Dissertation. Biophilia for Educational Spaces. by nadia.suvorova

Biophilic design for educational spaces

Biophilic design for educational spaces. How do designers use biophilic design to reduce the impact of stress and improve studentsâ&#x20AC;&#x2122; wellbeing? Nadezda Suvorova 15073550 6CTA1093-0906-C&CS L6 (IAD) Tutor: Thomas Trail Module leader: Rosa Ainley 27th April 2020

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Preface From friends’ and own experience at the university, mental health has become trivial for students. Many of the students are stressed while studying. Many of them sacrifice their well-being for a good project and degree. For the final project, the decision was made to create an anti-stress centre for students, because this problem is very relevant today. Starting to study methods of stress management and how the environment can influence the human well-being (to apply this knowledge to the design of my project), I came across such concept as ‘biophilic design’. It fully reflects everything that I strive to create within the project. In the process of studying, it became clear that biophilia is not so often used in the educational environment, it took a lot of time to find proper examples of biophilic universities. That is why I decided to pay attention particularly to this topic and this type of design, showing how designers use biophilia and how this concept can benefit students’ mental health, well-being and productivity. I hope that after reading this research, it will make you think more about the importance of students’ mental health and how the educational environment can be changed to contribute to it positively.

Acknowledgments With thanks to my C&CS tutors Thomas Trail and Rosa Ainley for their guidance, support all the way through, help to acuminate my interest towards this topic and role in initiating this study. Many thanks to my studio module leader Erica Liu who has supported me for over the years with keenness in making a difference, helping to find my way, understand many aspects and some of the problems interior designer profession faces. Thanks to Marek Szubert, Simon Knight and Giuseppina Giuffrida, their continuous support and willingness to help in all of the aspects and making me look at things from different angles, to Ian Owen and Silvio Carta for their support and providing opportunities to learn new skills from different areas. .

© Nadezda Suvorova 15073550 University of Hertfordshire 27th April 2020 A dissertation submitted for the degree BA(Hons) Interior Architecture and Design. I can confirm that the word count of this dissertation is no less than 5100 words and no more than 6600 words.

Biophilic design for educational spaces

Contents Image list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Abstract . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 1. History and theory of biophilic design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 2. Hypothesis and itsâ&#x20AC;&#x2122; proof . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 3. 14 patterns of biophilic design. Methods used in practice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3.1. Nature in the space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3.2. Natural analogues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 3.3 Nature of the space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 3.4. Common mistakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 4. Case studies: biophilic universities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 4.1 Ewha Womanâ&#x20AC;&#x2122;s University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 4.2 The University Warsaw Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 4.3 Kroon Hall at Yale University . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 4.4 Case studies comparison and results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 5. Discussion: Moving forward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Conclusion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Reference list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

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Image list P.5 P.6

- Biophilic design. ©️ Amos Beech. amosbeech.com -Figure 1. Stress Levels by Age. ©️ Sarah Westall. sarahwestall.com

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-Green wall. ©️ Thamrongpat Theerathammakorn. unsplash.com -Figure 2. Madrasa. Medieval Islamic Golden Era. Great Mosque of Cordoba, Andalusia, Spain. ©️ B. O’Kane. alamy.com

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-Figure 3. Fallingwater by Frank Lloyd Wright. ©️ Paul Hendrickson. waterandlife.org -Figure 4. Fallingwater interior by Frank Lloyd Wright. ©️ Christopher Little. dezeen.com - Development of biophilic design. ©️ by Author.

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-Figure 5. Ulrich’s research 1984. Plan of the second floor of the study hospital showing the trees versus wall window views of patients. ©️ Roger S. Ulrich. From article by R. S. Ulrich ‘View through a Window May Influence Recovery from Surgery’ -Indeed’s biophilic office in Tokyo. ©️ Courtesy of The Design Studio. officelovin.com

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-Figure 6. Visual connection with nature. View at nature. ©️ Bregroup. ©️ Art Aqua. bregroup.com, interface.com. - Figure 7. Non-visual connection with nature. Bird sounds & natural textures. ©️ Giuseppe Camino . ©️TCreative. ebird.com, nedvio.com -Figure 8. Sensory stimuli. Design inspired by ocean waves. ©️ Oleg Harchenko. interface.com -Figure 9. Thermal & airflow variability. Natural ventilation. ©️ Courtesy of COOKFOX Architects ©️ Dan Forer. interface.com, archdaily.com -Figure 10. Presence of water. Pond and water fountain. ©️ pinterest ©️ decoradvisor, pinterest.com, decoradvisor.com -Figure 11. Dynamic and diffused light. ©️Arhitektiburoo Emil Urbel OU ©️ DEZEEN. squarespace.com, dezeen.com

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-Figure 12. Connection with natural systems. View at seasonal changes. ©️ Rafael Gamo ©️ and global. pinterest.it, ansgroupglobal.com -Figure 13. Biomorphic forms and patterns. Biomorphic facade and interior. ©️ Aslai/ Flickr ©️Welsh Assembly Builidng in the UK. flickr.com, aspectaflooring.com -Figure 14. Material connection with nature. Use of wood and stone in the interior. ©️Juniper Design ©️You Hongxiang. behance.net, pinterest.com. -Figure 15. Complexity and order used as flooring and building facade. ©️ Interface ©️ Dexma. interface.com, worldgbc.org -Figure 16. Prospect. Open plan spaces, voids, skylights, mezzanines. ©️ Archoustics Mountain ©️ZGF.prweb.com, houzz.co.uk. -Figure 17. Refuge. View at surrounding from a safe place. ©️ Lloyd’s Inn ©️ ThatPhotoGuyN, Unsplash. terrapinbrightgreen.com, expertphotography.com -Figure 18. Mystery. Interior solution inspired by path through the woods. ©️ Interface. interface.com -Figure 19. Risk/peril. Glass floor and extruded walkway. ©️ Steve Troes Fotodesign ©️SeattleSpheres. pinterest.ca, designcurial.com -Vertical Forest in Milan. ©️ 2020 Council on Tall Buildings and Urban Habitat. archdaily.com

