Biophilia, by definition, means to improve connectivity by incorporating nature into an environment or space. Biophilic design has become increasingly popular since the early 1980s when the American biologist, Edward O. Wilson, created his philosophy of Biophilia, which believes that humans have an innate, biological affinity for the natural world (Schwab, 2019). For many thousands of years humans have evolved in response to natural forces with artificial or man-made influences being a relatively recent phenomenon, with the Industrial Revolution only beginning in the 18th Century. It has been suggested that biophilic design evolved from the ‘green architecture movement’ of the mid 1990s and early 2000s, which resulted in a wide range of environmentally and energy-efficient buildings. However biophilia goes beyond protecting the planet and the world’s resources by looking to benefit the people who are living or working within the built space, through satisfying our innate desire to connect with nature (Sterkenberg, 2021).
Stephen Kellert who had a particular interest in the human need for nature, and sustainable design and development teamed with a group of academics to develop the idea of biophilia. They named the approach of purposefully bringing nature into the buildings and our human environment “biophilic design”. The photographs below, taken from Stephen R. Kellert, Elizabeth F. Calabrese’s article ‘The Practice of Biophilic Design’ (Kellert, S. and Calabrese, E. 2015. The Practice of Biophilic Design. www.biophilic-design.com), illustrate well the difference that consideration of biophilic design can make, not only in terms of the aesthetic but in the outcome for health and wellbeing.
As people become more health-conscious, wanting to indulge more in their surroundings I believe biophilia has taken on even greater meaning. With the increase in the prevalence of terminal illness, with cancer now likely to affect 1 in 2 in their lifetime, people are wanting to explore ways they could escape this inevitable ending and are seeking to do this by trying to create more healthy and beneficial environments. The theory behind biophilic design is, that bringing the outside inside will positively impact on one’s health through increased oxygen levels, and a brightened atmosphere. I also think the extensive use of natural light in biophilic environments gives a positive effect on the human brain and lifts mood.
In today’s world, the interest in biophilia is on the uprise with names like Oliver Heath becoming synonymous with biophilic design. His recent biophilic environments have really interested me, especially the “Mind Studio”; a wellness and meditation space, which he created in London. Careful consideration has been given to all aspects of the design; for example in the meditation studio, there is a floor to ceiling panel of living plants, which not only soothe, calm and de-stress, lowering heart rates and blood pressure, but also have a physical impact on the environment by filtering out toxins and reducing Co2. The use of low volatile organic compounds and the HEPA filter air filtration system also serves to improve air quality, so important in an urban city setting. Natural, toxin-free materials were selected throughout to create a warm and inviting space, he selected the softwood, Douglas Fir to provide display units in the reception and retail area; this is left in its natural state so the beauty of the grain can be seen. To lower the environmental impact reclaimed materials have been used where possible. The use of natural light is maximised throughout the space and complimented with the circadian lighting and Himalayan Rock Salt lighting features, that offer a warm and soothing glow. There is a minimalist and uncluttered feeling to the layout with plants positioned carefully for maximum effect (Heath, 2022).
In 2017 Oliver Heath participated in a Design Seminar: Biophilic Design in the Public Sector. This looked at all aspects of Biophilic Design, it was interesting to note that Heath felt that although over the last 30 years there had been a great deal of biophilic design research, the impact of this is yet to be fully translated into the built environment. At the same seminar, there was also discussion of the positive impact of biophilic design in educational settings with Heath claiming: ‘we also know that children can learn 20-25 per cent faster in natural light, they take less time off and also test results and cognitive functioning have been proven to improve by between five and 14 per cent, so it’s quite a significant potential impact.' There was also discussion about the financial constraints in education, and the difficulties around maintaining living plants (Maxwell, 2017). However in my view, if we can improve outcomes for the younger generation this would be a more than worthwhile investment that would pay for itself in the longer term.
