WHAT IS IT?
Entomophobia is the phobia of insects.
A phobia is defined as “an abnormal and irrational fear or dread which is caused by a particular object or circumstance” (Murray et al, 1989, p.693), reinforced by the National Health Service’s (NHS) medical definition. There are two types of phobias; simple and complex. Complex phobias are situational whereas simple phobias are rooted to something more specific such as an animal (NHS, 2014, online). Entomophobia is classified as a simple phobia.
An insect is an arthropod, characterised by three pairs of legs, a three part segmented body (head, thorax and abdomen) and typically wings. A spider is not an insect but a member of the Arachnida class.
Figure.1
Entomophobia is commonly mistaken for Ekboms Syndrome, also known as Parasitosis, which is the fear of being bitten or infested by the parasites on the insect (Weinstein, 2011, online).
PROGNOSIS
Figure.2
Insects have historically had a substantial cultural and environmental impact on society. Due to an increase in urbanisation, perception of their ecological and traditional importance has diminished, resulting in insects becoming separated, unfamiliar and negatively perceived. This suggests Entomophobia is a recent development in cognitive thinking and therefore less likely to have occurred historically (Weinstein, 2011, online).
DIAGNOSIS
Professional diagnosis is not common with phobias as sufferers are usually mindful of the problem and aware of the symptoms they experience when in a particular situation (NHS, 2014, online).
SYMPTOMS
Symptoms of Entomophobia can be emotional or physical and depend on the phobia’s severity. A ‘’clinical phobia” is where a sufferer experiences symptom’s, however if they do not, the phobia is “subclinical” (Weinstein, 2011, online). The sufferer may experience symptoms even when they think about insects, known as “anticipatory anxiety”. Supported by the responses in survey 2, the most common symptoms include increased heart rate, hot flushes/chills and butterfly sensations (NHS, 2014, online).
Anxiety of feeling fearful causes the adrenal glands to flood the blood with adrenaline, resulting in bodily changes such as increased heart rate (Weinstein, 2011, online). This heightens fear and prepares the body for ‘fight or flight’. If the associated anxiety is controlled there will be a significant reduction in symptoms, lessening the severity of Entomophobia.
CAUSES
Entomophobia can be caused by a negative experience, insufficient knowledge or learned behaviour and usually develops between childhood and early adulthood. Evidence claims genetics can contribute to anxiety and therefore the likelihood of developing a phobia (NHS, 2014, online).
TREATMENTS
Entomophobia can be treated in various ways but no single process works for everybody. Consequently, methods are often combined.
Cognitive Behavioural Therapy (CBT) involves the sufferer speaking to a professional about their negative thoughts and exploring the feelings associated with insects. CBT can help the sufferer understand the root of the problem and regain control by challenging negative thoughts and changing the behavioural or thinking processes. This procedure is controlled, direct and successfully offers realistic solutions, progressively overcoming the fear (Mental Health Foundation, online). This was the most popular suggestion in survey 3.
Computerised Cognitive Behavioural Therapy (CCBT) supplies online CBT sessions. For less severe cases, The National Institute for Health and Care Excellence (NICE) evidenced that the ‘Fearfighter’ package is successful in managing phobias by using new technologies and an interactive base for learning (National Institute for Health and Care Excellence, 2006, p.6, online). Although the course requires an age eleven reading ability, it is not recommended for sufferers under sixteen (NHS, 2015, online; National Institute for Health and Care Excellence, 2005, p.7, online).
Desensitisation or gradual exposure therapy uses controllable stages to progressively expose an individual to their fear without being overwhelmed. By increasing the level of exposure at each stage, the sufferer feels in control and consequently less fearful (NHS, 2014, online; Segal, Segal & Smith, 2015, online). It can be used as part of a self-help strategy or with therapist’s guidance.
Group Therapy dilutes the intensity of a one-to-one experience, offering the opportunity to meet and discuss alternative treatment strategies with those facing similar difficulties (NHS, 2014, online).
Self-help Techniques help to regulate the body. These involve breathing and relaxation exercises, teaching the sufferer to control their breathing patterns in a particular circumstance. This can be effectively combined with visualisation to encourage the individual to apply these techniques to a potentially fearful situation, subsequently reducing anxiety (NHS, 2014, online).
