Environmental Design Portfolio by Olga Franco

FRANCO GALERIE

ENVIRONMENTAL DESIGN PAID 1028

CONTENTS 1

READING RESPONSE: “RETHINKING THE CONTEXT AND PRACTICE OF DESIGN” BY TONY FRY

ENERGY I: STUDIES IN LIGHT AND SURFACE INTERACTION

ENERGY II: LIGHT AND SURFACE INTERACTION

ENERGY III: THERMAL COMFORT ANALYSIS

HEALTHY INTERIORS I: READING RESPONSE “UNDERSTANDING ANTIMICROBIAL INGREDIENTS IN BUILDING MATERIALS”

HEALTHY INTERIORS I: PROJECT, PRODUCT AND MATERIAL ANALYSIS

3 4 5 6

HEALTHY INTERIORS II: ACOUSTICS

SALVATORE FERRAGAMO: “SUSTAINABLE THINKING”

READING RESPONSES: “STANDARDS” “IT’S 2050 AND THIS IS HOW WE STOPPED CLIMATE CHANGE”

BIOPHILIC DESIGN: DESIGN AFTER NATURE

101

9 10

HUMAN AND ENVIRONMENTAL HEALTH AT THE CENTER OF DESIGN

109

As the world’s population rapidly expands, the need for designers’ engagement in the search for sustainable solutions and conservation becomes increasingly urgent. We now live in a designed world, and we need to develop a better understanding of how “to save the system that makes the Earth compatible with human existence and other life forms.” This portfolio is structured to present and respond to selected issues in energy, water, thermal comfort, and healthy interiors.

“TO CREATE, ONE MUST FIRST QUESTION EVERYTHING” - EILEEN GRAY

READING RESPONSE: “RETHINKING THE CONTEXT AND PRACTICE OF DESIGN” BY TONY FRY

OLGA FRANCO | SPRING 2019

Globalization

“SUSTAIN-ABILITY”

Social

Ecology Economics

WE DESIGN THE WORLD WE MAKE In his book Design Futuring: Sustainability, Ethics, and New Practices, Tony Fry urges us to envisage an alternative, sustainable, and ethical approach to design to replace the current, narrowly instrumental design practices. One of the key concepts that he proposes in this regard is “sustainability” or “Sustainment” which should be understood as “a means to secure and maintain a qualitative condition of being over time.” He presents this concept as a critique of the traditional understanding of sustainability in Brundtland Report as a means to preserve anthropocentric capitalist order. Fry insists that preserving our civilization is really possible on by focusing on “saving what we collectively depend upon” and on “changing the processes by which our lives are sustained.” In his opinion, design practices offer a crucial path to achieve this vision. Based on my experience, I agree that designers and clients are often driven only by the immediate needs of comfort, aesthetics, and budget in their approach. As a result, they are oblivious to the larger problematics of sustainability that are becoming ever more pressing. Thus, there is a definite possibility and need for change. As for the ability of political and industry leaders to effect that change while relegating the market interest to “second place,” as Fry suggests, I am skeptical. Usually, a strongly directional style of management yields poor results. However, it is hard to argue that inspirational leaders in education and industry can inspire a transformation both in their fields and the consumers’ way of thinking. How fast and wide-reaching such a transformation will be—and whether it will amount to a genuine “futural” enterprise, as Fry would wish--depends on many factors that are hard to predict.

Technology

Design Influence

Culture Political

Consumerism Community

DIAGRAM 3: RESPOND

DIAGRAM 2: DESIGN INFLUENCE

Sustain the world that capitalism depends upon

Sustain Capitalism

Design

Time Thinking

Rational Thinking

Rational Thinking Redirection

CHANGE

Fry’s Philosophy Focus on the World Around Saving Humanity

FUTURE WORKS FOR ALL DIAGRAM 4: FRY’S CONCEPT OF SUSTAINMENT (Part 3 “The Imperative and Redirection”, p. 41-46)

DIAGRAM 1: CHANGE AND DESIGN

Collaboration

Design

Rational Thinking Design Consequences

Illusion of Permanent

Ethical

RESPOND

Sociopolitical conditions

Brandtland Report Focus on Human

Source of Imaginaries

Ecological

HUMAN IMPACT ON THE ENVIRONMENT

Human Impact on the environment equals the product of Population, Affluence, and Technology. This shows how the population, affluence and technology produce an impact.

ENERGY I: STUDIES IN LIGHT AND SURFACE INTERACTION

OLGA FRANCO | SPRING 2019

DAYLIGHTING: IMAGE 1

Surface properties: coloured glass (translucent), golden onyx, veined marble, polished steel, travertine (opaque), water Light and surface interaction properties: transparency, absorption, diffuse reflection, specular reflection

As part of the 1929 International Exposition in Spain, the Barcelona Pavilion, designed by Mies van der Rohe, was the display of architecture’s modern movement to the world. Built from glass, steel and different kinds of marble, the Pavilion was conceived to accommodate the official reception presided over by King Alfonso XIII of Spain along with the German authorities. The building has become a seminal icon of modernist twentiethcentury architecture, comprising symmetry, open-plan spaces, precise proportion and minimalist design. The Pavilion was supposed to represent the new Germany: democratic, culturally progressive, and prospering. Mies wanted this building to become “an ideal zone of tranquillity” for the visitor. Since the Pavilion lacked a real exhibition space, the building itself was to become the exhibit.

STEEL

SPECULAR REFLECTION MARBLE

DIFFUSE REFLECTION

Reflectivity and translucency play crucial roles in the perception of the Barcelona Pavilion. While physically the Pavilion may be constructed of travertine, veined marble, golden onyx, steel, and tinted glass of green, and grey, what shapes the experience of the space is the reflections. The fifth material used in the Pavilion is less apparent – water. Lined with black stones at the bottom, the pools essentially become large horizontal mirrors, created a plane of symmetry throughout.

ONYX

DIFFUSE REFLECTION

COLOURED GLASS TRANSPARENCY WATER

SPECULAR REFLECTION

Daylight is used to emphasize spatial complexity, with the help of reflection. The colored glass walls form a strong , expressive element that filters daylight while reflecting the surroundings. Daylight is utilised to create an artful interplay of the shadows cast by glass walls, reflection on glass surfaces, on the natural stone walls, bare steel columns, and in a large pool of water. When moving through the pavilion, reflections overlie spatial impressions transparency and light reflections create dissimilar and shifting spatial connections. BARCELONA PAVILION | BARCELONA, SPAIN LUDWIG MIES VAN DER ROHE | 1929

14 T R A V E R T I N E DIFFUSE REFLECTION

DAYLIGHTING: IMAGE 2

Surface properties: glass (transparent), pine wood (opaque), raw steel (opaque) Light and surface interaction properties: transmittance, absorption, diffuse reflection

The Norwegian Wild Reindeer Centre Pavilion is located at Hjerkinn on the outskirts of Dovrefjell National Park, overlooking the Snøhetta mountain range. The 90m2 building is open to the public and serves as an observation pavilion for the Wild Reindeer Foundation educational programmes. A 1,5km nature path brings visitors to this spectacular site, 1200 meters above sea level.

GLASS TRANSMITTANCE

This unique natural, cultural and mythical landscape has formed the basis of the architectural idea. The building design is based on a rigid outer shell and an organic inner core. The wooden core is shaped like rock or ice that has been eroded by natural forces like wind and running water, and is placed within a rectangular frame of raw steel and glass. The south facing exterior wall and the interior create a protected and warm gathering place, while still preserving the visitor’s view of the spectacular panorama.

RAW STEEL ABSORPTION

The seating area is located in front of the window as it receives the direct, soft Nordic light through the transparent glass wall. This light is diffusely reflected by multiple surfaces (wooden structure, steel floor, suspended iron fireplace).

STEEL

IRON DIFFUSE REFLECTION

PINE WOOD DIFFUSE REFLECTION

OBSERVATION PAVILION TVERRFJELLHYTTA| HJERKINN, NORWAY SNØHETTA | 2011

DAYLIGHTING: IMAGE 3

Surface properties: glass (transparent), concrete (opaque), wood (opaque) Light and surface interaction properties: transmittance, absorption, diffuse reflection, specular reflection

GLASS SPECULAR REFLECTION REINFORCED CONCRETE DIFFUSE REFLECTION

TRANSPARENT GLASS

The Church of the Light embraces Ando’s philosophical concept of nature and architecture through the way in which light can define and create new spatial perceptions as well, if not more so, as his concrete structures. For Ando, the Church of Light is an architecture of duality – the dual nature of existence – solid/void, light/dark, stark/ serene. The coexisting differences leave the church void of any, and all, ornament creating a pure, unadorned space. The intersection of light and solid raises the occupants awareness of the spiritual and secular within themselves. The employment of simplistic materials reinforces the duality of the space; the concrete structure removes any distinction of traditional Christian motifs and aesthetic. Besides an extruded cross from the east-facing façade, the church is composed of a concrete shell; the concrete adds to the darkness of the church by creating a humble, meditative place of worship.

WOOD DIFFUSE REFLECTION

The way in which the concrete is poured and formed gives it a luminous quality when exposed to natural light. Ando’s decision to place the cross-shaped, transparent glass opening on the east façade allows for light to pour into the space throughout the early morning and into the day, which has a dematerializing effect on the interior concrete walls transforming the dark volume into an illuminated box. Here, light captures one’s attention and establishes hierarchy within the space by creating a focal point at the altar. Ando’s approach to light and concrete in the Church of the Light has a surreal effect that perceptually changes material into immaterial, dark into light, light into space.

WOOD DIFFUSE REFLECTION 18

CHURCH OF THE LIGHT| OSAKA, JAPAN TADAO ANDO | 1999

ELECTRIFIED LIGHTING: IMAGE 4

Surface properties: crystal glass (translucent), oak wood (opaque), mirror-polished stainlees steel Light and surface interaction properties: transmittance, absorption, diffuse reflection, specular reflection

Patrick Jouin and Sanjit Manku have conceived the restaurant as a space full of fantasy and wonder, providing the visitor with an immersive experience.