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-P.16 Figure 20. ECC integrated into landscape. ©️Pius Lee. pinterest.com -Figure 21. Possibility of taking different paths through the building across a roof garden and through stone-paved valley. ©️ Andre Morin. archdaily.com -Figure 22. View from the garden rooftop. ©️ Andre Morin. archdaily.com -Figure 23. Stone-paved valley. ©️ Andre Morin. archdaily.com

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-Figure 24. Pavement inspired by natural pattern. ©Perrault D. archdaily.com -Figure 25. ECC main hall interior. ©️ Andre Morin. archdaily.com -Figure 26. Interior wooden flooring. ©️ Andre Morin. archdaily.com -Figure 27. Complexity and order in facade framing. ©️ Andre Morin. archdaily.com -Figure 28. Facade framing casting different shadows throughout the day. ©️ Andre Morin. archdaily.com

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-Figure 29. BUW rooftop garden. ©️ Warszawska Organizacja Turystyczna. warsawtour.pl -Figure 30. Tree-like structures. ©️ Ola Synowiec. istockphoto.com -Figure 31. Close view at tree-like structures. ©uncube magazine. uncubemagazine.com -Figure 32. Top view at the garden illustrating prospect. ©️ BIBLIOTEKA UNIWERSYTECKA W. kiddiemundo.com

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-Figure 33. BUW interior overview. ©️ Squidsoup ©️Eduardo Grund. lanouvellerepublique.fr, buw. uw.edu.pl -Figure 34. Tree-like structure supporting glass roof. ©️ Pinterest. pinterest,com -Figure 35. Tree-like structures representing open books. ©️ Karolina Naperty. wordpress.com

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-Figure 36. Kroon Hall exterior. ©️ Flickr. flickr.com -Figure 37. Kroon Hall wooden interior. ©️ Atelier ten. environment.yale.edu -Figure 38. Wooden structural elements. ©️ Morley von Sternberg. archdaily.com -Figure 39. Sloping roof inspired by natural forms. ©️ Flickr. flickr.com -Figure 40. Ventilation through the building. ©️Hopkins Architects. archdaily.com

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-Figure 41. Facade panels casting shadows. ©️ MidnightTiger8140. deviantart.com -Figure 42. Massive windows providing and overwiev on the surrounding areas. ©️ Morley von Sternberg. archdaily.com -Figure 43. Sunlight coming through parts of a glass roof and wooden interior. © wnpr. wnpr.org -Figure 44. Vegetated building surroundings. ©️Morley von Sternberg. archdaily.com -Figure 45. Stone facade. ©️ Morley von Sternberg

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-Biophilic staircase.©️ AirDesign. airdesign.co.uk -Interior of The Spheres, Amazon office in Seattle, USA. ©️ Flickr. flickr.com

Biophilic design for educational spaces

Abstract KEYWORDS:

well-being, psychological restoration, biophilic design, restorative environments, stress, students, education, university campuses, mental health, environmental psychology, environmental simulation, stress recovery

Present days stress resistance is not a line in a lousy resume, but what a person needs to stay healthy. Scientists have long discovered that ‘stress pill’, alas, does not exist. Research has shown that students are no less stressed than other groups of people and that can have an effect on their wellbeing, studies and daily life. This study aims to determine how stress relief can be achieved through the performance of an interior and architectural environment. There are many ways and options that designers can use to affect students’ mental health, but this dissertation will focus on a specific design concept answering a question: How do designers use biophilic design to reduce the impact of stress and improve students’ well-being? Biophilia literally translates as ‘love of life’. Biophilic design concept refers to peoples’ inner connection to nature, improves mental health, creativity, well-being and helps to reduces stress. Basing on a review of the literature such as Terrapin Bright Green’s 14 Patterns of Biophilic Design, works of Stephen R. Kellert, Edward O. Wilson and variety of journal articles we will explore how and why biophilic design can actually benefit peoples well-being and help improve mental health, this includes Roger Ulrich’s studies about recovery rates of people with and without a view to nature. On this basis, we will explore the most common ways the designers use nature and its’ elements to form a healthy environment. This will include three main groups which are: nature in the space, natural analogues and nature of the space. We will focus more indepth on how those ways are used in the educational sector to help students reduce stress and answer the research question through analysing interior and architectural projects such as Ewha Woman’s University (Seoul, South Korea), University of Warsaw Library (Warsaw, Poland) and Kroon Hall in Yale University (New Haven, USA). An analysis and comparison of these case studies will demonstrate how biophilic design methods were used in various educational projects around the world and whether chosen case studies were successful in the use of biophilic design techniques/patterns or whether the architects and designers made some common mistakes. After, we will raise some questions for further discussion and then conclude.

Biophilic design ©️ Amos Beech.