Entomophobia is often fuelled by misconceptions, such as an insect’s ability to be harmful. Education is fundamental in removing these fallacies and rationalising the fear through realistic and positive thinking processes. “Zoos and museums can play an integral educational role” by teaching others about their positive impact on society and importance to human survival (Weinstein, 2011, online). Evidence by Hayati and Minaei (2005), supports this theory by concluding Entomophobia is lower in people who have passed an entomology course (Hayati & Minaei, 2015, p.43).
However this principle is based on “emotional states”, rather than “belief states” (Smith, online). As the structure of experience is not determined by intellectual process, it can be argued that a space cannot be generalised and designed using a single approach because people will respond differently. Steven Holl’s work, particularly ‘The Helsinki Museum of Contemporary Art’ and the ‘Chapel of St. Ignatius’, demonstrates the success of this diversity by creating a range of “spatial experiences” that all connote a sense of serenity, despite using different methods (Garofalo, 2003, pp.121, 102). This suggests that successful ‘calming’ spaces are a result of effectively communicating the intention of the space, rather than using a specific strategy or design ethos.
Peter Zumthor recognises these emotional responses to result from the atmosphere of a space, determined by sensory stimuli that make the user move and interact in specific ways (Zumthor, 2006, pp.12,40). His work is supported by the theories of Holl, Pallasmaa and Gomez (2006) who stated “the passage of time, light, shadow and transparency; colour phenomena, texture, material and detail all participate in the complete experience of architecture” (Holl, Pallasmaa & Pérez-Gómez, 2006, p.41). Zumthor adopts these strategies to create calming spaces that “offer people a haven, a good place to live and unobtrusive support” while “inducing a sense of freedom” (Zumthor, 2006, pp.6,40). This is evident in ‘The Therme Vals’. The senses work together to assist the experience of phenomena and spatial perception. It is this experience, the phenomenology of architecture, which suggests spaces can be designed to manipulate emotion.
Existentialism is a movement that claims experience is grounded through individual perceptions and beliefs and shares similar ideas to that of phenomenology.
Ocularcentrism relates to how space is perceived through the eyes and argues against phenomenology. The isolation of vision as the dominant sense for spatial experience has been rejected by many and viewed as “hatred of the body” promoting the idea that successful architecture involves a multi-sensory experience (Pallasmaa, 2005, p.19).
Affective quality is the ability for a place to stimulate specific emotions. It is argued that the “estimated, perceived or remembered affective quality of an environment” has more effect on the users experience and relationship with a space, than the environments direct “objective properties” (Stokols & Altman, 1991, p.246).
Treatment strategies for Entomophobia are professionally counselled or educationally lead, and therefore it is important to consider how therapy and educational spaces can contribute to reducing/treating Entomophobia and the associated anxiety.
 Figure. 8‘The Helsinki Museum of Contemporary Art, Finland, (1998) |
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 Figure. 9‘The Helsinki Museum of Contemporary Art, Finland, (1998) |
 Figure. 10‘The Helsinki Museum of Contemporary Art, Finland, (1998) |
 Figure. 11‘Chapel of St. Ignatius’, Seattle, USA (1997) |
 Figure. 12‘Chapel of St. Ignatius’, Seattle, USA (1997) |
 Figure. 13‘Chapel of St. Ignatius’, Seattle, USA (1997) |
 Figure. 14‘Chapel of St. Ignatius’, Seattle, USA (1997) |
This information suggests that spatial design can effectively impact experience by influencing emotions, crucial to the research. The precedent examples support the notion that calming spaces can be created to encourage tranquillity, although whether the design of a space (specifically therapeutic and educational) can successfully contribute to reducing specific emotions, such as anxiety or fear, is yet to be established.
“Affective quality may also be a key factor in accounting for the cumulative influence of the environment on mood, health and subjective well-being” (Stokols & Altman, 1991, p.246) suggesting that the design of healthcare spaces are important in assisting treatments and recovery. In 2000 the NHS manifested a proposal to encourage careful consideration of the services, operation and design for healing environments after worries that modern healthcare facilities fail to centralise the patient. Arguably, this is a result of such spaces losing sense of tradition and moving away from approaches that were historically successful for healing spaces (Purves, 2002, p.1). The Maggie’s Centres are similar to these spaces, such as the Sanctuary of Asklepios (god of medicine) in Epidaurus, attempting to modernise temples of healing and carry forward the belief that recovery is a result of both the psychological and physical (Jencks & Heathcote, 2010, pp.55-56; Griffiths, 2002).