CRYSTAL GLASS TRANSMITTANCE

GLASS TRANSMITTANCE

OAK WOOD DIFFUSE

MOULDED PLASTER DIFFUSE REFLECTION

MIRROR SPECULAR REFLECTION

LEATHER DIFFUSE REFLECTION

STAINLESS STEEL SPECULAR REFLECTION

WOOL AND SILK CARPET DIFFUSE REFLECTION

PLASTER ABSORPTION

The designers love the idea of movement. “Dance and music are both big inspirations. Fluidity. Flow. Your eye floats freely.” The soothing winter-forest palette—white, cream, beige, pale gray, with no complicated patterns—puts guests at ease. The overall character of the project is characterized by refined simplicity and elegant authenticity. The experience begins at the entrance of the room. The visitor’s attention is drawn to the monumental polished stainless-steel domes on the floor that reflect the thousands of floating crystals of the ceiling chandelier and make the space larger. Like funhouse mirrors or fish-eye lenses, the shiny convex surfaces reflect, magnify, elongate, and bend surrounding objects. Recessed lighting is integretaed into the ceiling. By day, natural light penetrates the dining room through the large French windows.

OAK WOOD DIFFUSE REFLECTION

A striking timber alcove wraps itself around a single table where diners receive a dedicated service and benefit from greater privacy. The interior of the alcove is illuminated by LED strip lighting. The outside of the alcove is in unfinished timber, made of strips of curved oak which creates a large source of diffuse reflection . This piece gives a simple material – wood – a theatrical presence within the overall decor. Eyes are inevitably drawn to a mirror set into the wall at the far end of the room, when, come nightfall, the glass becomes transparent, revealing shelves behind. Lit from inside so that it also complements the light emanating from the screens, this cabinet of curiosities is only visible to the restaurant’s chef Alain Ducasse because in the mornings, with the lights extinguished and the doors closed, the contents are hidden behind one-way mirrored glass. ALAIN DUCASSE AT PLAZA ATHÉNÉE HOTEL | PARIS, FRANCE JOUIN MANKU DESIGN STUDIO | 2015 21 LIGHTING DESIGNER: PHILIPPE ALMON

ELECTRIFIED LIGHTING: IMAGE 5

OAK WOOD DIFFUSE

Surface properties: mirrored steel, oak wood (opaque), (opaque)

steel (opaque), venetian plaster

Light and surface interaction properties: absorption, diffuse reflection, specular reflection

OAK WOOD DIFFUSE PLASTER DIFFUSE REFLECTION

The New York Edition Hotel is a unique luxury hotel designed by Rockwell Group that invites guests to make themselves at WThe signature spiral staircase with a curved outer metal construction and light-oak paneling inside it is illuminated by LED strip lighting and spotted lights mounted into the ceiling and floor. The aesthetics of the lounge—a 30-foot-long handforged blackened-steel fireplace, Jean-Michel Frank– inspired coffee tables and chairs, Christian Liaigre floor lamps, with fabrics and leathers in soft tones— create an inviting atmosphere. It’s airy and warm.

MIRRORED STEEL LIGHTING SPECULAR REFLECTION

At night, fixtures mounted at the top between the beams illuminate the wooden structure, inducing a cozy environment. The lighting system is integrated into the architectural elements and used to draw attention to the forms rather than the lighting itself. The combination of the fire lighting and fixture selection illuminate the space with a mixture of soft, warm glow and specular reflections from the coffee table and the floor lamp achieves a rich touch and intimacy.

LIGHT OAK WOOD DIFFUSE LACQUERED TABLE SPECULAR REFLECTION

OAK WOOD AND FABRIC DIFFUSE THE NEW YORK EDITION HOTEL| NEW YORK, USA ROCKWELL GROUP | 2015

W O O L A N D S I L K22C A R P E T DIFFUSE REFLECTION

ELECTRIFIED LIGHTING: IMAGE 6

Surface properties: glass (transparent), oak wood (opaque) Light and surface interaction properties: transmittance, absorption, diffuse reflection, specular reflection

PUBLIC — the first in a new series of hotels conceived by Ian schrager, which seek to offer luxury accommodation at an affordable price. Ian Schrager avoided unnecessary furnishings in Public’s guest rooms to make the compact spaces feel more airy.

ITALIAN OAK PLATFORM BED DIFFUSE EFFECT

Guest rooms are stripped back to the essentials “like cabins on a yacht”. Schrager sticks with the essentials: a comfortable bed, high-end linens, a 50inch TV, automated blackout shades, and a well-lit bathroom with a rain showerhead. Loft guest rooms feature open plan layouts with distinct zones for sleeping, relaxing, working, and entertaining.

SHEER CURTAIN TRANSLUCENT GLASS TRANSMITTANCE

MIRROR SPECULAR REFLECTION

At the back of the room, the wooden bed structure with integral linear uplights illuminate the walls, floor, ceiling, and window. The lighting system creates a particularly radiant effect, designed to be employed during evening time. At night, the lights dim to produce a warm, comforting glow. A warm-colored lights integrated into the wooden box give an atmospheric glow to the translucent curtains. Lighting plays a crucial role in the emotional state of the hotel’s visitors to the space.

PUBLIC HOTEL| NEW YORK, USA HERZOG & DE MEURON, IAN SCHRAGER | 2017

ENERGY II: STUDIES IN LIGHT AND SURFACE INTERACTION

OLGA FRANCO | SPRING 2019

ELECTRIFIED LIGHTING: PUBLIC HOTEL

Surface properties: glass (transparent), oak wood (opaque), concrete (opaque), sheer (translucent); fur blanket, bedding (opaque) Light and surface interaction properties - transmittance, diffuse reflection, specular reflection

ITALIAN OAK PLATFORM BED DIFFUSE EFFECT

PAINTED WALLS DIFFUSE EFFECT

The ceiling, walls, and the floor of the cubeshaped bedroom structure are made of white oak in matte finish. It includes a wall-mounted TV set with a shelve underneath and a low king size bed covered with white bedding (silk) and brown fur blanket. The room’s ceiling above the bedroom cube is made of unpolished concrete slabs; the walls are painted in warm white color; and the floor is made of narrow wooden planks.

SHEER CURTAIN TRANSLUCENT GLASS TRANSMITTANCE

The guest room at the Public hotel uses electrified lighting at night. The main source of lighting in this particular room is the LED integral linear lights that run along the perimeter of the wooden structure encompassing the bedroom. The room is also illuminated by the city lights of varying intensity and colors that seep through the translucent white curtain.

MIRROR SPECULAR REFLECTION

At night time, the room’s lighting is characterized mainly by the diffuse reflection of the LED linear lights and the city lights along the room’s multiple surfaces: the cube’s wooden floor, walls and ceiling; the linen, curtains and blanket; the room’s concrete ceiling, wooden floor, painted walls, and the antique mirror enclosed in a wide and heavy gilded frame. All the artificial light sources are hidden between the cube and the surrounding walls, which further dampens the lighting. The resulting effect is to bring out the shadowing reflecting surfaces and to make the space look larger. Hiding the light source behind the edges of the cube produces the impression of a free-floating bedroom. The glass wall at the back of the room is illuminated only at the bottom. The lighting is pointed up and diffused by the sheer curtain. It illuminates softly the far side of the bed, the walls and the ceiling of the cube. Because of the diffuse lighting, there are no sharp contrast between shadows and light. The lighting arrangement (style) creates a soft, soothing and warm atmosphere that facilitates relaxation. The translucent curtain covering the window practically turns the view of the city into an impressionistic painting, out of focus painting.

WOODEN FLOOR D I F F U S E E28F F E C T

PUBLIC HOTEL| NEW YORK, USA HERZOG & DE MEURON, IAN SCHRAGER | 2017

DRAWINGS: LIGHTING STUDIES

IMAGE 1 - pencil

IMAGE 2 - pen

ENERGY III: THERMAL COMFORT ANALYSIS

OLGA FRANCO | SPRING 2019

SPACE 1: YOGA ROOM AT GYM

TIME: 9 AM ON 03.02.2019 AIR TEMPERATURE

ACTIVITY: MEDITATION

COLD

WARM

HOT HUMIDITY LEVEL

LOW

HIGH AIR SPEED

LOW

HIGH CLOTHES

ACTIVITY: YOGA

0.2 CLO

0.8 CLO

1.0 CLO

3.0 CLO ACTIVITY LEVEL IN THE ROOM

LOW

HIGH SURFACE TEMPERATURE

COLD

WARM

HOT

BEFORE

AFTER

DESCRIPTION:

In my yoga room, I felt a little bit cool and dry, to start with because I was not moving for 30 mins during meditation, and there were very few people in the room. I was wearing a sleeveless top and leggings, which didnâ&#x20AC;&#x2122;t make me warmer in these conditions. The room was closed during the meditation class; that is why there was no air circulation.

D E S C R I P T I O N : Once the yoga class started, however, the conditions changed. The room became crowded, warm and humid because we all began exercising and breathing intensely. The instructor turned on the ceiling fans, so the air circulation also increased. The rate of change between scene 1 and scene 2 was significant.

DRAWING 1.1, pencil

DRAWING 1.2, pencil

TERMAL COMFORT

SPACE 2: RALPH PUCCI SHOW ROOM

TIME: 2 PM ON 02.28.2019

AIR TEMPERATURE

ACTIVITY: OBSERVING, TAKING PICTURES

COLD

HOT HUMIDITY LEVEL

LOW

HIGH AIR SPEED

LOW

HIGH CLOTHES

0.2 CLO

0.8 CLO

1.0 CLO

3.0 CLO ACTIVITY LEVEL IN THE ROOM

LOW

HIGH SURFACE TEMPERATURE

COLD

WARM

HOT

BEFORE

AFTER

DESCRIPTION:

My second space is a furniture show room located on the 12th floor of a prewar building. Once I entered the space, I was a little cold because some of the windows were open on a cold winter day. I was not wearing my winter jacket in the room. My activity level was relatively low. Because of the open windows, the air circulation was quite considerable.

D E S C R I P T I O N : I felt more comfortable when one of the managers closed the window and when I started moving around the space more. The humidity in the room was normal.

DRAWING 2.1, pencil

DRAWING 2.2, pencil

TERMAL COMFORT

SPACE 3: MOOS & CO. OFFICE

TIME: 10 AM ON 02.26.2019 AIR TEMPERATURE

ACTIVITY: ORGANIZING FILES, UNPACKING BOXES, THEN WORKING ON A COMPUTER

COLD

HOT HUMIDITY LEVEL

LOW

HIGH AIR SPEED

LOW

HIGH CLOTHES

0.2 CLO

0.8 CLO

1.0 CLO

3.0 CLO ACTIVITY LEVEL IN THE ROOM

LOW

HIGH SURFACE TEMPERATURE

COLD

WARM

HOT

BEFORE

AFTER

DESCRIPTION:

When I came to my office in the morning, I felt very cold. The temperature outside was no higher than 38F. The office has only single glazed windows, which do not keep the cold out effectively. Therefore, the temperature inside was lower than 60F. Standing next to the window, one could feel the cold draft coming in. All the surface areas were cold.