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Introduction Stress - we face it every day, whether in personal life, at work or in school. No matter how severe the stress is and for whatever reason it occurs, it negatively affects our well-being, mental health and productivity. Stress relief is a topic discussed by millions. To feel yourself as a deeply satisfied person, being able to fulfil own goals, desires and aspirations, it is needed to learn how to regulate and control personal mental well-being, minimising the adverse effects on the physical and psychological health. In the process of life, each individual has repeatedly encountered stressful factors that cause increased fatigue and nervousness. This is due to the fact that stress, as a negative aspect has an adverse effect on absolutely all areas of a person’s vital activity (NHS, n.d.). And this will subsequently lead to complications in family, interpersonal relationships and problematic aspects in professional activities. Many people think how to get rid of stress, but there is no exact answer, most likely ‘nohow’, but it can be minimised in various ways, including the design of the environment. Kellert and Finnegan (2011) believe that architecture and interior design can actively influence the mental and emotional state of both: the individual and the group of people as a whole; their productivity, cooperativeness and relationships among themselves. At the moment, the problem of stress is starting to take on a more severe scale. According to Korn Ferry’s survey (2020), it is seen that stress levels are much higher compared to 5 years ago, ninety per cent of respondents have lost their sleep due to various work stressors. Many architects and designers now care not only about the external and internal aesthetic appearance of buildings and spaces but also about their performance. In addition to sustainability (green designs) they began to worry more and more about the mental health of people using these spaces. That is where the idea of biophilic design comes handy. As Abdelaal (2019) said ‘merging the attributes of biophilic design with sustainable development will generate a robust model’ that can support further buildings evolution.

Before moving to the main discussion, we should understand what stress is itself. According to the Oxford Dictionary (McIntosh, Francis and Poole, 2009), stress is ‘pressure or worry caused by the problems in someone’s life’. NHS (n.d) states that: Stress is the body’s reaction to feeling threatened or under pressure. It’s widespread and can be motivated to help us achieve things in our daily life, and can help us meet the demands of home, work and family life. But too much stress can affect our mood, body and relationships – especially when it feels out of control. It can make us feel anxious and irritable, and affect our self-esteem. Therefore, it can affect all areas of our lives, causing mood changes, decreased levels of productivity, worsening relationships, low self-performance and sometimes even more than that. We know that most of all people face extreme stress at work, but what about students? In fact, they face the same pressure no less than others. According to Westall’s (2017) research we will see that the percentage of stress in the 18-34 age group (which are students fall into) is significantly higher than in other groups of people (Fig. 1).

Figure 1. Stress Levels by Age. ©️ Sarah Westall.

As it was mentioned earlier, the environment affects a person’s mental and physical state and, to reduce stress levels, a biophilic design approaches can help with solving the problem (Barton and Pretty, 2010). Let’s have a better look at what biophilic design is.

Biophilic design for educational spaces

1. History and theory of biophilic design

Green wall. ©️ Thamrongpat Theerathammakorn.

Biophilia is the ‘inherent human inclination to affiliate with nature that even in the modern world continues to be critical to people’s physical and mental health and well-being’ (Kellert and Calabrese, 2015, p.3 cited Wilson, 1986; Kellert and Wilson, 1993; Kellert, 1997 and 2012). It is a term popularised by American sociobiologist, professor at Harvard University, Edward O. Wilson in the 1980’s when he observed how increasing rates of urbanisation were leading to a disconnection with the natural world. He also concluded that each person has a mechanism that relieves people’s stress, something like an internal antidepressant. It manifests itself in love for nature. Given the fact that not every person experiencing negative emotions can go out into the garden and dispel his anguish with the help of nature, Dr. Wilson and his colleagues at Harvard University developed the theory of biophilia. They came up with a completely new term – biophilic design. ‘The challenge of biophilic design is to address these deficiencies of contemporary building and landscape practice by establishing a new framework for the satisfying experience of nature in the built environment’ (Kellert and Calabrese, 2015, p.6 cited Kellert et al, 2008; Kellert, 2005; Kellert and Finnegan, 2011; Browning et al, 2014). As Berman, Jonides and Kaplan (2008) state, this is the internal or external design of a person’s home, in which everything resembles nature. A lot of greenery, real wood and stone, natural light, water and only natural colours. Ideally, this is a house with organic architecture, built from natural materials, located in a forest, away from city noise and asphalt. It has many so-called French windows and balconies, an aquarium, a fireplace with natural fire, many flowerpots and furniture made of wood or stone. According to Browning, Ryan and Clancy (2014), a person who spends much time at home or in the office with the help of biophilic design will be able to relieve stress, improve mood and

return the mental health ‘to its place’. In a certain way, this is a relative of green design - the philosophy of designing physical objects that are harmoniously integrated into the environment and do not harm it. The difference between green, sustainable design and biophilic design is that the first aims to fit the building into nature, then the second aims to use natural elements and integrate them into the building itself. The purpose of biophilic design is not only to work with the environment around it but bring elements of nature in the building (Kellert, 2008; Wilson, 1984). It is believed that over the years of life in a natural environment, specific genetically encoded reactions to light, weather, terrain, plants and animals have formed, which are now a part of our emotional, intellectual, and physical wellbeing (Wilson, 1984). And now our performance is depending on the possibility of interaction with these elements. Recently, like Downton et al (2016) say, biophilic design began to be considered as one of the factors that should be taken into account when planning and reconstructing premises. The name biophilic design has been in the industry for not so long yet, but in fact, the idea of the positive impact of nature on humans has appeared long ago. We must not forget the fact that biophilic design is a re-opening of a well-known practice, but not a new idea (Abdelaal and Soebarto, 2018). Higher educational institutions (madrasa) during medieval Islamic Golden Era are excellent examples of biophilic design (Abdelaal and Soebarto, 2018) (Fig. 2), as well as the Athens Parthenon, the Roman Pantheon, ancient Egyptian gardens, walled Persian gardens and hanging gardens of Babylon (Ulrich, 1993 in Kellert and Wilson, n.d). However, the term was not even being developed at that time.

Figure 2. Madrasa. Medieval Islamic Golden Era. Great Mosque of Cordoba, Andalusia, Spain. ©️ B. O’Kane

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An American architect and innovator Frank Lloyd Wright (n.d) said: Study nature, love nature, Study nature, love nature, stay close to nature. stay close to nature. It will never fail you It will never fail you. His organic architecture was entirely consistent with the principles of biophilia because the buildings were so integrated into nature that one seemed inseparable from the other (Fig. 3 & 4).