ATMOSPHERE
Maggie’s centres encourage a welcoming, informal and stimulating environment through design characteristics familiar to a home (Jencks & Heathcote, 2010, p.13). Offering drop-in guidance and support for cancer patients and their families, Maggie’s Centres project warmth and comfort which enhances the emotional welfare of it’s users and reduces sensations of vulnerability and fear commonly experienced through illness or distress (Griffiths, 2002). In an interview, a therapist at Nottingham Maggie’s Centre (MCT1) highlighted the importance of separating the centres from other clinical healthcare experiences as patients are “constantly surrounded by uniforms, medical equipment, buzzers and people who are really, really busy. So to come into a space where you can talk to registered nurses and other health care professionals that work within the centre, in a place that appears and seems very homely and very natural light and, just cosy and comfortable and, there’s no uniforms for barriers, I think it makes a huge difference” (MTC1, 2015).
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Circulatory flow is important when navigating around unfamiliar spaces. Disorientation can make an individual feel exposed, and so clarity prevents intensifying anxiety and ensures the user is comfortable (Cox & Groves, 1990, p.16). Maggie’s Centres adopt the principle of centralising the spaces around the ‘heart’ of the building, which typically occupies a kitchen. These spaces encourage informal interaction and offer users freedom of movement, speech and behaviour so they feel calm (Jencks & Heathcote, 2010, p.13). OMA’s Maggie’s Centre in Glasgow optimises this principle by organising the interior spaces around a central garden. The success of this integral layout is evident through the plans, showing how fluid circulation and ease of movement is possible (Jencks & Heathcote, 2010, p.187).
Maggie’s Centres offer a range of intimate and social spaces that can adapt according to individual needs. For example Piers Gough’s Maggie’s Centre in Nottingham offers a library space; a social alternative for visitors who do not want to be part of the kitchen activity. The public and private spaces work collectively to reduce any fears or anxieties by giving the visitors choice and control (Jencks & Heathcote, 2010, pp.13,168). While the communal areas assist visitor’s confidence, the counselling rooms are specifically private to promote safety, ultimately improving response rates to therapy sessions.
 Figure. 15'The Courtyard' in Maggie's Centre, Glasgow (2011) by OMA |
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 Figure. 16'The Kitchen' in Maggie's Centre, Glasgow (2011) by OMA |
 Figure. 17'Layout' of Maggie's Centre, Glasgow (2011) by OMA |
 Figure. 18'Kitchen' in Maggie's Centre, Nottingham (2011) by Piers Gough |
 Figure. 19'Library' in Maggie's Centre, Nottingham (2011) by Piers Gough |
 Figure. 20'Counselling Room' in Maggie's Centre, Nottingham (2011) by Piers Gough |
MATERIALITY
Materials have the ability to control the emotive temperature of an environment. “Steel…is cold and drags the temperature down” (Zumthor, 2006, pp.32,34) and would conflict with the calming atmosphere that Maggie's Centres and other therapy spaces aim to achieve. Many Maggie’s Centres use soft, natural materials to enrich the environment with warmth and comfort. Aberdeen Maggie’s Centre embodies this ethos through curved forms in timber, glass and stone, selected for their soothing properties. Zaha Hadid’s Maggie’s Centre in Fife contradicts these methods and suggests that materiality and form cannot be generalised to specific emotive responses. She successfully demonstrates that black and rough textured materials can similarly contribute to the calming atmosphere of a space. The “silver-fleck” on the “asphalt-like material” softens the harshness of the black and on reflection, appears beautifully mesmerising. Despite the sharp, angular forms, the centre encourages contemplation and intimacy, abstractly contributing to the calmness of the space as visitors forget their original anxieties (Jencks & Heathcote, 2010, pp.34,35).
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Maggie's Centres optimise natural light through a juxtaposition of windows, “as sunlight improves mood” to create a stimulating environment (Stokols & Altman, 1991, p.260). Throughout the day, the framed views and focused light change, projecting natural warmth and a sense of serenity. Large windows integrate the interior and exterior landscapes adding energy and evoking positive emotions, as seen in the Lanarkshire Maggie’s Centre.