To feel comfortable, I turned on the heater, closed the door, and pulled down the shade to reduce the draft. Also, I put my scarf on. The humidity level began to decrease once the heater was on. My activity level was high in the beginning, but it grew lower as I got comfortable and settled down to work at my desk.

DRAWING 3.1, pencil

DRAWING 3.2, pencil

TERMAL COMFORT

DESCRIPTION:

SPACE 4: THE MET MUSEUM 03.01.2019

TIME: 8.30 PM ON AIR TEMPERATURE

ACTIVITY: OBSERVATION, CONTEMPLATION

COLD

HOT HUMIDITY LEVEL

LOW

HIGH AIR SPEED

LOW

HIGH CLOTHES

0.2 CLO

0.8 CLO

1.0 CLO

3.0 CLO ACTIVITY LEVEL IN THE ROOM

LOW

HIGH SURFACE TEMPERATURE

COLD

WARM

HOT

BEFORE

AFTER

D E S C R I P T I O N : At the Robert Lehman space at the Met, I felt quite warm because the humidity level and temperature were high to preserve the tropical plants in the room. Also, I was wearing a winter coat. The air velocity was rather noticeable.

DESCRIPTION:

DRAWING 4.1, pencil

DRAWING 4.2, pencil

TERMAL COMFORT

The fountain was turned off for the night time. I had to take my jacket off to feel comfortable.

SPACE 5: DINING ROOM IN APARTMENT

TIME: 1 PM ON 02.27.2019 AIR TEMPERATURE

ACTIVITY: MEETING WITH A CLIENT

COLD

HOT HUMIDITY LEVEL

LOW

HIGH AIR SPEED

LOW

HIGH CLOTHES

0.2 CLO

0.8 CLO

1.0 CLO

3.0 CLO ACTIVITY LEVEL IN THE ROOM

LOW

HIGH SURFACE TEMPERATURE

COLD

WARM

HOT

BEFORE

AFTER

DESCRIPTION:

At our clientâ&#x20AC;&#x2122;s apartment, the air temperature was higher than normal. The humidity was also considerably high. The surfaces felt warm because of the direct sun light coming through the large windows. I was wearing a light coat that made me feel too warm in the space. I had a meeting with the client, so my activity level was low. The air circulation was normal in this very large space.

D E S C R I P T I O N : I took off my coat to feel less warm. Also, to shield the room a little from the sun, I pulled down semi-transparent shades.

DRAWING 5.1, pencil

DRAWING 5.2, pencil

TERMAL COMFORT

HEALTHY INTERIORS I READING RESPONSE: UNDERSTANDING ANTIMICROBIAL INGREDIENTS IN BUILDING MATERIALS

OLGA FRANCO | SPRING 2019

MODERNISM

HEALTHY ENVIRONMENT

Flat roof

Garden Access

Result of treatment methods for tuberculosis Therapeutic and hygienic lifestyle Expression of equlity

Terraces, Balconies

Long Chairs

Fresh Air

Sun

DIAGRAM 1: 20th CENTURY MODERNISM’S CHARACTERISTICS (“Medical History” by M. Cambell, p. 463-488)

Highly Fluorinated

Certain Metals

I have not been aware that the modernist architecture takes its inspiration from the needs of the TB patients. The main features of the movement – flat roof, terraces and balconies, long chairs, and garden access—were introduced to allow unimpeded opportunity to enjoy fresh air and to relax in reclining position. It is interesting to see that today’s designers seem to cater to the needs of an entirely different audience. By introducing an increasing range of antimicrobial additives into virtually every product, they are serving the customers who are not necessarily sick, but who are afraid of getting sick through the contact with germs. The peculiar feature of this latest revolution in design is that it is usually invisible because antimicrobials do not affect the aesthetics or texture. However, the impact of the widespread use of the antimicrobials is both profound and negligible. According to the 2017 study by Perkins + Will, antimicrobials have practically zero effect on the prevention of infectious diseases. At the same time, while helping to preserve the integrity of the materials/ objects, these substances contribute to the rise in antibiotic resistance of a growing number of bacteria. It appears that at this point, designers focus on the content rather than the form. The focus on the content is certainly important, but it should also be informed by genuine scientific studies that take into account the actual advantages and disadvantages of every component substance for the customer, environment and the product. The ultimate goal of the design process in this case should be not just a creation of a given product catering to a particular need, but an education of both the designer and the customer about the best possible approach to the task of and the need for creativity.

SIX CLASSES OF CHEMICALS

Triclosan

Some Solvents

Bisphenols + Phthalates

Formaldehyde Donors

Copper

Silver Ions

QAC

May have negative impact on human health and the environment DIAGRAM 2: SIX CLASEES OF CHEMICALS (WWW.SIXCLASSES.ORG)

DIAGRAM 3: UNDERSTANDING ANTIMICROBIAL INGREDIENTS IN BUILDING MATERIALS (PERKINS + WILL REPORT)

HEALTHY INTERIORS I: PROJECT, PRODUCT AND MATERIAL ANALYSIS

OLGA FRANCO | SPRING 2019

LIFE CYCLE

The life cycle is a core green building concept that involves consideration of the entire life of a product. It begins with extracting and reﬁning raw materials, encompasses all stages of fabrication and manufacturing, installation, use, and maintenance, extends to ﬁnal disposal, reuse, or recycling, and includes transportation and energy consumption throughout these stages. This type of thinking is sometimes called “cradle to grave,” to indicate the whole “life” of the product, or “cradle to cradle,” to emphasize recycling and reuse.

ASSEMBLY & PACKAGING

NATURAL ENVIRONMENT

DISTRIBUTION

Ozon Depletion Human Health

The life cycle is understood as a set of activities, or processes of transformation, each requiring an input of ﬂows of resources (quantities of materials, water, and energy) and generating an output of ﬂows of by-products and emissions.

PURCHASE

MAINTENANCE UP-GRADING

Smog

Ecological Toxicity

Carbon Dioxide

Criteria Air Pollutants

Environmental Performance Score

Water Intake

Methane

Global Warming

DIAGRAM 1: PRODUCT’S LIFE CYCLE PHASES

Habitat Alteration

REDUCE Use less

Fossil Fuel Depletion

RETURN Give things that you no longer use

Acidification

REUSE Remake things into something new

REPAIR Extend the life of things

Indoor Air Quality

REFILL Moving away from using single-use packaging

Eutrophication

ROT Compost what is left over

REFUSE

DIAGRAM 3: ENVIRONMENTAL IMPACTS

Don’t accept

DIAGRAM 2: 7R’S OF MATERIAL RE-THINKING

Nitrous Oxide

HEALTHY INTERIORS I ARONSON GALLERY SUSTAINING OUR SOIL, WOODS, AND SOCIETY

INSPIRATION Parsons has leased the Aronson Gallery, at 66 5th Avenue, to a local non-profit organization that raises awareness on the subject of climate change. The organization has decided to rebuild the wall, that surrounds the entrance adjacent to the public corridor.

For my project, I have decided to represent two of the many consequences of climate change: cracked soil and burnt forests. Both have long become powerful images of the environmental disasters caused by climate change. The goal of the project is to remind visitors of this concern. To recreate these images, I have built a wall installation that consists of three parts: the exterior wall, the doorway, and the interior wall. I started the project by making a rectangular sheet of clay plaster, leaving it to dry, and cracking it into a many irregular pieces. Then I connected them back together into their original places within a rectangle, and the outline of the cracks became the concept of the pattern that covers both the interior and exterior walls. The interior wall of the gallery is covered by a pattern of cracks made of pieces of clay painted in the ashy colors (grey, black, and white), and the exterior pattern is made of Accoya, charred, sustainably-sourced wood fashioned into an outline of the same cracks that resemble dry soil and burnt branches. The inner layer of the exterior wall and the doorway are covered in 3/4”-thick and 5.75”-wide planks, also made of charred Accoya. The shou-sugi-ban process (焼杉板--the art of preserving and finishing wood using fire) that originated in the 18th century Japan involves charring a wood surface to a deep charcoalblack look. The combination of the black color, texture, and pattern of the charred wood under the spotted lighting creates the dramatic effect of the installation. The black color of the charred wood and the ashy grey palette of the clay reflect the environmental theme of the installation and provide a striking aesthetic contrast with the white color of the gallery’s space.

CRACKED SOIL

BURNT FOREST

PROJECT ECOLOGIGAL DESIGN GOALS • Increase awareness of the environmental disasters caused by climate change • Engage with nature - incorporate biophilic design, drawing upon natural patterns, organic forms and elements, to allow occupants to feel a connection to nature even while indoors • Integrate celebration of place into the design to create a space where visitors can can face the current environmental challenges, appreciate their gravity, and be transformed by their haunting drama • Decrease life-cycle costs by carefully selected sustainable materials • Do no harm by using environmentally compatible, 100% recyclable and reusable, naturally renewable materials • Protect human health by specifying and purchasing safer materials The ultimate goal of the architectural concept is to create a sense and experience of well-being by affording visitors a uniquely ample, naturally well-lit space for meditation, contemplation, art exploration, and socialization.

ENVIRONMENTAL PERFORMANCE Project: • Eco-friendliness • Structural performance (charred wood - strength, fire-resistance, sustainability and overall performance) • Aesthetic performance (natural beauty) • Budget Room: • Acoustics enhancement • Thermal insulation Material (charred wood): • Structural Durability (The shou sugi ban process carbonizes the wood’s surface and creates an outer char layer that protects against rot, insects, and moisture-related decay in exterior applications) • Impact resistance (fire retardant) • Sustainability • Maintenance

MATERIALS USED FOR THE PROJECT • • •

Charred Accoya Wood burnt in the Japanese style Shou Sugi Ban Natural clay Existing concrete floor

•

Colorwood ceiling panels

DO NOT HARM ECO-FRIENDLINESS NON-TOXIC

GOALS FOR CHOSEN MATERIAL (CHARRED WOOD) Reduce waste and negative impact on the environment: wood structure requires less embodied energy, is responsible for lower air and water pollution, and has a lighter carbon footprint than other commonly used building materials such as steel and concrete. Promote creativity Promote occupant well-being: wood structures are ultimately healthier and more comfortable, improving and acoustics. • Indoor Air Quality: Wood naturally improves indoor air quality due to its hypoallergenic characteristics, from easy-to-clean surfaces to humidity moderation. • Acoustics: Wood is the material of choice for architects and designers seeking to deliver the highest-quality acoustic performance, as it is naturally sound-dampening and offers excellent noise control. • Stress Reduction: Human exposure to nature indoors, including wood, is directly linked to positive psychophysiological responses.