In 2013 a completely “green” hotel was built in Singapore called the “PARKROYAL on Pickering”. The hotel was awarded the Green Mark Platinum Award, Singapore’s highest environmental certification. Set in the central business district of the city, PARKROYAL on Pickering is unique, and revolutionary in design with over 15,000 square metres of greenery, approximately double the area of the site. Tropical plants traverse balconies and surfaces, bringing the adjacent Hong Lim Park into one with the hotel; each guest room has a garden view; it is often referred to as a ‘garden-in-a-hotel’. Looking to topography for inspiration, concrete is contoured to resemble natural rock formations which brings a futuristic while organic ‘feel’ to the space. However, this is more than simply stunning aesthetics and clever visual design, every aspect of the environment has been considered not only in terms of the ‘experience’ for the hotel guests but in the environmental impact. It is designed to be self-sustaining; rainwater gathered on the upper
level falls is channelled to feed the plants lower down the building, with water recycled to supply the numerous water features throughout the building. Solar panels power the grow lamps and softscape lighting making this possibly one of the first Zero energy Sky Gardens in the world. The hotel was built with biophilic intentions in mind with use of clever planting, organic materials, water features and mirrors to cleverly reflect the natural light. This creates a unique and immersive biophilic experience for the guests of the hotel (Frearson, 2013).
With the current Covid-19 pandemic people have become more aware of their environment than ever. When the lockdown happened, people were forced to spend all their time in their houses, this in turn pushed people to want to make it a nicer space and one that could benefit them health-wise. Interior design magazines such as “Elle Decoration” noticed this changed and started to include many examples of biophilic interiors in their magazines. It would appear, that even big brands like Ikea have caught onto this movement and increased their plant stock, now having a wider range of real plants alongside the artificial ones. However biophilic design is more than adding a few strategically placed houseplants or some natural wood shelving. As designers, we have a responsibility to carefully consider all the attributes of biophilic design to truly have a lasting impact rather than becoming a passing trend.
Given the growing levels of stress-related and mental health issues that are affecting today's employees, I believe that there is an ever-greater need for a biophilic approach to all aspects of design. Losing those closest to me to cancer has made me think deeply about the stresses of life and the impact of our environment upon our bodies. In the same way that we need a healthy planet, we as a race need to look at bringing a focus on health and well-being into the environments in which we live and work.
It is interesting that biophilia is integral to the design of some purpose-built cancer centres (Maggie’s Centres) like the one in Lanarkshire, Scotland, designed by Reiach and Hall; recently recognised as one of the top 10 Biophilic buildings. Adjacent to the hospital, the Maggie’s Centre at Lanarkshire has been designed to fit around the existing trees on the site. Maggie's commented, 'The essence of the design is the creation of a matrix of courtyards that result in a porous building, an extension of the landscape that offers moments of visibility and outlook with places of privacy and inlook' (design/curial, 2019).
I am passionate about making design purposeful and believe that biophilia is integral to our future. I see immense potential in biophilic design being more than a passing trend. Its potential in urban renewal is huge, as can be seen in the redevelopment of the Nottingham 1970s Broadmarsh Shopping Centre, which is to be transformed to become a housing complex shrouded in plants with a climbing wall and a community garden. Birmingham is also leading the way in the UK and has been a member of the Biophilic Cities organisation since 2013 (Fisher, 2021). With new housing developments seeping ever more into the countryside, as can be seen especially here in Devon, we are losing our vast open spaces and rolling green fields. I believe this approach, of bringing nature into our homes, will become essential making biophilic design the norm.
I first became fully aware of protecting the planet when Greta Thunberg, then 15, hit the headlines, protesting outside the Swedish parliament. She called school children out on strike against climate change, this started a global movement with over 20,000 children missing school in protest. Being the same age as Greta, this resonated with me and started me thinking more about sustainability. I propose that sustainable design is multi-faceted and more than just upcycling or using renewables. I want to make longevity key to my work. I believe sustainable design to be more than simply the use of sustainable materials; it is about durability and the re-defining of 'fashion.' I will create interiors that will endure; designed for minimum environmental impact; with high-quality materials; engineered to be readily repairable. My work will kick back against ‘fast fashion’ and our culture of throw-away design. I believe that with a two-pronged approach, that of protecting the planet through keeping sustainability present in every aspect of my work, while providing interiors that support health and well-being, there is a chance we can move forward to a more sustainable future.