 Figure. 25Maggie's Centre, Lanarkshire (2014) by Reiach and Hall |
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 Figure. 26Maggie's Centre, Lanarkshire (2014) by Reiach and Hall |
 Figure. 27Maggie's Centre, Fife (2006) by Zaha Hadid |
 Figure. 28Maggie's Centre, Fife (2006) by Zaha Hadid |
SETTING
In 1984, Ulrich concluded “faster recoveries for those who looked onto a natural environment than those who looked onto a brick wall” (Purves, 2002, p.10), suggesting that healing environments should be inclusive of green spaces. The Maggie’s Centre’s carefully consider location to incorporate purposely designed gardens and landscaping that resemble the therapeutic qualities of a Chinese garden (Jencks & Heathcote, 2010, p.29). The Maggie’s West London Centre prioritises the garden spaces to induce calmness and soften visitor’s anxieties on their journey to the centre. This illustrates the contribution of the exterior spaces and the experience of approaching a building in creating successful calming environments, as T1 (a therapist) also highlighted in an interview. Similarly, the Maggie’s Centre in Lanarkshire integrates the gardens into the interior maximising their effectiveness when inside the centre. In contrast, it appears that Piers Gough did not prioritise site for Nottingham Maggie’s Centre as MTC1 stated “the only negative comments we seem to get...is it’s up quite a steep hill and then you’ve got steps. For some people, that’s quite a difficult way to get into a centre like this” (MTC1, 2015). This implies that setting is not as influential on the success of a healing space although should arguably prioritise itself around the users needs.
 Figure. 29Maggie's Centre, Lanarkshire (2014) by Reiach and Hall |
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 Figure. 30Maggie's Centre, West London (2008) by Rogers Stirk Harbour + Partners |
 Figure. 31Maggie's Centre, West London (2008) by Rogers Stirk Harbour + Partners |
The theme of green spaces is continued in other health-giving spaces. The Paimio Sanatorium by Alvar Aalto incorporates gardens to create a sense of community yet domesticity and allows patients “sunshine” which was believed vital for well-being in the early 20th century (Mindel, 2013, online). Although responses in survey 2 suggest outdoor spaces could make Entomophobia more manageable, gardens may be inhabited with insects, which could heighten the anxiety in Entomophobia sufferers. Consequently it is questionable whether this strategy can be applied to settings treating Entomophobia.
 Figure. 32The Paimio Sanatorium, Finland (1993) by Alvar Aalto |
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 Figure. 33The Paimio Sanatorium, Finland (1993) by Alvar Aalto |
 Figure. 34The Paimio Sanatorium, Finland (1993) by Alvar Aalto |
 Figure. 35The Paimio Sanatorium, Finland (1993) by Alvar Aalto |
OPERATION
(NOTTINGHAM MAGGIE'S CENTRE)
Information packs are available for visitors (as seen below). These demonstrate the operation and support strategies that the Maggie’s Centre offer, contributing to the hybrid approach that makes them so successful. MCT1 stated, “We offer a wide range of workshops, classes, and individual sessions… we offer relaxation sessions, Yoga, Tai Chi, workshops based around nutrition. We run courses on anxiety, dealing with stress, living with stress and also courses on how people can move forward after they’ve finished all their treatments" (MCT1, 2015). This suggests the importance of further support outside of the immediate therapy sessions in the healing process.
NATURAL HISTORY MUSEUM
TRING
Lord Rothschild built Tring museum in 1892 and it became part of the Natural History Museum in 1937, housing the UK’s largest private collection of animals (Natural History Museum, online).
The space is traditional, retaining “its unique Victorian character, including its original floor-to-ceiling, glass-fronted hardwood and iron cases” (Natural History Museum, online). This approach is dated, lacking the interactivity that consumes modern day learning and the multi-sensory processes that facilitate memorable experience. Typical of the 19th Century, the setting is scientific, institutional and compact, and with lack of direction it can be overwhelming.
Similarly, NHMT1 indicated that “as the specimens are fixed rather than crawling around, this can allow people to look at the closely and not worry about where they are/how they move” (NHMT1, 2016).
