The Healing Power of Nature
Above. Hut at the Bamboo Bridge, Pai, Mae Hong Son, Thailand [2019]. Photography: Julian Peters.
Preface
This text is an excerpt from 14 Patterns of Biophilic Design: Improving Health and Well-Being in the Built Environment by New-York based environmental consultancy Terrapin Bright Green.
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Synopsis
Biophilic design can reduce stress, enhance creativity and clarity of thought, improve our well-being and expedite healing; as the world population continues to urbanise, these qualities are ever more important. Theorists, research scientists, and design practitioners have been working for decades to define aspects of nature that most impact our satisfaction with the built environment. 14 Patterns of Biophilic Design articulates the relationships between nature, human biology and the design of the built environment so that we may experience the human benefits of biophilia in our design applications.
Biophilia in Context looks at the evolution of biophilic design in architecture and planning and presents a framework for relating the human biological science and nature. Design Considerations explores a sampling of factors [e.g., scale, climate, user demographics] that may influence biophilic design decisions to bring greater clarity to why some interventions are replicable and why others may not be. The Patterns lays out a series of tools for understanding design opportunities, including the roots of the science behind each pattern, then metrics, strategies and considerations for how to use each pattern. This paper moves from research on biophilic responses to design application as a way to effectively enhance health and well-being for individuals and society.
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Biophilia in Context
Rediscovering The Intuitively Obvious
The term ‘biophilia’ was first coined by social psychologist Eric Fromm [The Heart of Man, 1964] and later popularised by biologist Edward Wilson [Biophilia, 1984]. The sundry denotations – which have evolved from within the fields of biology and psychology, and been adapted to the fields of neuroscience, endocrinology, architecture and beyond – all relate back to the desire for a [re]connection with nature and natural systems.
That we should be genetically predisposed to prefer certain types of nature and natural scenery, specifically the savanna, was posited by Gordon Orians and Judith Heerwagen [Savanna Hypothesis, 1986], and could theoretically be a contributing motivation for moving to the suburbs, with the suburban lawn being a savanna for everyone.
With the emergence of the green building movement in the early 1990s, linkages were made between improved environmental quality and worker productivity [Browning & Romm, 1994]. While the financial gains due to productivity improvements were considered significant, productivity was identified as a placeholder for health and well-being, which have even broader impact.
The healing power of a connection with nature was established by Roger Ulrich’s landmark study comparing recovery rates of patients with and without a view to nature [Ulrich, 1984]. An experiment at a new Herman Miller manufacturing facility, designed by William McDonough + Partners in the 1990s, was one of the first to specifically frame the mechanism for gains in productivity to connecting building occupants to nature – phylogenetic or, more familiarly, biophilic design [Heerwagen & Hase, 2001].
The translation of biophilia as a hypothesis into design of the built environment was the topic of a 2004 conference and subsequent book on biophilic design [Kellert, Heerwagen & Mador, 2008] in which Stephen Kellert identified more than 70 different mechanisms for engendering a biophilic experience, and contributing authors William Browning and Jenifer Seal-Cramer outlined three classifications of user experience: Nature in the Space, Natural Analogues, and Nature of the Space.
The last decade has seen a steady growth in work around and the intersections of neuroscience and architecture, both in research and in practice; even green building standards have begun to incorporate biophilia, predominantly for its contribution to indoor environmental quality and connection to place. Popular texts, such as Last Child in the Woods [Louv, 2008], Healing Spaces [Sternberg, 2009], The Shape of Green [Hosey, 2012], Your Brain on Nature [Selhub & Logan, 2012], and The Economics of Biophilia [Terrapin Bright Green, 2012], are bringing the conversation mainstream, helping the public grapple with modern society’s dependency on technology and persistent disconnect with nature.
Most recently, biophilic design is being championed as a complementary strategy for addressing workplace stress, student performance, patient recovery, community cohesiveness and other familiar challenges to health and overall well-being.