Figure 3. Fallingwater by Frank Lloyd Wright. ©️ Paul Hendrickson.

is reflected within them (Browning, Ryan, and Clancy, 2014). Today, as Elmashharawi (2019) says, that this is not only plants in rooms, which must necessarily be several, and natural shades in the interior, but also the forms and materials that surround us. ‘But isn’t Scandinavian design about that?’ You ask. And the question will turn out to be entirely appropriate, because, indeed, the Scandinavian types of interiors are closest to what is called biophilic design. But here is an important point: if the green principles of construction and design usually advocate exclusively for the environment, then in biophilic design approaches, the primary attention, albeit also taking into account human factors (Kellert, 2008). Much attention is paid to the well-being of the person who is using the space. Today, the concept of biophilia is actively supported by psychology. Kellert (2008) is confident that biophilic design - even that we spend most of our time in buildings - can affect our mental health by reducing our sense of isolation, relieving stress, fatigue, and improving our mood. And this is one of the main reasons why interest in architecture in interaction with natural systems is getting higher. Kellert and Calabrese (2015 cited Beston 1928, p.22) believe: Nature is a part of our humanity, and without some awareness and experience of that divine mystery man ceases to be man. When the Pleiades and the wind in the grass are no longer a part of the human spirit, a part of very flesh and bone, man becomes, as it were, a cosmic outlaw, having neither the completeness and integrity of the animal nor the birthright of a true humanity.

Figure 4. Fallingwater interior by Frank Lloyd Wright. ©️ Christopher Little.

In simple words, the idea behind the biophilic design is that nature has a tremendous positive impact on human physical and mental health, therefore improving their well-being and productivity. Essential to the biophilic theory is the idea that buildings help our physical and mental health only when they are built into the environment and when this environment

14 Patterns Research, experiments and tests. Edward O. Wilson’s Theory Reaserch. Historical building principles. Development of biophilic design. ©️ by Author.

Biophilic design for educational spaces

2. Hypothesis and its’ proof Grinde and Patil (2009) mention that one of the most exciting beliefs that many proponents of biophilia consider is that people are forced to lead a lifestyle that has become too far from what can be regarded as natural. Therefore, biophilic design softens the feeling of a gap and disconnection of a person from nature, which feels at a subconscious level, even if we are not aware of this. Another part of the hypothesis of biophilic design is that such approaches, as it was said many times before, help in reducing stress, improving performance, overall well-being, etc. Biophilic design aims to relate our inherent biological need for partnership with nature in an artificially created environment and enjoy peace (Kellert, 2008). One of the ideas is called the attention restoration theory: we spend much time at work, continually staying focused, which leads to mental fatigue (Kaplan and Kaplan, 1989). Even if you take the eyes off the screen for a few seconds and look at the plant on the table, it can help to relax and restore the ability to concentrate. But how does it all can work? Let’s quickly explore this from a scientific point of view. It has been found that nature and its components have a positive effect on stress reduction, cognitive performance, emotions and mood by reducing blood pressure, heart rates, stress hormones, positively impacting circadian system functioning (Browning, Ryan and Clancy, 2014) (Refer to Table 1 on page 14). It sounds very promising, but the next question arises whether this hypothesis works in real life. Confirmation of this can be found in many kinds of research and experiments. For example, between 1972 and 1981 Roger S. Ulrich conducted an investigation where he placed the patients of the hospital in different rooms, some with a view of nature, and some with a view of the walls (Fig.5). The result showed that people who were in places with a view of nature recovered much faster than others (Ulrich, 1984). Barton and Pretty (2010) have carried out a multi-study analysis where they have collected information from 1252 participants to find out the best dose of nature for improving mental health, which clearly shows how people react to nature and how it has its positive effect. Another example is two experiments by Berman, Jonides and Kaplan (2008), where they have documented how natural and urban environments affect people’s

Figure 5. Ulrich’s research 1984. Plan of the second floor of the study hospital showing the trees versus wall window views of patients. ©️ Roger S. Ulrich

performance, showing that natural views have shown better results all the way through. One more example is office experiment by Gray and Birrel (2014) where, throughout the study, they have recorded behaviour, mood, the productivity of employees and time spent in the office. The results showed that all of the indexes improved and the comments from the employees themselves were very positive. During this experiment, it was found that merely introducing more natural green plants into the office space already increases productivity by 15%. Therefore, we can see on examples, that biophilic design principles do work and improve productivity, mental health, well-being, reduce stress, help focus, and even boost immunity (Diagram 1). As a result, companies such as Google, Indeed, Etsy, and many others began to use biophilic design as a way to make employees happier, more creative, and energetic.

Indeed’s biophilic office in Tokyo. ©️ Courtesy of The Design Studio

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IMPACT OF BIOPHILIC DESIGN ON HEALTH AND WELLBEING

PHYSICAL - Reduces muscle tension - Improves respiratory and circadian systems - Lowers blood pressure - Lowers stress hormones

PSYCHOLOGICAL

COGNITIVE - Improves concentration and memory - Improves creativity and productivity - Reduces fatigue - Increases attention

- Improves adaptability, attention, concentration, alertness, emotions and overall mood - Impacts restoration and stress management - Lowers tension, anxiety, anger, fatigue and confusion.

SOCIAL - Improves social communication and interaction - Improves self-esteem

Diagram 1. Literature rewiew summary : Impact of biophilic design on health and wellbeing (Ulrich, 1984; Barton and Pretty, 2010; Jonides and Kaplan, 2008,; Gray and Birrel, 2014; Grafetstatter et al., 2017; Li et al., 2008; Kaplan, 2001; Pretty et al., 2005; Wang et al., 2016; Han, 2010; Boyle, 2007; Clayton, 2007; Biederman and Vessel, 2006; Shinew et al., 2004). ÂŠď¸? All diagrams by Author.