STRUCTURAL DURABILITY AESTHETIC PERFORMANCE

PROTECT HUMAN HEALTH CARBON FOOTPRINT

COST

TARGET AUDIENCE • • • •

Students Faculty Staff (security) Gallery and school visitors

MATERIAL (EXTERIOR WALL)

PERFORMANCE BENEFITS

MATSU: Charred Accoya wood burnt in ghe Japanese style Shou Sugi Ban Class Rating: A (ASTM E 84) Flame Spread Index: 80 Smoke Development Index: 200 Finish Specs: Burned, brushed and sealed on face only Made in USA

KEY FEATURES Accoya wood is produced from fast growing wood and manufactured using Accsys’ proprietary patented modification process from surface to core. Dimensionally stable Outstanding durability Perfect for coating Barefoot friendly Insect barrier From sustainable sources Naturally insulating Consistent quality throughout Retained strength and hardness Excellent machinability Naturally beautiful wood Non-toxic and recyclable

Created from sustainably-sourced wood, Accoya undergoes a proprietary, non-toxic acetylation process that permanently modifies the wood to the core. The result: an environmentally friendly solid wood with durability, dimensional stability and beauty that matches or exceeds even the best tropical hardwood. Accoya wood is produced using a process of wood acetylation, that converts softwoods and non-durable hardwoods into a ‘high technology wood’. The process increases the amount of ’acetyl’ molecules in wood, thereby changing its physical properties. It protects wood from rot by making it ‘inedible’ to most micro-organisms and fungi, without making it toxic. The process also reduces the wood’s tendency to swell and shrink, making it less prone to cracking. The Accoya wood production process does not compromise the wood’s strength or machinability. Furthermore, its colour does not degrade when exposed to ultraviolet light. The combination of UV resistance, dimensional stability, durability and retained strength means that Accoya wood is particularly suited to exterior applications. The woods used for Accoya are sustainably grown. Accoya® wood has been tested over prolonged periods in all types of weathering conditions – above ground, below ground and even in water – and has been proven to withstand even the toughest of external environments. Not only is its durability proven, but it has also been shown to retain its appearance, requiring much less frequent maintenance than other wood species. This gives added reassurance to the manufacturers, architects, specifiers, builders and property owners who have chosen Accoya® wood for a diverse range of projects. Accoya® wood is also being tested for additional uses by leading independent institutes worldwide.

innovation in wood This material is certified by many ecolabels including Cradle to Cradle (C2C), Declare, Forest Stewardship Councils® (FSC®), Breeam, The Future Build, Dubokeur, Green Label of the Singapore Environment Council (SEC), Nordic Ecolable, Wood Products Association Award (IWPA). According to my research, the only significant certification that Accoya misses is HPD. Nevertheless, the health impact of the material can be deduced from the descriptions of its other multiple certificates.

SUSTAINABLE CHOICE

HEALTHY INTERIORS I: MATERIALS ANNUAL CARBON ECOLABELS ARONSON GALLERY YIELD FOOTPRINT

By significantly enhancing the durability and dimensional stability of fast growing, abundantly available certified wood species, Accoya® wood [m³ / ha / year] [kg CO² eq / window frame] provides compelling environmental advantages F o r m y H e a l t h y I n t e r i o r s p r o j32e c t , I c h o s e c h a r r 300 ed wood as the over scarce slow growing hardwoods, woods main material for the exterior wall of the exhibit to represent treated with toxic chemicals, and non-renewable burnt forests (as one c o24n s e q u e n c e of c l200 imate change). carbon-intensive materials such as plastics, steel I have decided to use authentic charred wood after a long and concrete. p r o c e s s o f s e l e c t i o n . T h e a l t e r16n a t i v e s I c o n s i d e r e d100 w e r e w a l l p a p e r

and plastic tiles that would feature images of burnt wood. H o w e v e r , n e i t h e r a l t e r n a t i v e 8 s u i t e d t h e e n v i r o n0m e n t a l c o n c e p t , s t r u c t u r a l p e r f o r m a n c e g o a l s , 0 a n d t h e a e s t h e t i c s-100 o f t h e p r o j e c t . O n c e I s e t t l e d o n c h a r r e d w o o d , Radiata I d iTeak¹ s c oSpruce vere d tWestern h r e e pRedr o dAccoya® u c ePVCr s oAluminium f t hRede Scots p r o d u c t i n t h e U S A : D e l t a M i l l w o r k spine, R e S a w n T ipine m b Red e rCedarC o . , Meranti² M o n t a n a T i m b eMeranti³ r yield comparison of species inm p¹ Plantation Greenhouse gasw emissions (cradle to ² Sustainably P radvantage: o d u c t s . I e l i m i n a t e d M o n t a n aAnnual T i m b e r c o a n y r i g h t a a y b e c a u s e The Accoya® cubic meters of wood produced per grown grave) in kg CO² eq per window frame sourced t h e y c o u l d n o t p r o o f t h e c h a r ahectare c tpereyearr i s t i c s o f t h e m aintvarious e r imaterial a l alternatives w i t h p r o³ Unsustainably per sourced • Always sustainably c e r tsourced i f i c afrom t e sabundantly . I w a savailable, ready to work with either ReSawn or Delta based on often fast growing wood species the quality and certification of their charred wood products: however, • Use phase advantages: increased life span, less w e nthermal t w i t hinsulation ReSawn because, unlike Delta, they offered a larger variety maintenance, Isuperior f crecyclable harred w o ofit d with o pthe tions and sent me all the samples I requested. • Non toxic ando 100% – a perfect bio-cycle of the A C2C f t ephilosophy r reviewing the samples, I picked Matsu by ReSawn Timber • CO² negative over the full life cycle which features Charred Accoya® wood burnt in the Japanese style of Shou Sugi Ban. This award-winning material has been created after painstaking research and effort. It offers excellent durability, dimensional stability, and sustainability. Accoya® wood provides compelling environmental advantages over slowgrowing hardwoods (which are often unsustainably sourced), woods treated with toxic preservative chemicals, and non-renewable carbon-intensive materials such as plastics, steel and concrete.

© Accsys Technologies February 2017. Accoya and the Trimarque Device are registered trademarks owned by Titan Wood Limited, a wholly owned subsidiary of Accsys Technologies PLC, and may not be used or reproduced without written permission.

� The Accoya® wood patented modification process adds nothing to the wood that does not already naturally occur in it � Class 1 durability – facilitating a longer lifespan, improved carbon sequestration potential and lower lifetime material consumption versus other materials � Outstanding dimensional stability, resulting in lower maintenance frequency and therefore less coating over the lifetime of the product � Superior thermal insulation, providing energy conservation advantages when used for applications such as windows and doors � All Accoya® wood is produced from well managed sustainable sources including FSC® and other regionally certified woods � Low carbon footprint: Accoya® wood is an environmentally compatible substitute for carbon intensive materials � Environmentally compatible: 100% recyclable and reusable, naturally renewable � Rapidly renewable materials: use of abundantly available and fast-growing source species

Accoya® wood has been awarded various accreditations and ecocertifications further highlighting its unique sustainability properties.

30860007

ECOLABELS Accoya® wood is one of the very few building products to have acquired Cradle to CradleSM Certification on the elusive Gold level. Cradle to Cradle (C2C) provides a means to tangibly and credibly measure achievement in environmentallyintelligent design including the use of environmentally safe and healthy materials and instituting strategies for social responsibility.

Of the various schemes for sustainable forestry available, the Forest Stewardship Councils® (FSC®) are regarded as the leading and most comprehensive certification programs available. Both programs not only focus on benign environmental performance but also safeguard social interests for all stakeholders involved.

Future Build is a green building materials portal that helps architects, engineers and contractors confidently select and source environmentally sustainable, third party certified products. Only products that have been assessed and selected according to stringent standards and criteria set by the carbon neutral Masdar City, Abu Dhabi, are listed. Accoya® wood was rated as excellent or A.

For the South East Asian market Accoya has attained the highly regarded Green Label of the Singapore Environment Council (SEC), which was set up to promote environmental awareness in this region. The ‘Green Label’ can only be obtained by compliance with the strict eco standards specified by the SEC’s scheme and rigorous testing of the product for possible harmful content.

As one of the leading green labels in the Netherlands, Dubokeur certificates are only granted to the most environmentally friendly products within a particular application based on LCA methodology. This certification is of particular significance to the Dutch customers, unequivocally positioning Accoya® wood as an outstanding environmental choice.

Accoya® wood won the prestigious International Wood Products Association award (IWPA) for innovative excellence in April 2011 at the annual conference in New Orleans, Louisiana.

LEEDv4: MR1, MR2, MR3, MR4 I1 BREEAM: MAT 1, MAT 5

Read more on www.accoya.com/sustainability

To find out more, please visit www.accoya.com

The outstanding green credentials of Accoya®, have been officially recognised by Europe’s Nordic nations with the award of the Svanen Ecolabel. The label, renowned for its rigor and transparency is the internationally recognised ecolabel for Norway, Sweden, Denmark, Iceland and Finland and was established in 1989 by the Nordic Council of Ministers. It was developed to help consumers and companies select products that are guaranteed to have met stringent environmental standards.

Of the many green building certification schemes available worldwide, BREEAM (mainly used in Europe) and LEED (originating from USA, applied worldwide) are most widely adopted and recognised. Both are based on various building related environmental indicators including sustainable energy, -water and -material use. For the latter category the application of Accoya® can contribute to several credits in both schemes (BREEAM: MAT 1, MAT 3, LEEDv4: MR1, MR2, MR3, MR4, I1)

Accsys Technologies received the overall Dutch National Award for Sustainability Innovation, “The Columbus Egg”, and the Award for Sustainable Production Technology for Accoya® wood. These awards are granted by the Dutch Government and are designed to reward sustainability innovation within businesses operating in the Netherlands.