None the less, in a questionnaire, a public educator at the museum (NHMT1) referenced how “public programme(s) including the schools and events offer also include insect themes such as minibeasting, classification of invertebrates, bioblitz days, big nature day, insect crafts and handling sessions including both UK and tropical species” (NHMT1, 2016), supporting the displays at the museum.
Only 13% of people in survey 1 said their fear of insects is triggered when the insect is dead, suggesting this is a suitable educational method for Entomophobia sufferers.
From the questionnaire, NHMT1 supports the role of education in treating Entomophobia but identifies that Entomophobia sufferers may negatively respond to the design strategies adopted at Tring Museum. However, the museum "is a historic museum (and) the cases and display spaces were specifically designed to house the specimens inside them and so the current space would not be changed” (NHMT1, 2016). Therefore is unlikely to be an effective tool in teaching Entomophobia sufferers.
The insect collection is limited and the museum offers no information apart form the orders and scientific names of each sample, restricting their educational value
The specimens are real, encouraging aesthetic appreciation and it is a more credible approach than if images or models had been used
Glass protects the insects and creates a comfortable safety barrier between the viewer and specimens, reducing the anxiety of those who may be fearful
This also restricts the number of people able to view the exhibit at one time
Sets of doors conceal the insect displays until opened by the visitors. The individual is faced with the unknown, fuelling their fears, as they do not feel in control
All the animal exhibits are together so the insects become lost and appear almost insignificant against larger mammals
NATURAL HISTORY MUSEUM
LONDON
The London Natural History Museum uses a more contemporary approach, yet is still out-dated. Although the museum is dramatically sized, visitors are led to smaller, approachable rooms housing the individual exhibits. While a ‘one-way’ system is encouraged, the environment is comfortable and easy to navigate.
A fun, interactive and multi-sensory experience engages visitors through a variety of displays that teach about insects from their anatomy to their societal roles
Combining real life specimens with models, images, videos and simple text, the exhibit uses a range of methods that are accessible to all ages. This balance keeps visitors interested
Artificial lighting is adopted, similarly seen in Tring museum
Artificial lighting is necessary to protect the real insects and manipulate the environment accordingly
Figure. 49
Figure. 51
Figure. 50
Figure. 52
Figure. 54
Figure. 53
Figure. 56
Figure. 55
Figure. 57
The display associates insects with the kitchen. It encroaches on the familiarity, safety and comfort connected with the home environment. Consequently the sufferer may feel fearful of returning home, increasing the severity of the phobia altogether or imposing it on somebody that was not fearful before
Figure. 58
The displays feature scaled up insects, making sufferers feel intimated and inferior
This is particularly evident at the entrance with the discouraging words ‘creepy crawlies’, potentially preventing fearful individuals from entering the exhibition
Figure. 60
Figure. 59
Although scaling-up insects will successfully educate a fearless individual, using a magnifying glass to study them is more effective in communicating with an Entomophobia sufferer
However, the implications of this could be restricting the number of people viewing the exhibit at one time, a similar problem at Tring
Less than 20% of respondents in survey 1 reported that dead insects, film and still images trigger their fear, suggesting that these approaches are similarly suitable in educating most Entomophobia sufferers.
However it has been suggested that artificial light “may be a negative influence on mood” (Stokols & Altman, 1991, p260), possibly inhibiting learning.
The above information suggests that museums successfully prioritise the educational value of their spaces, but fail to cater for those who are fearful of the subject and contents. Failing to apply the use of spatial strategies that have shown to induce a calming environment and help reduce anxiety (as seen in the Maggie’s Centre’s), the Natural History Museum adopts qualities that survey 2 suggests would make Entomophobia worse. This could be a result of spatial restrictions and retaining traditional values, however questions the ability of traditional museum spaces using education to treat Entomophobia.
