Biophilic Design DESIGN INVESTIGATIONS
Reconnecting with Nature Through Design
Evolution of Humans & Nature Throughout the course of human evolution, our survival has largely depended on adapting to the continuous demands of the environment. In Biophilic Design: The Theory, Science, and Practice of Bringing Buildings to Life, Yale professor Stephen Kellert states, “the evolutionary context for the development of the human mind and body was a mainly sensory world dominated by critical environmental features such as light, sound, odor, wind, weather, water, vegetation, animals, and landscapes.”i Continuous adaptations to such natural elements drove the development of our senses, emotions, intellect, and character. As a species, Kellert continues, many of our problem-solving, critical thinking, and constructive abilities reflect skills learned long ago as we adapted and evolved among the natural environment. Today our physical and mental health still relies on our connections with nature as it continues to shape our capacity to love, reason, create, heal, discover, and be well. Without the beneficial contact of nature we will never be truly healthy, satisfied, or fulfilled as individuals or as a society.ii
At present, the human population has grown substantially alienated from the environment in which we evolved.
Current State of People & Planet At
present the human population has grown substantially
alienated to the environment in which we evolved. The emergence of large-scale agriculture, mass production, and advanced technologies within the past 5,000 years or less are largely to blame.iii With these advancements the average person’s standard of living was able to increase, which contributed to growth in population and infrastructure. As our society began to flourish in new ways, our relationship with the natural world began to deteriorate. Rather than using nature for its restorative and nurturing benefits we started to exploit clean water, productive soils, and raw materials, stripping the natural environment of its resources for our own material and economic benefits.iv Today over half of the world’s population resides in urban areas where they are immersed in the human-built environment and largely removed from nature. The U.S. Environmental Protection Agency additionally states that the average American spends nearly 90 percent of their time indoors.v This conflict between modern society and the natural environment has not only resulted in vast environmental damage, but is also negatively impacting the function of the human mind and body.
Emergence of Biophilic Design Our continued dependence on nature reflects the reality of having evolved in a largely natural world not constructed by humans. In 1984, American biologist Edward O. Wilson coined the term “biophilia,” which he defined as the inherent human inclination to affiliate with the natural world, especially life and life-like processes.vi Since the rise of the biophilia hypothesis, extensive scientific research has shown the beneficial impact of nature on the human mind and body. In turn, these studies gave way to the concept of biophilic design which incorporates ideas of habitat selection, environmental preferences, and the emotional ties between people and places into the built environment. Contrary to what most think, biophilic design is not the mere placement of nature in a space. As stated by Kellert, “simply inserting an object of nature into a human built environment, if unrelated or at variance with other more dominant characteristics of the setting exerts little positive impact on the health and performance of the people who occupy these spaces.”vii Biophilic design must be thoroughly planned to incorporate elements of nature into every surface and dimension including flooring, ceiling, wall treatments, furniture, lighting, décor and material selections.viii Due to its range of elements, this practice can become challenging when trying to execute.
In response, a toolkit was created to simplify the overarching concepts of biophilic design down into a more tangible kit-ofparts that can be implemented into any project. Following the 14 Patterns of Biophilic Design,ix the tool-kit has been organized into 3 main categories: Nature in the Space, Nature Analogues, and Nature of the Space. The first category, “Nature in the Space,” addresses the direct, physical presence of nature. This pattern highlights the visual connection to nature which can be achieved through either real or simulated natural elements including water, plants, and natural light.x The second category, “Nature Analogues,” addresses the indirect evocation or representation of nature through textiles, décor, and furniture referencing objects, materials, colors, shapes, or patterns found in nature. The third category, “Nature of the Space,” addresses spatial configurations found in nature. This element focuses on the aspects of “prospect and refuge” which are rooted in our innate desire to see beyond our immediate surroundings and seek protection.
A Toolkit for Biophilic Design Nature in the Space: Visual Connection with Nature Real Nature A highly recognizable aspect of biophilic design is the visual connection with real nature, such as a view to water, vegetation, terrain, and natural light. Connections to real nature have proven to be more beneficial than any other form of simulated nature, making it the most important aspect to consider when designing. xi
The presence of sunlight or natural daylight is a key element
in human wellness; among other benefits, natural light provides users the best spectrum of light which allows the eye to refocus easily.
Strategies
Provide access to an outdoor courtyard, balcony, or roof
Use glass walls to allow more natural light into the space
lace rooms along the core vs the perimeter to allow for P more natural light to penetrate throughout the space
Orient interiors to highlight views of trees and foliage through a window
Simulated Nature Due to the limited control over site location, architecture and landscaping, interior designers must often incorporate elements of nature through the use of constructed features to maintain a sense of biophilia.