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Biophilia in Context
Defining Nature
Views of what constitutes natural, nature, wild, or beautiful greatly vary. While we have no intention of formalising an explicit definition, some articulation of what we mean by ‘nature’ will help give context to practitioners of biophilic design. Simply put, there are two extreme connotations of nature. One is that nature is only that which can be classified as a living organism unaffected by anthropogenic impacts on the environment – a narrow perspective of nature [reminiscent of conventional hands-off environmental preservation] that ultimately no longer exists because nearly everything on Earth has been and will continue to be impacted at least indirectly by humans. Additionally, this idea of nature essentially excludes everything from the sun and moon, [pets], home gardens and urban parks, to humans and the billions of living organisms that make up the biome of the human gut.
* anthropogenic [adj.] of, relating to, or resulting from the influence of human beings on nature.
Alternatively, it could be argued that everything, including all that humans design and make, is natural and a part of nature because they are each extensions of our phenotype. As a middle ground, for the purpose of understanding the context of Biophilic Design, we are defining nature as living organisms and non-living components of an ecosystem – inclusive of everything from the sun and moon and seasonal arroyos, to managed forests and urban raingardens...
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Biophilia in Context
Nature-Design Relationships
Biophilic design can be organised into three categories – Nature in the Space, Natural Analogues, and Nature of the Space – providing a framework for understanding and enabling thoughtful incorporation of a rich diversity of strategies into the built environment.
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Nature in the Space
Nature in the Space addresses the direct, physical and ephemeral presence of nature in a space or place. This includes plant life, water and animals, as well as breezes, sounds, scents and other natural elements. Common examples include potted plants, flowerbeds, bird feeders, butterfly gardens, water features, fountains, aquariums, courtyard gardens and green walls or vegetated roofs. The strongest Nature in the Space experiences are achieved through the creation of meaningful, direct connections with these natural elements, particularly through diversity, movement and multi-sensory interactions.
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Natural Analogues
Natural Analogues addresses organic, non-living and indirect evocations of nature. Objects, materials, colors, shapes, sequences and patterns found in nature, manifest as artwork, ornamentation, furniture, décor, and textiles in the built environment. Mimicry of shells and leaves, furniture with organic shapes, and natural materials that have been processed or extensively altered [e.g., wood planks, granite tabletops], each provide an indirect connection with nature: while they are real, they are only analogous of the items in their ‘natural’ state. The strongest Natural Analogue experiences are achieved by providing information richness in an organised and sometimes evolving manner.
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Nature of the Space
Nature of the Space addresses spatial configurations in nature. This includes our innate and learned desire to be able to see beyond our immediate surroundings, our fascination with the slightly dangerous or unknown; obscured views and revelatory moments; and sometimes even phobia-inducing properties when they include a trusted element of safety. The strongest Nature of the Space experiences are achieved through the creation of deliberate and engaging spatial configurations commingled with patterns of Nature in the Space and Natural Analogues.
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Biophilia in Context
Nature-Health Relationships
Much of the evidence for biophilia can be linked to research in one or more of three overarching mind-body systems – cognitive, psychological and physiological – that have been explored and verified to varying degrees, in laboratory or field studies, to help explain how people’s health and well-being are impacted by their environment. To familiarise the reader with these nature-health relationships, these mind-body systems are discussed here in the briefest sense, and are supported with a table of familiar hormones and neurotransmitters, environmental stressors, and biophilic design strategies.
Cognitive Functionality and Performance
Cognitive functioning encompasses our mental agility and memory, and our ability to think, learn and output either logically or creatively. For instance, directed attention is required for many repetitive tasks, such as routine paperwork, reading and performing calculations or analysis, as well as for operating in highly stimulating environments, as when crossing busy streets. Directed attention is energy intensive, and over time can result in mental fatigue and depleted cognitive resources.
Strong or routine connections with nature can provide opportunities for mental restoration, during which time our higher cognitive functions can sometimes take a break. As a result, our capacity for performing focused tasks is greater than someone with fatigued cognitive resources.