'THE BUTTERFLY EFFECT'
BOMPAS AND PARR
 Figure. 63Butterfly Setting Course with A Curious Invitation |
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 Figure. 64Butterfly Setting Course with A Curious Invitation - Step 1: Hydrate the butterflies prior to setting and leave for 24-48 hours |
 Figure. 65Butterfly Setting Course with A Curious Invitation - Step 2: The Equipment |
 Figure. 66Butterfly Setting Course with A Curious Invitation - Step 3: Open the hydration envelopes |
 Figure. 67Butterfly Setting Course with A Curious Invitation - Step 4: Remove the butterflies |
 Figure. 68Butterfly Setting Course with A Curious Invitation - Step 5: Pin 2 strips of tracing paper to the top of the setting board |
 Figure. 69Butterfly Setting Course with A Curious Invitation - Step 6: Check the butterfly is hydrated by squeezing the thorax (the wings should open) |
 Figure. 70Butterfly Setting Course with A Curious Invitation - Step 7: Soften the wing joints |
 Figure. 71Butterfly Setting Course with A Curious Invitation - Step 8: Pin the butterfly to the centre of the board through the thorax |
 Figure. 72Butterfly Setting Course with A Curious Invitation - Step 9: Use the tracing paper to hold the wing in place, pinning around it |
 Figure. 73Butterfly Setting Course with A Curious Invitation - Step 10: Repeat step 9 with the other wing |
 Figure. 74Butterfly Setting Course with A Curious Invitation - Step 11: Repeat steps 3 - 10 with the remaining butterflies |
Combining educational spaces, such as “having a space where butterfly/insect conservation and entomology (and insect taxidermy) is shown side by side” (IT1, 2016) can increase awareness and make people more receptive to new information through strong support strategies. Understanding taxidermy as a whole is similarly important to alleviate misconceptions about the ethics and practice, which could prohibit the learning process and fuel misunderstandings.
The questionnaire answers from an Insect Taxidermist (IT1) support the role of education in treating Entomophobia and the ability of entomology and insect taxidermy to do this. However, as the participant did not recognise the limitations that an Entomophobia sufferer may face the responses cannot be generalised. The results highlight the importance of surrounding activity in creating a stimulating environment rather than the setting itself, which contrasts to the Maggie’s Centres.
In an additional questionnaire, another Insect Taxidermist (IT2), similarly supports the role of education but was unable to comment on its effects on Entomophobia. Therefore, the results are inconclusive when applying to Entomophobia sufferers but supports Insect Taxidermy and Entomology as general teaching methods.
The course requires participants to handle dead insects, presenting a problem, as 69% of respondents in survey 1 stated contact triggers their fear. This suggests the course would be successful in educating those who aren’t fearful of insects but would inhibit Entomophobia sufferers. Incorporating the course as part of a desensitisation process could be more effective.
INSECT TAXIDERMY AND ENTOMOLOGY COURSE
A CURIOUS INVITATION
The course educates participants about the biology of insects and how to mount them for preservation, taxonomic or artistic purposes (A Curious Invitation, 2015, online). Images, diagrams and demonstrations assist written or verbal information, making it accessible to all members of the public.
As the course requires limited equipment, it is flexible and can happen anywhere. The setting can be specifically chosen for its spatial characteristics to enhance creativity, evoke calmness and help reduce participant’s anxiety. Following the success of the Maggie’s Centre’s, it can be suggested that environments with similar qualities would be beneficial for sufferers of Entomophobia. Results from question 7 and 8 in survey 2 support this.
Directly observing the course take place in a home-like environment further reinforces this theory as despite some participants being anxious about touching the insects, nobody presented a fear of this by the end of the session. However from simple observation it is difficult to analyse what stimulated these responses.
Figure. 61
Figure. 62
POSITIVES
NEGATIVES
The exhibition focuses on butterflies’ role in pollination through the opportunity to interact with them in their natural habitat. Experiencing their environment can heighten appreciation “as it is experimental and immersive and you become part of the installation itself” (BE1, 2015).
The temperature and humidity relaxes the muscles, creating a sense of serenity but limits the time somebody can spend in there. In an interview, one of the exhibit designers (BE2) stated, “the sound effects in there are very therapeutic as well” (BE2, 2015), as the exhibition encompasses a complete multi-sensory experience.
Although the plastic screens are necessary to maintain the environmental qualities, the entrance appears surgical and could prevent somebody from even entering the space
Figure. 75
Figure. 77
There are statistics and facts around the space. Although informative these are difficult to find, hindering the learning process
In the same interview, an additional designer (BE1) stated, “there are staff on hand as well, who will reinforce those messages and tell the story vocally” however “if we (Bompas and Parr) did it again, we’d probably use fewer signs and deliver more simple messages” (BE1, 2015).