Accoya® has received the Declare label from the International Living Future Institute, who manage the highly acclaimed and most rigorous proven performance based standard for green buildings, the Living Building. The Declare label shows that Accoya® consists of >99,5 % of FSC certified fast growing Radiata Pine, provides no problems in the End of Life phase and is fully safe regarding ingredients, proven through the “Red List Free” statement.

innovation in wood

SUSTAINABLE CHOICE By significantly enhancing the durability and dimensional stability of fast growing, abundantly available certified wood species, Accoya® wood provides compelling environmental advantages over scarce slow growing hardwoods, woods treated with toxic chemicals, and non-renewable carbon-intensive materials such as plastics, steel and concrete.

SUSTAINABLE CHOICE

By significantly enhancing the durability and dimensional stability of fast growing, abundantly available certified wood species, Accoya® wood provides compelling environmental advantages over scarce slow growing hardwoods, woods treated with toxic chemicals, and non-renewable The Accoya® advantage: carbon-intensive materials such as plastics, steel • Always sustainably sourced from abundantly available, andoften concrete. fast growing wood species

SCS Global Services does hereby certify that an independent audit has been completed and conformity to the applicable SCS Global Services does hereby certify that an independent audit has been completed and conformity to the applicable standard(s) has been confirmed for: standard(s) has been confirmed for:

ANNUAL YIELD

CARBON Ethos Sustainable ECOLABELS Finishes, in Inc. dba Ethos reSAWN TIMBER co. Sustainable Finishes, Inc. dba reSAWN TIMBER co. innovation wood FOOTPRINT

[m³ / ha / year]

This certificate covers the trade of lumber, planks, and wood This flooring (solid covers the trade of lumber, planks, and wood flooring (solid certificate [kg CO² eq / window frame] and engineered) using the transfer system. and engineered) using the transfer system.

95 E. Old State Road, Sellersville, PA 18960, United States

ANNUAL YIELD

FSC Standard: FSC-STD-40-004 V2-1

Radiata Teak¹ pine 32

Spruce

Annual yield comparison of species in cubic meters of wood produced per 24 hectare per year

• Use phase advantages: increased life span, less maintenance, superior thermal insulation • Non toxic and 100% recyclable – a perfect fit with the bio-cycle of the C2C philosophy • CO² negative over the full life cycle

Valid from 11 September 2014 to 10 September 2019 Red Meranti²

¹ Plantation grown

Accoya®

300

-100 Spruce

Annual yield comparison of species in cubic meters of wood produced per hectare per year

considered covered by the scope of this certificate when the required FSC claim is clearly stated on sales and delivery documents, and the validity of the certificate has been verified on considered http://info.fsc.org. listthe of products thatcertificate are coveredAby scope of this when the required FSC claim is clearly stated on sales and delivery documents, and the validity of the certificate has been verified on http://info.fsc.org. A list of products that are included in the scope of this certificate may be found at http://info.fsc.org or will be provided by SCS on request. The certificate shall remain the property of SCS, and this certificate andincluded all copiesinorthe reproductions this certificate scope of thisof certificate may be found at http://info.fsc.org or will be provided by SCS on request. The certificate shall remain the property of SCS, and this certificate and all copies or reproductions of this certificate shall be returned to SCS immediately upon request. shall be returned to SCS immediately upon request.

PVC

Greenhouse gas emissions (cradle to grave) in kg CO² eq per window frame 200 in various material alternatives

100

Teak¹

Scots pine

Valid from 11 September 2014 to 10 September 2019

30860007

Radiata pine

The Accoya® advantage:

Western Red Cedar

FSC Standard: FSC-STD-40-004 V2-1

[kg CO² This eqcertificate / window frame] itself does not constitute evidence that a particular product supplied by the certificate holder is FSC-certified [or FSC Controlled Wood]. Products offered, shipped or soldThis by the certificate holder be certificate itself does can not only constitute evidence that a particular product supplied by the certificate holder is FSC-certified [or FSC Controlled Wood]. Products offered, shipped or sold by the certificate holder can only be

-100 Scots pine

FSC 100%, FSC Mix, FSC Recycled

CARBON ECOLABELS FOOTPRINT Certificate Code: SCS-COC-005058 Trademark License Code: FSC-C122513 Certificate Code: SCS-COC-005058 Trademark License Code: FSC-C122513

100

[m³ / ha / year]

The facility(s) are hereby Chain of Custody certified to sell products as:

FSC 100%, FSC Mix, FSC Recycled various accreditations and eco-

certifications further Certification highlighting The assessment has been conducted by Scientific Systems (SCS) in accordance with the rules of has the been conducted by Scientific Certification Systems (SCS) in accordance with the rules of the The assessment its unique sustainability properties. Forest Stewardship Council® A.C. (FSC). Forest Stewardship Council® A.C. (FSC).

200

The facility(s) are hereby Chain of Custody certified to sell products as:

Accoya® wood has been awarded

300

95 E. Old State Road, Sellersville, PA 18960, United States

Western Red Cedar

¹ Plantation grown

Aluminium Red Meranti³

Accoya® wood has been awarded various accreditations and ecocertifications further highlighting its unique sustainability properties.

LEEDv4: MR1, MR2, MR3, MR4 I1 BREEAM: MAT 1, MAT 5

² Sustainably sourced ³ Unsustainably sourced

Read more on www.accoya.com/sustainability

30860007

Red Meranti²

Accoya®

PVC

Greenhouse gas emissions (cradle to grave) in kg CO² eq per window frame in various material alternatives

Aluminium Red Meranti³

To find out more, please visit ² Sustainably sourced www.accoya.com ³ Unsustainably

Robert J. Hrubes, Ph.D., Executive Vice President

SCS Global Services 2000 Powell Street, Ste. 600, Emeryville, CA 94608 USA

Printed: 26 Sep, 2014

LEEDv4: MR1, MR2, MR3, MR4 I1 BREEAM: MAT 1, MAT 5

sourced

• Always sustainably sourced from abundantly available, often fast growing wood species • Use phase advantages: increased life span, less maintenance, superior thermal insulation • Technologies Non toxic and recyclable perfect fitowned with the © Accsys February 2017.100% Accoya and the Trimarque Device – area registered trademarks by Titan Wood Limited, a wholly owned subsidiary of Accsys Technologies PLC, and may not be used or reproduced without written permission. bio-cycle of the C2C philosophy • CO² negative over the full life cycle

Read more on www.accoya.com/sustainability

To find out more, please visit www.accoya.com

ENVIRONMENTAL ASSESSMENT

As outlined in the various sections, in every stage of the life cycle Accoya’s sustainably sourced timber provides compelling environmental advantages. The environmental performance of Accoya® is thoroughly tested and published following uncompromising leading independent international methodologies such as Life Cycle Analysis (LCA following ISO 14040/44) and Environmental Product Declarations (EPD following ISO 14025 and EN 15804). Besides this Accoya acquired the most respected ecolabels worldwide.

GREENHOUSE GAS EMISSIONS

Carbon footprint – cradle to gate

In a carbon footprint assessment, the greenhouse gas emissions (GHG) during the life cycle of a material can be measured, and compared to alternative products in terms of kg CO2 equivalent (CO2e). A carbon footprint assessment was executed for Accoya® wood by Verco in line with the World Business Council for Sustainable Development and World Resources Institute’s Greenhouse Gas Reporting Protocol best practice guidelines, based on a cradle to gate scenario, thus until the factory gate. This includes sourcing, harvesting and processing of the input lumber, as well as all energy and raw material consumption and waste production in the acetylation plant of Accsys Technologies in Arnhem, the Netherlands. The results are shown in the graph below.

Carbon footprint – cradle to grave

The figure below shows the greenhouse gas emissions per m3 of Accoya® wood from the Verco report, translated into real life application of a window frame by Delft University of Technology, in order to account for the use-phase aspects such as material use, durability, carbon sequestration (following PAS 2050 guidelines), maintenance and recycling scenarios. The results show that Accoya® scores significantly better than metals (aluminium), plastics (PVC), and unsustainably sourced hardwood and is on par with sustainably sourced (certified) hardwood. In case locally sourced sustainable lumber is used to produce Accoya, it is the best choice from environmental point of view, not yet including the better performance characteristics such as the improved dimensional stability and UV resistance. Interestingly, because of the limited emissions during production, carbon credits that can be ‘earned’ through i) temporary carbon storage during use (especially in case of a long lifespan) and ii) incineration for electricity in the End of Life phase, all sustainably sourced wood alternatives, including Accoya, are CO2 negative over the full life cycle. It should be noted that the annual yield of renewable materials is not included in the carbon footprint, which, as detailed before, provides an important additional environmental advantage to wood, and in particular for Accoya based on Radiata Pine, over non renewable materials.

GREENHOUSE GAS EMISSIONS (cradle to grave)

Life Cycle Assessment (LCA) and Environmental Product Declaration (EPD)

Besides the carbon footprint, Life Cycle Assessment (LCA) according to ISO 14040/44 and Environmental Product Declaration (EPD) according to ISO 14025 / EN 15804 are two other commonly used methodologies to assess the environmental impact of a product. Besides the Global Warming Potential (GWP), which is basically a carbon footprint, LCA and EPD also include environmental effects such as acidification, eutrophication, smog, dust, biodiversity, toxicity, depletion, land-use and waste. Although more difficult to overview than the single indicator carbon footprint, the LCA and EPD provide similar results as the carbon footprint. For details refer to the resources below.

MATERIAL PROPERTIES

FLAME SPREAD TEST AND SMOKE DEVELOPED TEST SWRI

DURABILITY COMPARISON

All Accoya is produced from well managed, sustainable sources, including FSC, PEFC and other regionally certified woods.

DIMENSIONAL STABILITY TEST WHAT IS ACCOYA?

PRODUCTION PHASE Made from legally harvested wood from well managed sustainable sources including FSC, PEFC and other regionally certified woods. Only abundantly available, and often fast growing source species such as Radiata Pine, are used to create Accoya, safeguarding a consistent supply and preventing deforestation of tropical forests. The Accoya® wood manufacturing process is non-toxic and adds nothing to the wood that does not already naturally occur in it. The Accoya® production facility meets highest requirements with respect to health, safety and the environment as recognized by several ISO 14000-based certifications.

