, and become a new bride. One other observation which can be made is that the youngest daughter and the youngest son are sitting next to each other, so that they can communicate effectively with each other since they have very similar interests. Since the middle daughter and the middle son are usually in pubescence during this period (remember all family members are still in the home), they are separated, since developing bodies and rushing hormones seem to initiate conflicts. They are, however, across from each other, to allow for continued communication and support. So what does all this have to do with Feng Shui? The table setting example is a relative system of engagement, within which Feng Shui has established an example of a harmonized living plan. It is suggested, that if you can place the bedrooms and living spaces of the home with these relationships in mind, it will create a more peaceful and fulfilling bond with all members of the family. One other important thing to note about Feng Shui, is that it attempts not only to benefit the occupants of the space while they are in it. It attempts to increase the Sheng Ch i of the individuals themselves; promoting good health, a great mood, and intellectual success. It can be noted that Feng Shui remedies, as an example, even address the issue of a child s educational development, and attempt to aid it by creating a better environment for concentration on learning. Conclusions As stated in the thesis of this discussion, my purpose in writing this paper was in attempts to find out why Feng Shui has entered the Western design environment as a tool in designing Western spaces. After considering all that has been commented upon about both the practical, aesthetic, and social aspects of Feng Shui, in relation to Western design, it has made me come to several conclusions. One such conclusion would have to do with the current situation of the social environment between both the public, and family members, in the Western world. For the last few decades, we have experienced several severe social events, as well as an economic slowdown. Since these happenings, Western society has expressed a general need for a means in which to live which is less frivolous, and depends more on what we really should be calling home: the family in which we already akin to. After all the wars, all the destruction, and all the poverty we have seen in the last few decades (WWI, Vietnam, September 11 th, etc.), we can all make an educated observation that this recent change in the canon of interior design stems from the public s desire
to gain a more meaningful delivery of not only a pleasurable, but helpful space in which to work and live. Feng Shui is not a practice dependent upon material possessions. Neither is it dependent upon costly purchases, or a complex, expensive opinion. Feng Shui can be practiced by you, for you. Its principals are personal, and can help anyone, regardless of wealth or status, to obtain a better home life through their immediate effects on their environment. This is what I think is the key to Feng Shui s recent rise to popularity. It can be easily concluded that with the observations that have been made about the practicality and ease of its practice, that it is not hard to see why it has gained so much popularity in the West. Bibliography Field, Stephen L. Professor Field s Feng Shui Gate. The Feng Shui Gate: Essays on the Origin of Fengshui. 2001. < http://www.fengshuigate.com/index.html > Fiske, John. Introduction to Communication Studies. London: Routledge Press, 1990. Friedmann, Arnold, John F. Pile, and Forrest Wilson. Interior Design: An introduction to architectural interiors. New York: American Elsevier Publishing Company, Inc., 1970. Gwynn, Kate, and Annie Sloan. Colour in Decoration. Toronto: Little, Brown, and Company (Canada) Limited, 1990. Information About Feng Shui. American Healing Arts Institute. February 1999. < http://www.aafengshui.com/inform.html > Niesewand, Nonie. Contemporary Details. New York: Simon and Schuster, 1992. Sheets, Hillarie M. Cosmic Appraisal. I.D. Nov. 2000: 72-79. Skinner, Stephen. K.I.S.S. Guide to Feng Shui. New York: DK Publishing, Inc., 2001. Williams, C. A. S. Outlines of Chinese Symbolism and Art Motives. New York: Dover Publications, 1976. Woodham, Jonathan M. Twentieth-Century Design. Oxford: Oxford University Press, 1997. Janet L. Fowlow Copyright 2002, 2003. This paper cannot be copied or used as a resource without expressed consent from the writer.