Biophilic design for educational spaces

3. 14 patterns of biophilic design. Methods used in practice. To date, Terrapin Bright Green has collected and established 14 patterns that represent approaches of biophilic design as guidance for use. They are conditionally divided into three groups: nature in the space, natural analogues and nature of the space. We are going to discuss and analyse briefly each of those as it is crucial for an analysis of chosen case studies.

Figure 6. Visual connection with nature. View at nature. ©️ Bregroup. ©️ Art Aqua.

3.1 NATURE IN THE SPACE: 1. Visual connection with nature – views at nature, natural systems and processes (view at the gardens, living walls, green roofs, potted plants, view at sea). Simply using direct nature or view at it (Fig. 6) 2. Non-visual connection with nature – stimulating our senses (sound, touch, taste, smell). One of the most undervalued of the patterns according to Browning, Ryan and Clancy (2014). Design intentions include: natural textures, smells (like green or ocean breeze), sounds (birds, waterfalls, rain, ocean waves) (Fig.7). 3. Sensory stimuli – natural stimuli, motions. For example, textures and colours inspired by ripples on water or ocean waves (Fig. 8). 4. Thermal and airflow variability – air and surface temperature, humidity, airflow changes that are meant to represent natural processes (Fig. 9). 5. Presence of water – see, touch it or hear (Fig. 10). 6. Dynamic and diffused light – using lightning to mimic natural processes, play with light and shadows, changing lightning position and brightness (sunny/cloudy day, example: how the light is changing in the forest) (Fig. 11). 7. Connections with natural systems – seasonal changes, reminding people that everything changes (Fig.12).

Figure 7. Non-visual connection with nature. Bird sounds & natural textures. ©️ Giuseppe Camino . ©️ TCreative

Figure 8. Sensory stimuli. Design inspired by ocean waves. ©️ Oleg Harchenko

Figure 9. Thermal & airflow variability. Natural ventilation. ©️ Courtesy of COOKFOX Architects ©️ Dan Forer

3.2 NATURAL ANALOGUES: 8. Biomorphic forms and patterns – using patterns, shapes, textures or numerical arrangements (such as gold ratio or Fibonacci numbers) as a design representation (Fig. 13). 9. Material connection with nature – using natural materials (such as wood, stone), create an atmosphere reflecting the natural environment (Fig. 14). 10. Complexity and order – symmetries, geometries, hierarchies that are found in nature (Fig. 15).

Figure 10. Presence of water. Pond and water fountain. ©️ pinterest ©️ decoradvisor

Figure 11. Dynamic and diffused light. ©️ Arhitektiburoo Emil Urbel OU ©️ DEZEEN

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3.3 NATURE OF THE SPACE: 11. Prospect – having a bigger picture on the environment with no interrupted views (balconies, panoramic windows, skylights, mezzanine floors, glass partitions and open-plan spaces) (Fig. 16). 12. Refuge – almost the same as Prospect, but to look at everything from a safe place (Fig. 17). 13. Mystery – is meant to represent excitement before the unknown, looking for something novel within the built environment, like we would do it outside (unexpected installations, design or architectural features such as lines on the floor leading to different areas) (Fig. 18). 14. Risk/ peril – trigger of danger, knowing that there is a safeguard that people can rely on (such as suspended nets, high way-walk, glass walls or floors). People feel danger, but knowing that they are safe still going to explore (Fig. 19).

Figure 15. Complexity and order used as flooring and building facade. ©️ Interface ©️ Dexma

Figure 16. Prospect. Open plan spaces, voids, skylights, mezzanines. ©️ Archoustics Mountain ©️ ZGF

Figure 17. Refuge. View at surroundingf from a safe place. ©️ Lloyd’s Inn ©️ ThatPhotoGuyN, Unsplash

Figure 12. Connection with natural systems. View at seasonal changes. Figure 18. Mystery. Interior solution inspired by path through the woods. ©️ Rafael Gamo ©️ and global ©️ Interface

Figure 13. Biomorphic forms and patterns. Biomorphic facade and interior. ©️ Aslai/ Flickr ©️ Welsh Assembly Builidng in the UK.

Figure 19. Risk/peril. Glass floor and extruded walkway. ©️ Steve Troes Fotodesign ©️ SeattleSpheres

Figure 14. Material connection with nature. Use of wood and stone in the interior. ©️Juniper Design ©️ You Hongxiang

Biophilic design for educational spaces

Table 1. 14 patterns of biophilic desig

In Hypothesis and Its proof section, we have explored how biophilic design is influencing levels of stress, and now we can see how each of the patterns has its effect in various ways, and how they correspond to different mental states (Table 1).

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3.4 COMMON MISTAKES Before moving on to the main discussion and answering the question, we will also consider if there are any common mistakes made by designers and architects that can lead to not very successful design solutions and therefore building/space performance, which can affect our analysis further as well. Accordingly to Downton et al (2016), one of the common mistakes is introducing biophilic design only with vegetation. This is obviously the most common and most used method out of all, which represents the idea the best. Many people think that the bunch of greens will solve it, but biophilia is more than that. It leads us to another common mistake or miscomprehension, which is using only one of the patterns. Downton et al (2016) state that a combination of several patterns and their right use will lead to more successful design. Thus, while designing you should not only rely on one pattern but combining of several of them will result in a better space performance. It is also essential to use the right amount of those in different areas of the space. Otherwise, the positive can turn out the opposite. Additionally, one more thing that should be considered is common ways of design. For example, the ‘living walls’ or wooden floors in the offices of technology companies are so widespread that they have become a design cliché (Downton et al, 2016).