USE PHASE Enhanced durability, facilitating a longer lifespan, improved carbon sequestration potential and lower lifetime material consumption versus other materials. Proven quality: Accoya® has acquired several quality certifications (e.g. KOMO, RAL, BBA, WDMA, etc) and is warranted against fungal decay for at least 50 years above ground and 25 years in ground Outstanding dimensional stability and improved hardness results in lower maintenance frequency (lower costs) and therefore less coating use and waste over the product’s lifetime. Superior thermal insulation, which provides energy conservation advantages when used in applications such as window frames and doors.

WASTE WOOD & END OF LIFE CONSIDERATIONS Accoya® wood waste can be handled in the same way as untreated wood. Accoya® wood is non-toxic and does not require any special disposal considerations. Given its long life, multiple applications and non-toxicity, Accoya® wood is suited to re-use and recycling. It is recommended to integrate Accoya® wood’s performance into the overall design strategy of a product and apply an appropiate maintenance interval for Accoya® wood for the intented application and life time requirements. Accoya® wood is fully reusable and recyclable. Reuse is recommended but Accoya® may be safely incinerated for bio-energy or composted to close the loop of the carbon cycle. In the Cradle to Cradle® philosophy, for which it holds the prestiguous Gold-level certification, Accoya® wood is understood to be non-toxic and 100% biodegradable. Byproducts of the production process are reused, recycled or sold for reuse by others including the food industry (the Accsys acetylation plant is even halal and kosher approved). Waste wood from construction projects gets high quality second life as input material for Tricoya, thus even increasing the carbon sink effect of wood.

HEALTHY INTERIORS II: ACOUSTICS

OLGA FRANCO | SPRING 2019

HEALTHY INTERIORS II: ACOUSTICS ARONSON GALLERY ABSORPTION

O n e of m y g oa ls f or t he H e a lt h y I nt erio rs p ro jec t is t o dec rea se t he n o is e l evel s in t he A r ons on Ga lle r y and t he P a rso ns ent ra nc e ha ll b y inst a lling a spe c ia l wa ll e x hib it b e t we e n t hem. The ma t eria ls o f t he ex hib it -- t h e cha r r e d w o o d a n d c l a y â&#x20AC;&#x201C; a r e bo t h go o d a t dam pe n in g/ abs o rbin g s o u n d. Th e re f or e , t he c hoic e of t he s e ma t eria ls, fo r s o u n d abs o rpt io n , is o b v io u s. Th e n o is e r e d u c t ion is a n is s u e f o r b o t h sp a c es o f t his p ro jec t . The ent ra nc e h al l wit h it p os it ion b e t we e n t he b u sy c it y st reet (5 Av enu e) a nd t he i n te ri or of a b u s y s c hool c r e a t es a c o nsidera b ly high lev el o f no ise t ha t sh o u l d b e d a m p e ne d f or t he c o mfo rt o f t he t ho se w ho u se t he sp a c e. F u rt h er m or e , k e e p ing t he A r onso n Ga llery q u it e is ev en higher p rio rit y gi ve n t he ne c e s s it y of c onc e nt ra t io n a nd c o nt emp la t io n in t ha t sp a c e. Co n seq u e nt ly, ins t a lling a w o o d- an d- c lay w all p a nels b et w een t w o spac e s c ont r ib ut e s t o im p r ov ing t heir ac o u s t ic qu alit y. To inc rea se no ise re du c t ion ins id e t he g a lle r y, I w o u ld lik e t o inc o rp o ra t e sp ec ia liz ed, w o o d a nd f ib e r Co l o r w o o d c e ilin g pan e ls t o inc rea se t he a c o u st ic i m prov e m e nt p r op e r t ie s of t he w a ll ma t eria ls, a nd p la c e so me a rt o bj e c t s m a d e of y a r n a nd fu rnit u re ma de o f p o ro u s s an ds t o n e . In m y p r oj e c t , t he c onc r e t e flo o r t iles w ill rema in u nc ha nged. Tho u gh th e y p os s e s s r e la t iv e ly hig h lev els o f a c o u st ic reflec t iv it y, t his p ro p ert y w i l l b e c om p e ns a t e d b y t he w ide ra nge o f s o u n d abs o rbin g m at e rials o f my ins t a lla t ion. T he wind ow s o f t he Aro nso nâ&#x20AC;&#x2122; s ga llery sp a c e w ill b e c o ve r e d b y f a b r ic s ha d e s t o de c re as e t h e ac o u s t ic re f le c t ivit y o f gla ss.

Reflection

Absorption

Most of sound is reflected which is almost as loud as incoming sound

Absorbing power is determined by material used

Diffusion

REFLECTION

Aronson Gallery (exterior wall) | Entrance Hall Charred wood Accoya wall installation, existing concrete floor

DIFFUSION Aronson Gallery (interior wall) Dry porous clay wall

Scatters sound depending on desired effect

DIAGRAM 1: REFLECTION OF SOUND

Aronson Gallery (exterior wall): Elevation 1

MATERIALS

Furniture Window treatment Art objects

Interior

MATSU: Exterior wall of the gallery Company: reSawn Timber Co.

Charred Accoya wood burnt in the Japanese style Shou Sugi Ban Class Rating: A (ASTM E 84) Flame Spread Index: 80 Smoke Development Index: 200 Finish Specs: Burned, brushed and sealed on face only

Exterior

Made in USA

Aronson Gallery: Plan

Interior

Exterior

Interior

Exterior

Interior

Charred Wood Planks (Doorway) Interior

Exterior

Dry porous clay: interior wall of the gallery

G l a s s D o oCr h a r r e d W o o d P l a n k s (Doorway) Section A Scale 1/2”= 1’0” Glass Door

Section A

Section A Charred Wood Plank Dimensions: 3 / 4 ” t h i c k XS c5a-l3e/ 41”/ 2w” =i d1e ’ 0 X ” 8-16’ random lengths

t i otn i B S See cc on B Scale 1/2”= 1’0”

Charred Wood Plan Dimensions: S e cn t id on o B m lengths 3 /C4h a”r r etd hWioc wide x 8’ 16” ra o d kP l axn k 5 D i’m e3 n s/ i o4 n s” : 3/4” thick X 5-3/4” wide X 8-16’ random lengths

Colorwood ceiling panels Company: RobinReigi COLORWOOD interior panels are a costeffective, sustainable, durable acoustical panel. These eco-friendly woodfiber panels not only liven up a room with design variety, but they also reduce echo and reverberation by sound absorption. Coloring is consistent throughout, can be customized and is paintable. Size: 23.75” X 95.75″ Color: white Customization: custom shapes Fire rating: class a Nrc rating: 4.5 Material: wood, fiber, cement Sustainability: low voc Maintenance: paintable Installation: ceiling mount as a surface finish, mechanically fastened

Waterfall shades Company: Store

woven

wood

The

Shade

Material: Saltaire-1 Price Group A Max Shade Size 117” W x 144” L Composition 100% Natural Materials: Bamboo + Grass Made from low-impact, eco-friendly materials. USA Provides additional heat loss protection

placed

Crochet Coral Reef: Toxic Seas Artists: Margaret and Christine focuses on climate change and ocean health mixing crocheted yarn with plastic trash, the work fuses mathematics, marine biology, feminist art practices, and craft to produce large-scale coralline landscapes

Furniture upholstery Olive Green Leather Company: Moore & Giles Furniture Artist: Najla El Zein Seduction, Pair 01, 2018 Porous Niwala sandstone 29 x 67 x 74.5 inches 74 x 170 x 189 cm Edition of 5 The primary factor affecting the velocity of sound in porous media is porosity.

Scale 1/2”= 1’0”

Art objects gallery

Produced with olive leaf extract 100 % Natural Cradle to Cradle certified Gold Platinum Material Health Rating Completely b i o d e g r a d a b l e ISO 14855-1 uses a true natural byproduct to tan the leather - requires less water and energy to produce

SALVATORE FERRAGAMO: “SUSTAINABLE THINKING”

OLGA FRANCO | SPRING 2019

SALVATORE FERRAGAMO PROTECTING THE ENVIRONMENT I have visited the “Sustainable Thinking” exhibition that showcased the socially relevant theme of sustainability. It afforded numerous insights into founder Salvatore Ferragamo’s innovative works and research in natural and recycled materials and some of the most recent experiments carried out in the field of sustainable design. The designers created special garments for the exhibition representative of the sustainable principles at the core of their designs. Some designers recycled plastic bottles to create sweatshirts or sportswear pieces, others have retrieved fishing nets from the sea to create high-performance techno fabrics, or crafted vegetable faux leathers using waste from the production of wine, from apples or pineapple harvesting. The exhibition “Sustainable Thinking” was staged at the Salvatore Ferragamo Museum, located in the 13th-century Palazzo Spini Feroni in Florence.

“Sustainability” defines the human capacity to meet “the needs of the present generation without compromising the ability of future generations to meet their own needs”. It is a challenge that is not limited to production methods but also implies a greater focus on the environment overall. Equilibrium must be restored, beginning with a more aware and shared way of thinking that is capable of engendering new strategies of development and co-existence. The aim of the “Sustainable Thinking” project is to make people reflect on these themes through visions of art and fashion. Numerous artists are looking at sustainability, some focusing on recovering our relationship with nature, the use of organic materials, the need for a creative re-use of materials or relations between nature and technology, while others are looking at the importance of a collective commitment to refounding society overall. The fashion industry, for its part, embarked upon the path towards sustainability some years ago, not just through a new generation of designers but also through innovative approaches adopted by luxury brands with a consolidated market presence, using new high-performance ecological materials and optimizing production processes. The exhibition provides an opportunity for artists, fashion designers, textile and yarn manufacturers to offer a plurality of gazes inspiring new projects capable of using new technologies rather than submitting to them, of adopting a global approach, and of safeguarding our ecosystem.

In addition to focusing on Ferragamo sustainability, the exhibition inspired me to reflect on the vital concern of environmentalism as I contemplated the works of international artists and designers which featured a mindful relationship with nature and its deep connection with technique, the use of organic materials and creative recycling.

BACK TO NATURE The search for non-oil-based resources has brought natural fibers back into the spotlight along with the rediscovery of natural dyes and ancient systems of cultivation and artisanal processing that we thought had been lost for ever, as in the case of hemp, nettle, and native wools. The “return to nature” concept doesn’t not imply a denial of progress but the awareness that unless technology engages in a new alliance with nature would end in destruction and self destruction.

