What if the indoors could mirror the calm of the outdoors? That question guided Momentum’s collaboration with Anastasija Lesjak and Martin Lesjak of 13&9 Design and physicist Dr. Richard Taylor of Fractals Research. Together, we translated nature’s stress-reducing fractal patterns into the Renaturation Collection—an award-winning NeoCon debut that redefined wellness in commercial interiors.

We interviewed the team about their backgrounds, their creative and analytical process—and why wallcoverings became the ideal canvas for bringing fractals into the built environment.

What inspired you to explore fractals through the lens of surface design?

What does the creative process look like when working as a trio—designers and a physicist (Dr. Richard Taylor of Fractals Research)—on a project like this?

Anastasija Lesjak:

Our collaboration, called ScienceDesignLab, was formed in 2018 with the mission to create science-informed fractal designs for the built environment. It’s an international exchange between the scientific team at Fractals Research in Eugene, Oregon, and our design studio at 13&9 Design in Graz, Austria.

Each pattern feels rooted in nature without being too literal. What qualities were most important to capture in Fractal Bark, Moss, and River?

Martin Lesjak:

The patterns we created for Momentum build on Prof. Taylor’s 25 years of biophilic research, with the aim of reconnecting people of all ages to the health benefits of nature’s fractal beauty.

The key to the process lies in its diverse expertise—the combination of design supervision, scientific supervision, and manufacturing supervision ensures no weak links as the designs progress to completion. As with all interdisciplinary work, creativity emerges as a phenomenon beyond the capabilities of the individual teams.

We often talk about wellness in healthcare—but what about spaces like corporate offices, schools, or even community spaces like yoga studios? Where do you envision these wallcoverings supporting well-being in everyday life?

Dr. Richard Taylor:

Our eyes are naturally stimulated by the visual complexity of fractals. Mid-complexity fractals are the most common in natural scenery, and their familiarity allows our brains to process them with ease. This “fractal fluency” places us in a visual comfort zone.

How do you determine the right scale, complexity, or visual rhythm when translating fractals into commercial patterns?

Martin Lesjak:

To generate fractal patterns for commercial use, we developed two novel techniques. 'Morphing Fractals' create new versions of natural fractal “seeds” by calibrating and morphing their characteristics, while 'Growing Fractals' use design software to “grow” entirely new fractal landscapes.

For example, the 'Growing Fractals' process begins with “fractal flights” (or “levy flights”)—movement patterns used by animals when searching for food. Much like a bird dropping seeds as it lands, the computer inserts our fractal “seed” at each location between the flights. Since the human eye also follows fractal motion, these designs create a deep psychological resonance with the observer.

Based on this research, using only nature photography would not achieve the same range of stress-reductive outcomes. It would remain decorative, rather than scientifically validated for well-being.

Much of your work is grounded in interdisciplinary thinking. How do research and intuition play together in your design process?

Anastasija Lesjak:

Our work is therefore published in many leading architectural and scientific outlets, including The Handbook of Neuroscience and Architecture (Routledge, 2025) and a special edition on biophilic design in Frontiers in Psychology.

Dr. Richard Taylor:

To create fractal patterns that perform well in the built environment, we aim for an optimal balance between design aesthetics and scientific characteristics.

For this reason, we developed computer programs flexible enough to accommodate both needs. We can select images based on their aesthetic quality, and then the program adapts them to the correct level of complexity to maximize health and well-being benefits.

Much of your work is grounded in interdisciplinary thinking. How do research and intuition play together in your design process?

Anastasija Lesjak:

Designing for wellness, including biophilic design (nature-loving), emphasizes the inherent human need to connect with nature. While the primary goal of biophilia is to bring natural elements into built environments, complementary approaches aim to maximize exposure to natural analogs where direct access is limited. Research in biophilic and multisensory design is also advancing the restoration of hearing, vision, touch, and smell.

In recent years, increased urban living and extended time indoors have had a noticeable impact on well-being. Surrounded by predominantly Euclidean spaces, we now see growing awareness of wellness-driven design. Companies, institutions, and individuals increasingly recognize its vital role in supporting health.

What was it like working with Momentum to bring these research-based designs into real-world, scalable wallcoverings?

It’s been a 25-year journey of research, shaped by collaborations with experts around the world. With Momentum, we’ve been able to transform that foundation into patterns now appearing on walls within many types of buildings.

Lastly, what’s one design element you’re each personally obsessed with right now—fractal or not?

Anastasija and Martin Lesjak:

Light and the impact of natural and artificial light on space. We are truly grateful, to be able to work and complete our recent architectural project, the FRACTAL CHAPEL at the University Hospitality in Graz, Austria. The so-called "Space of Light" is based on research in neuroscience and environmental psychology, which has been integrated into the design principles.

The interior, designed by INNOCAD architecture, incorporates biophilic design principles, including natural materials, and dynamic fractal patterns. Caused by the play of light and shadow of both, natural sunlight and artificial light. The design aims to create a calm and welcoming atmosphere that supports rest and recovery within the clinical environment.