Psychological Health and Well-Being
Psychological responses encompass our adaptability, alertness, attention, concentration, and emotion and mood. This includes responses to nature that impact restoration and stress management. For instance, empirical studies have reported that experiences of natural environments provide greater emotional restoration, with lower instances of tension, anxiety, anger, fatigue, confusion and total mood disturbance than urban environments with limited characteristics of nature. Psychological responses can be learned or hereditary, with past experiences, cultural constructs and social norms playing a significant role in the psychological response mechanism.
Physiological Health and Well-Being
Physiological responses encompass our aural, musculoskeletal, respiratory, circadian systems and overall physical comfort. Physiological responses triggered by connections with nature include relaxation of muscles, as well as lowering of diastolic blood pressure and stress hormone [i.e., cortisol] levels in the blood stream. Short term stress that increases heart rate and stress hormone levels, such as from encountering an unknown but complex and information-rich space, or looking over a banister to eight stories below, is suggested to be beneficial to regulating physiological health. The physiological system needs to be tested regularly, but only enough for the body to remain resilient and adaptive. Physiological responses to environmental stressors can be buffered through design, allowing for the restoration of bodily resources before system damage occurs.
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'The enjoyment of scenery employs the mind without fatigue and yet exercises it; tranquilises 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.'
- Frederick Law Olmsted
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The Patterns
Pattern as Precedent
In the two decades since Edward O. Wilson published The Biophilia Hypothesis, the body of evidence supporting biophilia has expanded considerably. The biophilic design patterns in this paper have, in the words of Wilson, been 'teased apart and analysed individually' to reveal emotional affiliations Wilson spoke of, as well as other psychophysiological and cognitive relationships with the built environment.
The descriptive term 'pattern' is being used for three reasons:
- to propose a clear and standardised terminology for biophilic design;
- to avoid confusion with multiple terms [metric, attribute, condition, characteristic, typology, etc.] that have been used to explain biophilia and biophilic design; and
- to maximise accessibility across disciplines by upholding a familiar language.
The use of spatial patterns is inspired by the precedents of A Pattern Language [Alexander, Ishikawa, Silverstein et al., 1977], Designing with People in Mind [R. Kaplan, S. Kaplan, & Ryan, 1998] and Patterns of Home [Jacobson, Silverstein & Winslow, 2002], as well as lectures and compilations on form, language and complexity [Nikos Salingaros, 2000]. Christopher Alexander brings clarity to this intent with his explanation that patterns:
'........describe a problem which occurs over and over again in our environment, and then describes the core of the solution to that problem, in such a way that you can use this solution a million times over, without ever doing it the same way twice.'
Alexander’s work built on the tradition of pattern books used by designers and builders from the eighteenth century onward, but his work focused on the psychological benefits of patterns and included descriptions of the three dimensional spatial experience, rather than the aesthetic focus of previous pattern books.
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Nature in the Space
Visual Connection with Nature
The Experience
A space with a good Visual Connection with Nature feels whole, it grabs one’s attention and can be stimulating or calming. It can convey a sense of time, weather and other living things.
Roots of the Pattern
The Visual Connection with Nature pattern has evolved from research on visual preference and responses to views to nature showing reduced stress, more positive emotional functioning, and improved concentration and recovery rates. Stress recovery from visual connections with nature have reportedly been realised through lowered blood pressure and heart rate; reduced attentional fatigue, sadness, anger, and aggression; improved mental engagement/attentiveness, attitude and overall happiness. There is also evidence for stress reduction related to both experiencing real nature and seeing images of nature. Visual access to biodiversity is reportedly more beneficial to our psychological health than access to land area [i.e., quantity of land].
Positive impact on mood and self-esteem has also been shown to occur most significantly in the first five minutes of experiencing nature, such as through exercise within a green space [Barton & Pretty, 2010]. Viewing nature for ten minutes prior to experiencing a mental stressor has shown to stimulate heart rate variability and parasympathetic activity [i.e., regulation of internal organs and glands that support digestion and other activities that occur when the body is at rest] [Brown, Barton & Gladwell, 2013], while viewing a forest scene for 20 minutes after a mental stressor has shown to return cerebral blood flow and brain activity to a relaxed state [Tsunetsugu & Miyazaki, 2005].