With our world on the brink of mental health and physical crisis. Thoughtful and considered interior design can play a part in providing calming and healing spaces, bringing us closer to the rhythms of nature while protecting the natural world and the resources it provides us, living in a beautiful space shouldn't have to cost the earth.
Through taking a biophilic approach, as designers we can seek to connect with all the human senses of sight, sound, touch, smell, taste, and movement. I find this an exciting challenge, to create a truly immersive, sensory experience, for the users of the spaces I create. It is known that as humans we have a strong visual sense and the study of biophilia has shown that the natural aesthetics of our surroundings can create a powerful response, whereas without this visual stimulus we can quickly become bored and fatigued. Although the visual senses can be quite dominant in many people, our other senses are also important, and when stimulated all contribute to our sense of comfort and wellbeing as well as contributing to cognitive performance.
In their book Kellert and Calabrese divide the attributes of biophilic design into three distinct categories: Direct experience of nature (including light, air, water, plants, animals, weather, natural landscapes, ecosystems and fire), Indirect experience of nature (including images of nature, natural materials, natural colours, simulating natural light and air, naturalistic shapes and forms, evoking nature, information richness, age, change, and the patina of time, natural geometries, biomimicry) and Experience of light and space (prospect and refuge, organized complexity, integration of parts to wholes, transitional spaces, mobility and wayfinding, cultural and ecological attachment to place), (Stephen R. Kellert, 2015). I found this delineation very helpful when thinking about designing and planning a space and think it will support my reflection and evaluation of my design work. I am particularly interested in how colour can be used in biophilic design and the interplay between colours. When looking to nature, colours can be very neutral with earth tones and rich greens; also incredibly vibrant, for example in tropical flowers however there is always harmony and while strong colour may stimulate it doesn’t jar the senses. I also think we can learn a lot about colour by looking at colour in our natural environment and that often it is about finding the right undertones to hit upon a shade to calm the senses.
I have found my research into biophilic design fascinating, it has opened up many more possibilities than I initially realised; I now have a deeper, more concrete understanding. The opportunity to take a multi-sensory approach to design while also considering sustainability and the protection of the natural world while promoting health and wellbeing, I find incredibly exciting and a stimulus for creativity. I have always liked there to be a purpose behind my work and an ethical intent. Through following the principles of biophilic design I believe I will be working in a style which is sustainable by nature and that this will create the longevity I am looking for in my work. As I move forward, I am interested to see how biophilic design will evolve in the future, how we can bring it into all aspects of our lives, so that it becomes the norm and not exclusive to those that can afford it; so that we have this approach in all our shared spaces, our schools and our hospitals, so that it is part of creating a more equitable society for all.
Works Cited
Anon., 2019. design/curial. [Online] Available at: https://www.designcurial.com/news/biophilic-design-and-architecture---10-of-the-best-biophilic-buildings-4527750/11
Design, O. H., 2022. Oliver Heath Design. [Online] Available at: https://www.oliverheath.com/case-studies/remind/
Fisher, A., 2021. [Online] Available at: https://www.theguardian.com/cities/2021/dec/19/grassroots-rebels-meet-the-biophilics-who-are-busy-greening-our-cities
Heath, O., 2022. [Online].
Maxwell, T., 2017. design/curial. [Online] Available at: https://www.designcurial.com/news/design-seminar-biophilic-design-in-the-public-sector-5806946/
Schwab, K., 2019. [Online] Available at: https://www.fastcompany.com/90333072/what-is-biophilic-design-and-can-it-really-make-you-happier-and-healthier?partner=rss&utm_source=rss&utm_medium=feed&utm_campaign=rss+fastcompany&utm_content=rss
Stephen R. Kellert, E. F. C., 2015. The Practice of Biophilic Design. [Online] Available at: https://www.biophilic-design.com/
Sterkenberg, Z., 2021. The Official Biophilic Design Trends Guide for Commercial Environments. [Online] Available at: https://www.ambius.com/blog/biophilic-design-trends-guide-2020/
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