Water Water features present a multi-sensory experience of sight, sound, touch, and movement which promotes a higher degree of health benefits including reduced stress, increased feelings of tranquility, and lowered heart rate and blood pressure.xii
Greenery The use of greenery helps to improve indoor air quality, absorb sound and provides users direct access to nature. The presence of plants alone can reduce stress, improve comfort, and enhance performance and productivity. However, to prove effective, greenery must be used abundantly and placed in key areas where time will be spent. Research suggests 5 to 20 minutes of exposure is necessary to retain the desired benefits of nature.xiii
Artwork If a view of nature is unable to be provided through a window, then artwork, photographs, or videos depicting nature scenes can be of benefit. A recent study proved that nature scenes vs urban scenes promotes recovery from intense mental tasks. When looking at an urban environment the brain must actually work harder to filter out nonessential information than it has to when looking
at a natural landscape.xvi Similar to greenery, representational images of nature should be repeated, thematic, and abundant in order to provide any beneficial value.
Lighting Well daylight spaces are often linked to increased performance, productivity and enhanced mood. Installing layers of lighting is another way to stimulate the eye, eliciting positive psychological responses and increased attention.
Strategies rovide groups of P potted plants
I nstall green walls in areas where people linger
I ntegrate groups of nature-centric Artwork / Photography / Video
onsider Circadian C color lighting
rovide personal P task lighting and dimming controls
onsider water C features such as an aquarium, simulated waterfall / water wall
Design for layers of lighting
Nature Analogues: Representations of Nature Along with a visual connection to nature, biophilic design requires the representation of natural elements within a space. These elements should reflect the colors, materials, shapes, and patterns which persist in nature. When used correctly these characteristics subconsciously trick the human brain into making us feel as though we are in a natural environment.xvii
Color During human evolution, color played an important role in locating resources such as food and water, and facilitating movement.xviii For example, the color blue implied the presence of water, while the color green suggested healthy vegetation. The sight of such colors elicited a positive response which has contributed to our continued preference for earth tones ranging from blues and greens to tawny golds, tans, and browns.xix While humans exhibit a clear fondness for muted tones, we are also attracted to the bright colors of fruit and flowers, rainbows, sunsets, and blue skies.xx To create a healthy and successful biophilic environment, a combination of dull earth tones and subtle bright colors should be used. Interior designers should avoid highly artificial and contrasting colors, only emphasizing hues found in appealing natural forms.xxi
Natural Materials Along with color, designers should incorporate natural materials such as wood, stone, and natural textiles. Ideally, the natural materials selected should also be distinct to the local area as what is considered natural in one location may be very different in another.xxii The use of natural and local materials within an environment promotes a positive response and creates a sense of place and community. When such materials are incorporated into an interior our brains perceive a sense of nature that helps to create a more peaceful and calming atmosphere.xxiii
Strategies Incorporate natural materials
Select earth tones paired with bright accents
Prioritize locally distinct/sourced materials
Shapes Aside from the colors and materials seen in nature, a variety of shapes and patterns can also be found within the natural environment. Nature is made up of organic shapes and curved lines, where straight lines and right angles are often resisted. Hexagons, spirals, spikes, and spheres as well as domes, arches, and vaults are some of the many shapes and forms found in nature. In the built environment these shapes can be implemented in both decorative and functional applications including moldings, textiles, furniture, and architectural elements. The addition of naturalistic shapes and forms provides users with a sense of psychological comfort as they reflect the dynamic quality of a living system.xxiv xxv
Strategies
Select furniture and finishes that pick up on the various forms found in nature
Incorporate curves and angles into the floor plan
Nature of the Space: Spatial Experience of Nature British geographer Jay Appleton suggests human beings experience landscapes in strategic territorial terms. This idea inherited from our hunter-gatherer ancestors is referred to as prospect-refuge theory. “Prospect” refers to brightly lit, unobstructed, expansive views, and “refuge” refers to smaller, darker settings that provide a sense of safety and security.xxvi Historically, the ability to see and the ability to hide were essential to human survival.xxvii Prospect views proved instrumental in locating potential food and resources, facilitating movement, and identifying sources of danger.xxviii Whereas refuge spaces offered protection from the weather and predators, while allowing minor outward surveillance.xxix Appleton believes these evolutionary tendencies, to see and to hide, remain evident in the human species.xxx