Vertical Forest in Milan ©️ 2020 Council on Tall Buildings and Urban Habitat

Biophilic design for educational spaces

4. Case studies: biophilic universities. As we have explored and understood the theory and most essential principles of biophilic design, and we know everything that needed to be kept in mind, we now can begin to analyse and answer the main question on how the designers are using biophilia in the educational sector, what are common patterns and how they decide what the best option for the project is. Let’s explore this through the examples: 4.1 EWHA WOMAN’S UNIVERSITY Location: Seoul, South Korea Year of Construction: 2008 Architect: Dominique Perrault Ewha Campus Complex (ECC) was designed and constructed by French architect Dominique Perrault in 2008 who won the competition in which other famous architects such as Zaha Hadid and London based agency FOA also participated. This building is an excellent example of green, eco-friendly university, integrated into the landscape, and it is also biophilic. Perrault (2012) says himself that it is not only about creating an eco-friendly sustainable project, that will have an impact on the surrounding area, but also provide multi-functional space for all, which will have a positive effect on students and local society. Referring back to what we already know, the 14 patterns, we can see how different patterns were used to create this project. The first thing that catches the eye is the roof - the landscape, which is not only a green roof but also a park in which various events can be held (Fig.20). This is the first, most obvious, but at the same time the most effective pattern visual connection with nature. Perrault (2012) says that ‘an idyllic garden is a result, creating a special place for gathering, conducting informal classes, and simply relaxing’. Before what we see now, there was a gorge. Perrault was inspired by this landscape feature to create such a shape for the building. Now we can see another pattern which is biomorphic forms and patterns, that represents the natural form of the landscape (Fig. 20). Analysing the building in more detail, it can be seen that they have also used such patterns as prospect and mystery. The prospect allows students and visitors to overlook the campus and surrounding area from the top (Fig. 22). The mystery is represented with different paths, including

Figure 20. ECC integrated into landscape. ©️ Pius Lee

Figure 21. Possibility of taking different paths through the building across a roof garden and through stone-paved valley. ©️ Andre Morin

Figure 22. View from the garden rooftop. ©️ Andre Morin

Figure 23. Stone-paved valley. ©️ Andre Morin

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walkways stretching along the roof (Fig. 21). ‘Two directions can be taken, one leading up a path across a garden, another downwards along a stone-paved valley, it’s interesting to go along both of them and find out where they will finally lead’ (ARCHITECTURES/ BAUKUNST, 2011) (Fig.23). Even the pavement is laid out in a way that repeats the natural pattern (Fig. 24). Next, we turn our attention to the interior and the facade. The interior of the building is quite simple and concise (Fig. 25), which contrasts very much with what we can see outside. On the inside, we can only see natural materials (wooden flooring), but as it is a cliché (referring back to Downton et al, 2016) (Fig. 26) which is so often used, this particular interior cannot be called biophilic only by this factor. The facade, on the opposite, uses and combines several patterns such as biomorphic forms and patterns and complexity and order, which can be clearly seen in the form of the window framing (Fig.27). ‘We were inspired by organic patterns found in nature’ says Perrault (2011). He does not explicitly state what exactly in nature has inspired him, but the first thing that comes to mind is the bark of trees. Such a facade structure, together with the shape of the building itself, also implies a whole two more patterns that are dynamic and diffuse light and thermal and airflow variability. The first entirely depends on the design of the window frames, which casts different shadows inside the building, thereby changing the light and atmosphere throughout the day (Fig. 28). Perrault (2011) adds in his interview that the interaction of the vertical facade and the gorge on the ground floor forms a single building (rather than two separate ones) and also creates a massive open space ‘where air and light can circulate from the outside inside and back’. Thus, at first glance, it seems that only one pattern was used, which is vegetation, but knowing the other 13 patterns and analysing the building more in depths, we can understand that there is more of biophilia than just a green roof. However, we can see that there is a vast difference in using biophilia in interior and exterior, whether it was made on purpose or not. As a result, such appearance of the building is aimed not only on visual aesthetic, sustainability, and overall visual look but also on positively affecting students and visitors, improving their well-being and therefore productivity and mental health. The whole design of the building ‘is devoted to stimulating students’ life’ says Perrault (2011).

Figure 24. Pavement inspired by natural pattern. ©️ Perrault D.

Figure 25. ECC main hall interior. ©️ Andre Morin

Figure 26. Interior wooden flooring. ©️ Andre Morin

Figure 27. Complexity and order in facade framing. ©️ Andre Morin

Figure 28. Facade framing casting different shadows throughout the day. ©️ Andre Morin

ECC biophilic patterns: - Visual connection with nature - Biomorphic forms and patterns - Prospect - Mystery -Complexity and order -Dynamic and diffuse light -Thermal and airflow variability