Viewing scenes of nature stimulates a larger portion of the visual cortex than non-nature scenes, which triggers more pleasure receptors in our brain, leading to prolonged interest and faster stress recovery. For example, heart rate recovery from low-level stress, such as from working in an office environment, has shown to occur 1.6 times faster when the space has a glass window with a nature view, rather than a high-quality simulation [i.e., plasma video] of the same nature view, or no view at all [Kahn et al., 2008]. Additionally, repeated viewing of real nature, unlike non-nature, does not significantly diminish the viewer’s level of interest over time [Biederman & Vessel, 2006].
Working with the Pattern
The objective of the Visual Connection with Nature pattern is to provide an environment that helps the individual shift focus to relax the eye muscles and temper cognitive fatigue. The effect of an intervention will improve as the quality of a view and the amount of visible biodiversity each increases.
Examples
Naturally Occurring
- Natural flow of a body of water
- Vegetation, including food bearing plants
- Animals, insects
- Fossils
- Terrain, soil, earth
Simulated or Constructed
- Mechanical flow of a body of water
- Koi pond, aquarium
- Green wall
- Artwork depicting nature scenes
- Video depicting nature scenes
- Highly designed landscapes
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Nature in the Space
Non-Visual Connection with Nature
The Experience
A space with a good Non-Visual Connection with Nature feels fresh and well balanced; the ambient conditions are perceived as complex and variable but at the same time familiar and comfortable, whereby sounds, aromas, and textures are reminiscent of being outdoors in nature.
Roots of the Pattern
The Non-Visual Connection with Nature pattern has evolved from research on reductions in systolic blood pressure and stress hormones; impact of sound and vibration on cognitive performance; and perceived improvements in mental health and tranquility as a result of non-visual sensory interactions with non-threatening nature. Each sensory system has a vast body of research to support it; here we provide just a taste.
Auditory
Research shows that exposure to nature sounds, when compared to urban or office noise, accelerates physiological and psychological restoration up to 37% faster after a psychological stressor [Alvarsson et al., 2010] and reduces cognitive fatigue and helps motivation [Jahncke et al., 2011]. Participants of one study who either listened to river sounds or saw a nature movie with river sounds during a post-task restoration period reported having more energy and greater motivation after the restoration period compared to participants who only listened to office noise or silence [Jahncke et al., 2011]. In addition, viewing the nature movie with river sounds during the restoration period had a more positive affect than only listening to river sounds alone.
Ocean waves and vehicle traffic can have a very similar sound pattern. In an experiment using a synthesised sound that replicated the waves and traffic sound pattern, researchers observed that participants processed the synthesised sound in different portions of the brain depending on whether they were also watching a video of either waves or vehicle traffic [Hunter et al., 2010]. Participants considered the sound to be pleasurable when viewing the video of waves, but not when viewing the video of traffic. This study suggests a strong connection between our visual and auditory sensory systems and psychological well-being.
Olfactory
Our olfactory system processes scent directly in the brain, which can trigger very powerful memories. Traditional practices have long used plant oils to calm or energise people. Studies have also shown that olfactory exposure to herbs and phytoncides [essential oils from trees] have a positive effect on the healing process and human immune function, respectively (Li et al., 2012; Kim et al., 2007].
Haptic
Pet therapy, where companionship and the act of petting and feeling the fur of domesticated animals, is known to have profound calming effects on patients; gardening and horticulture activities have shown to engender environmental stewardship among children, reduce self-reported fatigue while maintaining joint flexibility among adults [e.g., Yamane et al., 2004], and reduce perception of pain among senior populations with arthritis. The act of touching real plant life, versus synthetic plants, has also shown to induce relaxation through a change in cerebral blood flow rates [e.g., Koga & Iwasaki, 2013]. These examples give reason to believe that the experience of touching other elements in nature, such as water or raw materials, may result in similar health outcomes.