INNOVATION The new generation of cutting-edge materials and technologies is the result of a vision combining innovation, responsibility, nature, and creativity: polyamide yarns that decompose in just five years: raw materilas made from apple skins or waste from industrial orange juicing or grape processing; fibers manufactured by powdering crustacean shells, processing pineapple leaves, or fermenting sugars.

TRANSFORMATION GREEN MUSEUM The Salvatore Ferragamo Museum is Italy’s first Green corporate museum, as it has taken part in the Museimpresa Green initiative, promoted by Confindustria, Federturismo, and Museimpresa with the aim to create the first network in the world of sustainable company museums . The Salvatore Ferragamo Museum has reported the CO2 emissions generated by its activities, and has obtained the international standard ISO 14064 becoming the leading museum of this important initiative created to spread the culture of sustainability in Italy.

Transformed fibers are made from secondary raw materials, which are leftovers from industrial processes or post-consumer waste. The first group comprises ECOTEC® recycled cotton yarns and the Re.Verso™ yarns made from luxury wool clippings, while the second includes Newlife™ fabric made from 100% post-consumption platic bottles. Materials that reaching the end of their life can be transformed into high-quality products through the use of advanced technologies. This is the fundamental concept underlying Circular Economy. The garments and accessories on show are created following this philosophy.

SOCIAL INNOVATION

The Museo Salvatore Ferragamo’s exhibition “Sustainable Thinking” obtains the ISO 20121 certification, which specifies requirements for an event sustainability management system. Among the objectives of the management system there is the desire to share, in its entirety, the sustainability path of Salvatore Ferragamo Company; thus, particular attention is given to the design and to the construction phases, to the choice of local suppliers, to the integration of the concepts of environmental sustainability, recovery, and reuse.

Body, environment, habits, and social behaviours are the “raw material” that the artists use for their projects, which combine sculpture, videos, installations, fashion, painting, and performance art as parts of a line of research and innovation always underpinned by a dialogue between ethics and aesthetics. A response to a society that is no longer capable of safeguarding the individual, the “wearable objects” selected for the exhibition are designed to protect human bodies and help them self-sustain while focusing on the relationship between those in need and those offering help.

MATERIAL SELECTION

MUSEUM ARTWORK AND ARTIFACTS

KAPOK 100 % plant fibre obtained by fruits of a tree belonging to the genus Bombax. Yarn produced by FLOCUS

NATURAL DYES The advantage of natural dyes is that they are produced used healthy natural raw materials that do not consume fossil resources

RE.VERSO™ Wool and cashmere fabric and yarn made from regenerated dyed pre-consumer scraps.

GREEN FIBERS RECYCLED SILK Silk yarn originated from manufacturing waste

ECOTEC® Smart cotton fibre that is made in Italy with a production process capable of reducing water consumption by up to 77.9%, CO2 emissions by up to 56.3%, energy consumption by up to 56.6%

REGENERATED LEATHER Made from leather scraps and swarf results of mechanical and chemical industrial process.

NEWLIFE™ New-generation yarn made from post-consumer plastic bottles.

Museum, Entrance Hall

SUGHERO CORK Natural material consisting the bark from the cork oak.

SALVATORE FERRAGAMO Rainbow Future, 2018 Hand made sandal in organic cotton, wooden heel and platform in layers covered in the same material Certification ISO 14067 Certification GOTS - Global Organic Textile Standard

PAOLA ANZICHÉ Pensiero naturale, 2018 Site-specific installation c omp r i s i n g s e ve n suspended s c u l p tu r e s ma d e f r om or ga n i c c otton , c or k , l i n e n c or d , p a p e r r op e , r a w w ool , s i l k f i b r e , n a tu r a l raffia, w ove n wheat s te ms , w ool f e l t, p i n e a p p l e - l e a f f i b r e , b a n a n a - l e a f f i b r e , ju te f i b r e , l i n e , and sisal

ROMINA CARDILLO POUR NOUS ETUDIONS La biomìmesis, 2018 Man’s suit made from kombucha, a textile made from black tea, sugar, and microorganisms that ferment to create cellulose, and 100% recycled cotton

EL ANATSUI Energy Spill, 2010 Aluminium wire, copper and bottle tops

SHEILA HICKS Satellite Interplanétaire, 2016 Coloured wool fibre on round panel

ANNA FISCALE Progetto Quid Mosaico bodice, 2018 The gown is made from pieces of faux leather, furnishing canvas, gabardine, silk and other fabrics.

MARIA SOLE FERRAGAMO Artemisia, 2018 Long dress made from waste leather from Salvatore Ferragamo

MATS ROMBAUT Rombaut Piñatex Cowboy Sneakers, 2018 Boots with silver-coated Piñatex upper and rubber sole

wire,

SALVATORE FERRAGAMO by PAUL ANDREW, Evening dress, 2018 PerPETual jersey fabric obtained from plastic bottles transformed into yarn by means of a patented polymerization process.

READING RESPONSES: “STANDARDS” “IT’S 2050 AND THIS IS HOW WE STOPPED CLIMATE CHANGE”

OLGA FRANCO | SPRING 2019

COMMUNITIES OF PRACTICE: A FUTURE CITY FOR ALL There are a few communities whose practices I would like support â&#x20AC;&#x201C; namely, cyclists, vegans, artists, and the blind. As a city dweller, I am fascinated with cycling, which is an environmentally friendly and, fast, healthy and fun practice. I would like to support this practice as a designer by increasing its safety in urban environment. In particular, I would be interested in growing the network (infrastructure) of dedicated, fully separate, bike lanes and maintenance stations. From the sustainability point of view, it will lead to a decrease in carbon emissions and in health problems related to sedentary lifestyle. I think cycling will be play a large role in the zero-emission transportation of the future. Another practice that I am intrigued by is vegetarianism, especially in big cities like New York. I understand the benefits of having reliable access to a good variety of fresh and locally grown fruits, vegetables, and herbs. As a designer, I would be interested in developing various solutions for integrating gardening and farming infrastructure into commercial and residential real estate (for instance, rooftop and community gardens). Interspersed green spaces (sky gardens) would promote natural airflow in buildings while providing shade and social areas. The community that requires our particular attention are the disabled, who need a lot of special accommodation for their mobility, orientation, visibility, and social interaction. I certainly support the development of special features that would improve the accessibility and safety of our public spaces for this community (elevators at subway stations, train stations, audio assistance at intersections, grocery stores, governmental buildings, cafes, parks). Future cities are giving all residents unfettered access to goods and services. One more community that I feel a special affinity for are artists. They also need special accommodations for their pursuits, which they often lack due to the expensive life in urban communities. I am interested in creating initiatives that would integrate various artistic activities and the development of public spaces and commercial and residentials real estate. I would particularly support the creation of environmentally sustainable artwork (sourced from recycled materials) for public spaces and as concepts for various businesses and for education of the community about socially important issues.

THE FUTURE OF INTERIOR DESIGN By 2050, the population of the world will increase to 9 billion people, affecting especially the urban centers. This means that the interior spaces for individual use will necessarily decrease in size while the amount of interior spaces in general may increase because of the rising population and climate change. The use of interior spaces will become predominantly mixed and shared. They will be made adjustable to the needs of all the users. Office spaces, for example, will be communal or individual based on the tasks at hand. Retractable panels can transform offices into smaller or larger spaces on demand to cater to professional, recreational, and environmental needs. Employees will work, study, eat, sleep, and exercise in the same environmentally controlled space (with optimized temperature, lighting, acoustics, humidity). The outlook of the interior will become highly flexible (fluid modular interiors) in all its features including color scheme, geometry, texture, and furnishings. An office space could turn into a banquet hall or a basketball court or a chapel. The challenge for the interior designers will be to find efficient transformative solutions. The physical transformability of the interior spaces will be augmented by the use of virtual reality (which will make remote or inaccessible spaces available to the viewer). By 2050 the effect of climate change will probably make the environmental disasters frequent. Therefore, the materials of the buildings will need to become resilient and sustainable. The buildings will be constructed more efficiently and will include technology that can improve the quality of natural resources (solar walls and windows). Everything will be dominated by the principle of energy, water, and air conservation. The main source of energy will be windand solar electricity. The majority of water supply will be recycled. Each building will eventually become self-contained. With fewer cars outside and more plants inside, air quality will be improved and airborne particulates will be reduced. Residents will have healthier lives with more streamlined access to nature, services, and automated technology. No one knows what the rate, or the exact details, of these changes will be, but they will certainly tend towards sustainability, transformability, adaptability, smart technology, and ecological design (including well-being, biophilic design).

In future cities effective transportation will play a key role. For the health and well-being of citizens walking and cycling between their homes, workplaces, shops and other locations is already being encouraged. Looking at the city as a human habitat, urban planners are working to create and sustain a more robust urban environment, one that incorporates efficient public transit, walkable neighborhoods, parks, and other amenities that invite outdoor activity and recreation.

By 2050, the world’s population is expected to reach 9 billion, with 75 percent of us living in cities. A major shift and change in habits, customs and adaptation to an uncertain future will be required from all citizens, and without a consensus of all, the vision of a 2050 sustainable and resilient urban world will not be possible.

To enhance flexibility, some spaces can be designated as “quite zones” or “tech-free zones”, while others can be set aside for small group conversations. There is a need to “layer in spaces” that support all work modes and are equipped with seamless technology that enables workers to fluidly move from space to space.

The human body is built to move. It follows that the human-centered workplace should provide people with the opportunity for physical activity; with a choice among working postures as well as workspaces. World experts are working together to develop ways to promote indoor movement and to assess building potential for activity generation.

Ideally, our cities are safe, pedestrian and bicycle-friendly places with a range of mixed-use commercial area and plenty of green spaces and fresh air. “While sustainability have become basic tenets of good design, more can be done to design buildings and work environments with positive impacts on health and well-being: promote movement, minimize disruption and incorportae or evoke nature. As the world continues to urbanize and more people work longer hours indoors, often at a computer, it becomes ever more important to employ design to reduce stress, enhance creativity and improve mental and physical health. We need design that connects us with nature, that supports our biological need to move and our emotional need to occasionally withdraw to think or rest as much as we need the means to draw people together and connect their working thoughts and ideas.”