Biophilic design for educational spaces

4.2 THE UNIVERSITY OF WARSAW LIBRARY Location: Warsaw, Poland Year of construction: library 1993, garden 2002 Architect: library - Marek Budzyński and Zbigniew Badowski, garden - Irena Bajerska The BUW library (pol.: Biblioteka Uniwersytetu Warszawskiego) was designed by Marek Budzyński and Zbigniew Badowski, who won a competition for it in 1993, and it is an excellent example of a unique collaboration between nature and city, which is integrated into concrete brutalist quadrant building. The roof garden at the University of Warsaw library adorns and decorates its contours and ledges, air vents and grilles, creating an unusual bio-industrial and changing landscape (Fig. 29). Pedestrian bridges, cosy corners and arched paths form an ideal place to relax, where you can read a book, dine in the lap of nature or have a romantic date states Sodorohov (n.d). The roof garden of the library, designed by landscape designer Irena Bajerska, was opened in June 2002. This is one of the most extensive and most beautiful rooftop gardens in Europe to the moment. University of Warsaw Library (n.d) say that: It is a very popular resting place for students, residents of Warsaw, and tourists. It is used by the organisers of concerts and happenings, summer cinema, and urban games. As in the previous example, the first thing that immediately catches the eye is vegetation, its abundance in various shapes and sizes (Fig. 29). Of course, this is a visual connection with nature pattern. Mika (2015) says that it is the ‘unique composition of the library’s own botanical garden that integrates the building even better within its green surrounding and the nearby Vistula River that runs through the city’. The next things that we will turn out attention on are large massive striking up pillars with branches (Fig. 30; Fig. 31). Most likely, they are designed to create a shadow. It is impossible not to notice that they represent the trees, which is the pattern of biomorphic forms and patterns, where natural shapes and geometries drive the design. Analysing further, we find another pattern that is prospect. Since the garden is on the roof, from it, you can see

Figure 29. BUW rooftop garden. ©️ Warszawska Organizacja Turystyczna

Figure 30. Tree-like structures. ©️ Ola Synowiec

Figure 31. Close view at tree-like structures. ©️ uncube magazine

Figure 32. Top view at the garden illustrating prospect. ©️ BIBLIOTEKA UNIWERSYTECKA W

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the city streets and watch the passers-by (Fig. 32). The roof dome is made of glass, which allows visitors to observe people inside the building. Mika (2015) believes that it ‘creates a unique union between the building and the surrounding landscapes’. Compared to the roof, the library’s interior looks very cold, brutalist and even a bit empty, which undoubtedly contrasts very sharply with the amount of vegetation on the roof (Fig. 33) . Against this background, metal structures, that are similar in shape to those in the garden and also resemble trees, stand out very much, but in this case, they serve as a support for the glass roof (Fig. 34). Mika (2015) says: Yet it is not just the rooftop garden, the interior design or the characteristic copper green that make BUW so distinct. Each side of the building is full of innovative artistic features such as tree-like glass ceilings and the grand verdigris copper panels of the façade. It is also biomorphic forms and patterns pattern, which is the same with garden structures. At the same time, in addition to visual appearance, this structure has a semantic implication. As Mika (2015) states ‘It consists of eight seven-by-four-meter columnlike copper panels that resemble open books full of words, equations, and inscriptions’ (Fig. 35). Thus, through an analysis we can see that only 3 patterns have been used in this project visual connection with nature, biomorphic forms and patterns and prospect. The first was fully integrated on the roof, and it is immediately and easily noticeable. The second was used, both outside and inside of the building. Tree-like structures are undoubtedly a spectacular not only visual accent, which immediately catches the eye, but also semantic. At the same time, the use of glass, metal and concrete within the interior creates a sharp contrast with the roof garden. It looks like architects made the mistakes that were discussed before. However, this appearance is due to the contrast concept. ‘This design is the architects’ gloss, it is meant to symbolise the unity of two apparent opposites - nature and culture’ (Mika, 2015).

The BUW biophilic patterns: - Visual connection with nature - Biomorphic forms and patterns - Prospect

Biophilic design for educational spaces

4.3 KROON HALL AT YALE UNIVERSITY Locaton: New Heaven, USA Year of construction: 2009 Architect: Hopkins Architects, Centerbrook Architects and Planners

Kroon Hall in Yale University was completed in 2009 by Hopkins Architects and Centerbrook Architects and Planners. It is School of Forestry & Environmental Studies and university’s greenest building, which was chosen as one of the greenest buildings 2010, won AJ100: Building of the year, RIBA international and sixteen more awards (Fig. 36). In addition to its sustainable design, this building is also biophilic. Unlike the other two examples, we can see the absence of vegetation in the design of the interior and facade (Fig. 37: Fig. 43). All we see immediately is the abundance of wood on all surfaces from floor to ceiling. Absolutely everything is made of natural materials: floors, walls, roof, structural elements (Fig.38) and small details. This is material connection with nature pattern. The next biophilic solution is the natural forms and organic lines that form the sloping roof dome (Fig. 39). This is the next two patterns biomorphic forms and patterns and complexity and order, which follow the idea of flowing lines, organic forms and textures found in nature. Kellert (2018), who actually was senior research scholar at the Yale University School of Forestry and Environmental Studies, state that: The building contains several biophilic features that account for its widespread popularity. These include the extensive use of natural materials, natural shapes and forms, natural lightning, natural geometries, organised complexity, and a feeling of connection to the culture and history of the site.

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Further, if we analyse Kroon Hall taking into account its sustainable design principles, referring to the drawings of architects (Fig. 40), we will see that much attention was paid to natural ventilation in the building and the amount of natural light. This aspect is another biophilic pattern which is thermal and airflow variability. Panels located on the side of glass facade not only prevent bright blinding sunlight entering the space (Fig. 36), but also cast various shadows througout the day (Fig. 41; Fig. 43) which leads to another pattern dynamic and diffused light. Hopkins Architects (2010) say ‘the building’s long and thin shape was designed to maximise southern exposure for passive warmth and natural lighting throughout the interior while serving as the ideal orientation for both photovoltaic panels on the roof and hot-water solar units embedded in the wall’. Next, huge glass windows provide an overview of the surrounding areas (Fig. 42), which include gardens and different variations of green spaces. These two aspects offer two more patterns which are prospect and refuge. Kellert (2018) mentions that ‘biophilic design attributes include the replacement of a largely impervious landscape with vegetated courtyards, a rainwater garden, a native plant entry area, a stone façade, and many transitional spaces such as courtyards, collonades, and areas of prospect and refuge’ (Fig. 44, Fig. 45). Thus, we see that in addition to green design, this building has also integrated the principles of biophilic design. In this example, we can understand that it is not necessary to have vegetation in the interior to be biophilic; other patterns can be used to achieve this result. We can say that despite a rather simple view, many aspects were taken into account in this building: the aesthetic appearance, physical comfort, and environmental performance, as well as the influence of the environment on visitors using the space.