Prospect As stated by Betsy Hase, “Office designers have struggled for years to create places that provide openness and privacy at the same time, something that nature has been doing forever.”xxxi In recent years, office environments have transitioned away from the standard cubicles and private offices to more open plans in an effort to enhance communication and promote collaboration.xxxii While an open office plan may not be ideal to all, the ability to see from one space to another conveys a sense of safety and comfort. Additionally, it helps to reduce stress, boredom, irritation and fatigue.xxxiii When designing an office space, the greater the prospect view the better. Ideally, a distant prospect view or focal length of 100 feet is preferred over a shorter focal length of 20 feet or less. A view that spans a farther distance allows for a higher level of surveillance, which provides a greater sense of awareness and comfort to users.xxxiv A common method to achieving a distant prospect view is through the use of lowered partitions at a height of 42 inches or less. Lowered partitions may limit privacy, but still act as spatial dividers and allow workers to view the entire office right from their desk. Prospect may also be accomplished through the construction of catwalks or elevated planes, which provide an overlook or raised viewing height. Furthermore, the use of transparent materials such as glass allow for users to see through multiple spaces. In the workplace, the use of glass walls has become a considerable design trend. Private offices which are known for being closed-off and secluded are now being faced with glass. The intent is to create a more approachable atmosphere, encouraging interaction and collaboration among employees. The use of glass also allows for more natural light to penetrate through a space.xxxv
Strategies Create open floor plans
Design with transparent materials
Specify low partitions at individual workspaces
Refuge While an open office plan emphasizes distant prospect views, it may easily neglect the crucial need for refuge spaces. A balance between the two is necessary in the workplace to provide employees with a variety of settings based on their social, cognitive, and behavioral needs. An ideal refuge space provides enclosure from behind and overhead, and is isolated from its surrounding environment. The space should create a sense of privacy, safety, and retreat allowing for high concentration work or relaxation. The implementation of such spaces in an office environment can reduce employee irritation and fatigue, and improve concentration and attention.xxxvi A variety of refuge conditions exist, ranging from low to high degrees of enclosure and privacy. The lowest level of refuge, referred to as “modular refuge” provides only a small amount of protection from either behind or above, such as a high-back chair. The second degree of refuge, named “partial refuge” involves enclosure from several sides. Reading nooks, booth seating, bay windows, and covered walkways provide partial refuge. The highest degree of refuge, “extensive refuge” provides near or complete concealment. Examples include reading pods, meeting rooms with three or more walls, and private offices. The concept of refuge can also be applied through the use of translucent shades, screens, or partitions, lowered ceiling heights, overhangs, and dimmed lighting levels.xxxvii In an office environment it is essential to provide employees with choices or a variety of settings, to accommodate for personal preferences and different work activities.xxxviii
Strategies Provide booth seating
Incorporate high-back chairs
Include reading nooks
Making the Case for Biophilic Design “Biophilic design is not about greening our buildings or simply increasing their aesthetic appeal through inserting trees and shrubs. Much more, it is about humanity’s place in nature, and the natural world’s place in human society…”xxxix As it stands today, there is a large disconnect between humanity and nature. Our own self-interests have resulted in over pollution and depletion of natural resources, which has caused a divide in the crucial human nature relationship. In coming decades, it is estimated that 70 percent of the world’s population will reside in urban areas, where the vast majority of humanity will be living removed from the natural environment. Consequently, there is an increasing need for design to reconnect people with nature. Through visual, representational, and spatial experiences of nature, biophilic design can rekindle the human affection and connection to the natural world.
Photographer: Muhammad Numan
Our Role as Designers Given the amount of time we spend indoors, and the fact buildings account for 40% of carbon emissions, interior designers are positioned to play a crucial role in the coming years. It is stated that “By 2050, the interior design industry will have influence over almost one-tenth of the world’s carbon emissions.”xli For the sake of human beings’ health and well-being, as well as our planet, it is crucial that interior designers understand and implement biophilic design strategies. The science supporting biophilic design may still be emerging, but the benefits of nature are evident across all categories. When implemented into the design of our interior environments, elements of nature benefit the health and well-being of those who will inhabit these spaces – with measurable benefits to wellness, productivity, learning, and healing while also supporting a reconnection to the world in which we evolved.
Works Cited Kellert, Stephen. “Dimensions, Elements, and Attributes of Biophilic Design.” Biophilic Design: The Theory, Science, and Practice of Bringing Buildings to Life. John Wiley & Sons, 2008, pp. 3–19.
i
ii, iv Kellert, Stephen. Birthright: People and Nature in the Modern World. Yale University Press, 2012.
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Kellert, Stephen, and Elizabeth Calabrese. The Practice of Biophilic
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vii, xxii
Schuler, Timothy A. “Let Nature In.” ASID Icon, 2016, pp. 45–50.
Browning, William, et al. The 14 Patterns of Biophilic Design: Improving Health and Well-Being in the Built Environment. Terrapin
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xiv, xxv, xxvi, xxxi, xxxii, xxxix
Nature-Based Design: The New Green. Herman Miller, Inc., 2013.
v, xvii, xxiii, xxiv Restoration Office: How Biophilia Reduces Stress and Promotes Renewal at Work. Steelcase.
xix Cooper, Cary Sir. Human Spaces: The Global Impact of Biophilic Design in the Workplace. Interface, pp. 4–44.
xxvii, xxx
Rengel, Roberto J. Shaping Interior Space. 1st ed., Fairchild Books, 2003.
Chase, Jenni. “Beyond the Cubicle.” Glass: Your online industry resource, Glass Magazine, 21 Aug. 2013.
xxxv
xli Metropolis Magazine. N.d. “Climate Toolkit for Interior Design.” Accessed July 25, 2023. https://metropolismag.com/climatetoolkit/introduction-to-the-climate-toolkit/ .
About the Author
Erika Means WELL AP, LEED GA Erika Means is an Interior Designer in LS3P’s Charlotte office. Erika earned a Bachelor of Fine Arts in Interior Design with a minor in Professional Decorating from Cazenovia College, and brings previous professional experience in interior design for healthcare and higher education projects while working at firms in Charlotte, NC and in Rochester, NY.