A FU TU RE CITY FO R ALL

BUILDING A HEALTHY CITY - FLEXIBLE BUILDINGS AND INTERIORS - HIGH DENSITY - MIXED AND SHARED - ADAPTABILITY AND TRANSFORMABILITY - SMART HOMES - AUGMENTED & VIRTUAL REALITY - ACCESSIBILITY AND SAFETY - RESILIENT AND SUSTAINABLE MATERIALS - ADVANCED TECHNOLOGY - CLEAN ENERGY - SOLAR WALLS AND WINDOWS - SKY GARDENS (ORGANIC FARMING) - RECYCLING AND REUSE - HISTORICAL HERITAGE AND CELEBRATED

- DRONE COMMUTING “ALWAYS DESIGN A THING BY CONSIDERING IT IN ITS NEXT LARGER CONTEXT -- A CHAIR IN A ROOM, A ROOM IN A HOUSE, A HOUSE IN AN ENVIRONMENT, AN ENVIRONMENT IN A CITY PLAN”

-ELIEL SAARINEN, ARCHITECT

- GREEN STREETS (NO CARS) - HEALTHY LIFESTYLE

PRESERVED

BIOPHILIC DESIGN : DESIGN AFTER NATURE

OLGA FRANCO | SPRING 2019

BIOPHILIC DESIGN WHAT IS BIOPHILIA? The biophilia hypothesis, introduced by Edward O. Wilson in his 1984 book “Biophilia”, is defined as “the urge to affiliate with other forms of life”. Biophilia is humankind’s innate biological connection with nature. In the face of contemporary concerns for individual and public health and wellbeing – most typically occupational stress, cognitive performance, and mental health – design strategies that embrace qualities from nature have emerged as a legitimate means to enhance the human experience of the built environment.

WHAT IS BIOPHILIC DESIGN?

•

reduce stress

improves cognitive function

•

improves our well-being

•

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improves creativity

expedite healing

Biophilic design is the incorporation of nature, or elements mimicking nature, into the design of spaces. A primary concern in urban areas, many spaces offer vast amounts of natural light however offer very little, or no elements of nature. By consciously including nature in interior or architectural design, we are unconsciously reconnecting, bringing the great outdoors into our constructed world.

WHAT ARE THE BENEFITS OF BIOPHILIC DESIGN IN THE WORKPLACE? Research into the benefits of biophilic design has gone a long way to explaining the various health benefits associated with bringing nature indoors. Environment psychologist Stephen Kaplan says that nature powerfully engages the mind with “involuntary fascination” which helps restore attention and focus. In addition, people with a view of natural elements, such as trees, water or countryside, report greater levels of wellbeing than those looking over more urban settings, according to the Human Spaces Report. There is a direct correlation between clever work space design and improved employee wellbeing and performance. Even simple changes to incorporate nature in the workplace can have a huge impact on how employees feel when they come to work, and how happy, creative and productive they feel when they are working.

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GET INSPIRED BY BIOPHILIC DESIGN Biophilic design is incorporating nature into our built environment and designing inspirational and restorative places that connect humans to their surroundings. Not every space can be designed to incorporate all the principles of biophilic design, but there are often many contributory elements that will collectively enhance the interior and the well-being of those within it. It’s more than just the addition of a potted plant or two. Natural light, vegetation, living walls, natural textures and materials and nature views will provide a positive impact. Terrapin Bright Green has broken it down into 14 Patterns of Biophilic Design. Interface explores the power of biophilic inspired designs through product collections that directly mimic natural surfaces and textures. Biophilic design affects the way we feel, work and create. Design that connects us to nature is proven to inspire us, boost our productivity and even contribute to a stronger sense of well-being.

PRINCIPLES OF BIOPHILIC DESIGN •

Environmental features Using well-recognized natural world characteristics

•

Natural shapes and forms Resisting straight lines and right angles

•

Natural patterns and processes Varying the sensory experience with transitions and complimentary

contrasts •

Light and space

•

Place-based relationships

Use light and space to evoke desired human reaction Designing

with

cultural,

spiritual,

ecologival,

historical

relationships in mind •

Evolved human-nature relationships Designing to maintain strong reactions/connections to our deep

history with nature

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BIOPHILIC DESIGN PATTENS AND BIOLOGICAL RESPONSES

HOW CAN BIOPHILIC DESIGN BE INTEGRATED INTO THE MODERN WORKPLACE?

The table illustrates the functions of each of the 14 Patterns in

There are many ways biophilic design can be incorporated into the workplace, with an array of options that are both obvious, such as greenery and materials, and less obvious, like textures and colors.

supporting stress reduction, cognitive performance, emotion and mood enhancement and the human body.

Plants are a good starting place for bringing nature into the office. Living walls, potted plants and trees are some of the most common examples. Elements of water can also be considered, as well as increased natural sunlight.

14 PATTERNS

Material choice can also be key. Use of natural wood, colors, incorporating botanical or animal motifs can all be beneficial. Using new products designed to mimic nature can also provide the stimulation humans need to benefit from biophilic design.

NATURE-DESIGN RELATIONSHIPS

nature in a space or place. This includes plant life, water natural elements. The strongest experiences are achieved through the creation of meaningful, direct connections with these natural elements, particularly through diversity, movement and multi-sensory interactions. Addresses

organic,

non-living

and

indirect

evocations

of nature. Objects, materials, colors, shapes, sequences and

NATURAL ANALOGUES

patterns

found

nature,

manifest

artwork,

ornamentation, furniture, décor, and textiles in the built environment. The strongest Natural Analogue experiences are

achieved

providing

information

richness

organized and sometimes evolving manner.

Lowered blood pressure and heart rate

Improved mental engagement

Positively impacted attitude and overall happiness

Non-Visual Connection with Nature

Reduced systolic blood pressure and stress hormones

Positively impacted cognitive performance

Perceived improvements in mental health and tranquility

Non-Rhythmic Sensory Stimuli

Positively impacted heart rate, systolic blood pressure and sympathetic nervous system activity

Observed and quantiﬁed behavioral measures of attention and exploration

Thermal & Airﬂow Variability

Positively impacted comfort, well-being and productivity

Positively impacted concentration

Presence of Water

Reduced stress, increased feelings of tranquility, lower heart rate and blood pressure

Improved concentration and Observed preferences and memory restoration positive emotional responses Enhanced perception and psychological responsiveness

Dynamic & Diffuse Light

Positively impacted circadian system functioning Increased visual comfort

Connection with Natural Systems NATURE ANALOGUES

Observed view preference

Material Connection with Nature Complexity & Order

Decreased diastolic blood pressure Positively impacted perceptual and physiological stress responses

NATURE OF THE SPACE

slightly

surroundings,

dangerous

our

unknown;

fascination obscured

with

views

the and

revelatory moments; and sometimes even phobia-inducing properties when they include a trusted element of safety. The

strongest

experiences

are

achieved

through

commingled with patterns of Nature in the Space and Natural Analogues.

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Prospect Refuge

the

creation of deliberate and engaging spatial configurations

Improved comfort Observed view preference

NATURE OF THE SPACE

our innate and learned desire to be able to see beyond immediate

Improved perception of temporal and spatial pleasure

Enhanced positive health responses

Biomorphic Forms & Patterns

Addresses spatial configurations in nature. This includes our

EMOTION, MOOD & PREFERENCE

Visual Connection with Nature

Addresses the direct, physical and ephemeral presence of and animals, as well as breezes, sounds, scents and other

NATURE IN THE SPACE

COGNITIVE PERFORMANCE NATURE IN THE SPACE

Use of curvature and avoiding straight lines, emulating natural forms in the space and layout of space is also possible.

3 CATEGORIES

STRESS REDUCTION

Reduced stress

Reduced boredom, irritation, fatigue

Induced strong pleasure response

Improved concentration, attention and perception of safety

Mystery

Induced strong pleasure response

Risk/Peril

Resulted in strong depamine or pleasure responses

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HUMAN AND ENVIRONMENTAL HEALTH AT THE CENTER OF DESIGN

OLGA FRANCO | SPRING 2019

DESIGN FOR WELLNESS: STRATEGIES TO UNITE HEALTH & DESIGN •

Select low-VOC materials and those without harmful chemicals to reduce offgassing of VOCs to limit the likelihood that occupants come into contact with

AIR

• •

harmful, harsh chemicals

Design can be about many things: beauty, symmetry, color - but one of the most powerful elements of building and space design is the opportunity to impact and improve the health and well-being of people.

Create a healthier entryway that lowers the number of contaminants carried indoors by installing an entryway walk-off system and including an air seal Design a space without permanent wall-to-wall carpeting allowing it to be cleaned more easily and effectively

• WATER

•

Encourage hydration through strategic placement of drinking water stations throughout the space Consider the installation of additional filtration to enhance both water quality and taste

• •

Provide adequate seating to be used during meal times to allow people to

Conceptual Assessment

Mental Experience

engage in mindful eating Use attractive signage and visual cues to encourage occupants to consume healthy foods and beverages, dissuading them from selecting an unhealthy alternative

NUTRITION

Physical Situation • •

Consider daylight contribution in the placement of furniture to allow for

Use attractive features like natural light, art and music to create a more appealing stairwell that incentivizes people to take the stairs rather than the elevator

• •

Physical Experience

Designate an area for both showers and bicycle storage to facilitate active

•

Select furniture (such as sit-stand desks) that enables occupants to be more active during the day and offers an alternative to prolonged sitting

DIAGRAM 1: HUMAN BEINGS: THE SPECIES IN THE BUILT ENVIRONMENT

Create a more equitable environment by designing the space to be accessible to occupants with physical disabilities Include both loud and quiet zones so that occupants can be acoustically comfortable and select their more productive environment depending on their activity

• • MIND

Tangible Assessment

transportation and exercise

FITNESS

COMFORT

Place-based Wellness

needed and providing shading on windows

LIGHT

•

Fully Processed Emotional Reaction

Reduce glare by positioning light fixtures strategically, shielding them when

access to natural light and views of the outdoors

•

Neurophsychological Integration

•

Integrate celebration of place and culture into the design to create a beautiful space where occupants are happy spending their time

“HEALTH IS A STATE OF COMPLETE PHYSICAL, MENTAL AND SOCIAL WELL-BEING, AND NOT MERELY THE ABSENCE OF DISEASE OR INFIRMITY.”

Incorporate biophilic design, drawing upon natural patterns and elements, to

-WORLD HEALTH

allow occupants to feel a connection to nature even while indoors Offer variability in room size, furniture and lighting to create opportunities for productivity as well as refuge and relaxation

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