Figure 42. Massive windows Figure 43. Sunlight coming through providing and overwiev on the parts of a glass roof and wooden surrounding areas. ©️ Morley von interior. © wnpr Sternberg

Kroon Hall biophilic patterns: - Material connection with nature - Biomorphic forms and patterns - Complexity and order - Thermal and airflow variability - Dynamic and diffused light. - Prospect - Refuge

Biophilic design for educational spaces

4.4 CASE STUDIES COMPARISON AND RESULTS Comparing these three examples, we can see that biophilia was used in different scales: on a large architectural scale in Ewha University, on a medium scale as a roof garden and several elements of interior in the University of Warsaw Library, and a smaller scale in the interior design of the Kroon Hall in Yale university (Diagram 2). Despite the level of biophilic implementations, all of the examples have shown combined use not only of different patterns among themselves but the biophilia as a whole with other design solutions. In the first case, we can see that much biophilia was used on the exterior of the building and its facade, interacting with the landscape around the site. At the same time, less attention was paid to the interior, which remained almost empty. Within the second example, we can see how biophilia prevails on the roof like a garden, and only a few elements were used in the interior. By the concept, a sharp contrast has been created, and the interior looks very cold compared to the roof garden, with raging number of colours. In the third case, in addition to green design, a large amount of attention was paid to the interior of the Kroon Hall. As students tend to spend much time inside the building, this is undoubtedly a significant achievement in for the building performance.

EXTERIOR (Architectural)

INTERIOR

From the analysis of all three chosen case studies, it can be seen that the most frequent patterns that have been used are: 1. VISUAL CONNECTION WITH NATURE 2. THERMAL AND AIRFLOW VARIABILITY 3. DYNAMIC AND DIFFUSE LIGHT 4. BIOMORPHIC FORMS AND PATTERNS 5. MATERIAL CONNECTION WITH NATURE

EXTERIOR & INTERIOR

6. COMPLEXITY AND ORDER 7. PROSPECT 8. REFUGE

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5. Discussion: Moving forward. A more dynamic learning process is associated with many tasks, rigorous preparation for achieving results that will undoubtedly affect future life, and this is what makes students strain. The fact that they need to think about all of the tasks, execution of the ultimate goal and this multitasking constantly create a stressful state. For such situations, biophilic design is an ideal psychological relief. A change of scenery in such conditions can become the best medicine that allows to draw attention to new things and boost creativity and productivity (Kellert, 2018), to refresh and look at things from a different angle. During the research process, it was found that biophilic design principles in universities and schools are used way less than in modern offices and hospitals. A new question arises: if the biophilic design is so useful for mental health, then why is it not used in the educational sector as often as in other areas? This topic can be briefly discussed, expressing some assumptions, as there is no exact answer to this question at the moment, and further research is required.

One more reason may be conservatism and unwillingness to change something, because students come and go, and university employees usually work for a very long time in one place. Here again, we can refer back to the right use of patterns, their right application and maintenance, whether indoors or outdoors. From the case studies explored, we can see that different patterns can be combined to fulfil the designer intentions. Moreover, their appropriate use in the right areas of the building will lead to successful building performance. This question can be discussed for a long time, putting forward various theories and assumptions, but perhaps it is worth leaving it open for further discussion.

Firstly, we know that biophilic design creates a calm atmosphere of peace and relaxation around a human being. Long time exposure to nature possibly can reduce the release of working hormones and does not contribute to prolonged brain activity (Barton and Pretty, 2010). That is important in the assimilation of educational material. At the same time, using the right amount of nature in the right places, according to Downton et al. (2016), for example in open public spaces of the university can help relieve stress. As Kellert (2008) said, a change in the environment favourably affects the digestibility of the material and its characteristics. Another and most important factor is regulations, whether they are building regulations or other laws. Changing some aspects of space is a long process that should take into account all the standards, both national and international. They impose certain restrictions on the educational environment, including the physical organisation and design. The next factor is that the reconstruction of existing conditions requires not only one-time financial costs but also quite expensive maintenance. For example, it is challenging to maintain a massive amount of vegetation, especially indoors. Biophilic staircase. ÂŠď¸? AirDesign.

Biophilic design for educational spaces

Conclusion To sum up, one of the best features of biophilic design is its scalability. Different patterns can be used at different scales, combined with other architectural or design intentions. Moreover, a design that is genuinely biophilic in nature (rather than exploiting individual biophilic solutions that apply to existing environments) helps maximise health benefits. Thus, we see that designers can and do use biophilia in the educational sector in different ways, applying different patterns, different techniques, combining them with other architectural techniques, different concepts, applying these ideas on different scales and in different parts of the building starting from large-scale projects ending with small details. All these completely different approaches are united by the fact that architects and designers are not only striving to improve the visual aesthetics of the building, to make as eco-friendly design as possible, but also try to help students with their mental health using biophilic principles that help reduce stress levels, improve mood, productivity and well-being. â&#x20AC;Śthe enjoyment of scenery employs the mind without fatigue and yet exercises it, tranquillises it and yet enlivens it; and thus, through the influence of the mind over the body, gives the effect of refreshing rest and reinvigoration to the whole system. (Browning, Ryan and Clancy, 2014, p.2 cited Frederick Law Olmsted, 1865).

Interior of The Spheres, Amazon office in Seattle, USA. ÂŠď¸? Flickr

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Biophilic design for educational spaces

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