The combination of artificial and natural lighting, although functional, similarly adds to the experience captivating the audience
Figure. 76
 Figure. 78'The Butterfly Effect' by Bompas and Parr |
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 Figure. 79'The Butterfly Effect' by Bompas and Parr |
 Figure. 80'The Butterfly Effect' by Bompas and Parr |
 Figure. 81'The Butterfly Effect' by Bompas and Parr |
 Figure. 82'The Butterfly Effect' by Bompas and Parr |
 Figure. 83'The Butterfly Effect' by Bompas and Parr |
 Figure. 84'The Butterfly Effect' by Bompas and Parr |
Bompas and Parr incorporate Yoga into the experience which “makes you more relaxed and aware of yourself” (BE1, 2015), opening the mind of the visitor to be more receptive to learning. As a result they become “connected with the space and then they inevitably want to stay and read about all the butterflies” (BE2, 2015). This is similar to the relaxation classes supplied by the Maggie’s Centres to compliment the therapy sessions.
As the butterflies are alive, the visitor has no control over their behaviour. In survey 1, 235 responses stated live insects and/or contact with insects trigger their fear. Therefore the exhibition would not be appropriate for Entomophobia sufferers. As observation is a valuable tool for learning, creating a similar environment that offers the opportunity for visitors to watch live insects from behind glass could overcome this. When comparing the success of the exhibition to others insect-related educational spaces, BE1 stated, “they haven’t focused on the interaction they have on our lives. So they’re more about glorifying insects for their own sake. For example, if you go through the Natural History Museum, walk through butterfly experience, it’s great, it’s done really well and you learn about butterflies and how they reproduce and how they feed but there’s no wider implication. So, our one is designed to take that experience but deliver a more profound message” (BE1, 2015), suggesting that educational spaces can be combined, using different approaches to create a rounded experience.
The above examples suggest that insect-related educational spaces are limited in their approach towards catering for Entomophobia sufferers. All educational spaces adopt a different approach and it depends on the individual as to how well these are received. This proposes that not all spaces will be accessible by everyone, prohibiting the learning of insects and ultimate treatment of Entomophobia.
The above examples provide sufficient evidence that therapy spaces can be designed to help reduce anxiety by making sufferers feel calm, comfortable and safe. Subsequently, this positive mental state will encourage patients to communicate, engage and respond to therapy sessions more intimately, therefore enhancing their effectiveness in treating Entomophobia.
There is currently no scientific strategy for measuring how environmental stimuli can affect emotion, and therefore as many of the observations are without objective reasoning, the information can only be used to a certain degree (Purves, 2002, p.120).
 Figure. 21Maggie's Centre, Aberdeen (2013) by Snøhetta |
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 Figure. 22Maggie's Centre, Aberdeen (2013) by Snøhetta |
 Figure. 23Maggie's Centre, Fife (2006) by Zaha Hadid |
 Figure. 24Maggie's Centre, Fife (2006) by Zaha Hadid |
 Figure. 3'The Therme Vals', Switzerland (1996) |
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 Figure. 4'The Therme Vals', Switzerland (1996) |
 Figure. 5'The Therme Vals', Switzerland (1996) |
 Figure. 6'The Therme Vals', Switzerland (1996) |
 Figure. 7'The Therme Vals', Switzerland (1996) |
 Figure. 36Nottingham Maggie's Centre, Welcome Pack |  Figure. 37Nottingham Maggie's Centre, Welcome Pack |
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 Figure. 38Nottingham Maggie's Centre, Welcome Pack |  Figure. 39Nottingham Maggie's Centre, Welcome Pack |
 Figure. 40Nottingham Maggie's Centre, Welcome Pack |  Figure. 41Nottingham Maggie's Centre, Welcome Pack |
 Figure. 42Nottingham Maggie's Centre, Welcome Pack |  Figure. 43Nottingham Maggie's Centre, Welcome Pack |
 Figure. 44Nottingham Maggie's Centre, Welcome Pack |  Figure. 45Nottingham Maggie's Centre, Welcome Pack (Timetable of events) |
 Figure. 46Nottingham Maggie's Centre, Welcome Pack |  Figure. 47Nottingham Maggie's Centre, Welcome Pack (Supporting Therapy) |
 Figure. 48Nottingham Maggie's Centre, Welcome Pack (The Story of Maggie Jencks) |