Gustatory
Tasting is yet another way of experiencing nature and learning about our environment. While adults are often curious or fearful of edible plants and herbs, consider the familiar habit of infants and toddlers putting found objects in their mouths – they are seeking information.
Working with the Pattern
The objective of the Non-Visual Connection with Nature pattern is to provide an environment that uses sound, scent, touch and possibly even taste to engage the individual in a manner that helps reduce stress and improve perceived physical and mental health. These senses can be experienced separately, although the experience is intensified and the health effect is compounded if multiple senses are consistently engaged together.
Examples
Naturally Occurring
- Fragrant herbs and flowers
- Songbirds
- Flowing water
- Weather [rain, wind, hail]
- Natural ventilation [operable windows, breezeways]
- Textured materials [stone, wood, fur]
- Crackling fire/fireplace
- Sun patches
- Warm/cool surfaces
Simulated or Constructed
- Digital simulations of nature sounds
- Mechanically released natural plant oils
- Highly textured fabrics/textiles that mimic natural material textures
- Audible and/or physically accessible water feature
- Music with fractal qualities
- Horticulture/gardening, including edible plants
- Domesticated animals/pets
- Honeybee apiary
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Nature in the Space
Non-Rhythmic Sensory Stimuli
The Experience
A space with good Non-Rhythmic Sensory Stimuli feels as if one is momentarily privy to something special, something fresh, interesting, stimulating and energizing. It is a brief but welcome distraction.
Roots of the Pattern
The Non-Rhythmic Sensory Stimuli pattern has evolved from research on looking behavior [particularly periphery vision movement reflexes]; eye lens focal relaxation patterns; heart rate, systolic blood pressure and sympathetic nervous system activity; and observed and quantified behavioral measures of attention and exploration.
Studies of the human response to stochastic movement of objects in nature and momentary exposure to natural sounds and scents have shown to support physiological restoration. For instance, when sitting and staring at a computer screen or doing any task with a short visual focus, the eye’s lens becomes rounded with the contracting of the eye muscles. When these muscles stay contracted for an extended period, i.e., more than 20 minutes at a time, fatigue can occur, manifesting as eye strain, headaches and physical discomfort. A periodic, yet brief visual or auditory distraction that causes one to look up [for >20 seconds] and to a distance[of >20 feet] allows for short mental breaks during which the muscles relax and the lenses flatten [Lewis, 2012; Vessel, 2012].
Working with the Pattern
The objective of the Non-Rhythmic Sensory Stimuli pattern is to encourage the use of natural sensory stimuli that unobtrusively attract attention, allowing individuals’ capacity for focused tasks to be replenished from mental fatigue and physiological stressors. This can be achieved by designing for momentary exposure to the stochastic or unpredictable movement, particularly for periphery vision or the periodic experience of scents or sounds.
When immersed in nature, we continually experience instances of non-rhythmic stimuli: birds chirping, leaves rustling, the faint scent of eucalyptus in the air. The built environment has evolved into a deliberately predictable realm. Even some highly manicured gardens and certainly interior vegetation lack the qualities needed to support non-rhythmic sensory stimuli.
Examples
Naturally Occurring
- Cloud movement
- Breezes
- Plant life rustling
- Water babbling
- Insect and animal movement
- Birds chirping
- Fragrant flowers, trees and herbs
Simulated or Constructed
- Billowy fabric or materials that move or glisten with light or breezes
- Reflections of water on a surface
- Shadows or dappled light that change with movement or time
- Nature sounds broadcasted at unpredictable intervals
- Mechanically released plant oils
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Nature in the Space
Thermal and Airflow Variability
The Experience
A space with good Thermal & Airflow Variability feels refreshing, active, alive, invigorating and comfortable. The space provides a feeling of both flexibility and a sense of control.
Roots of the Pattern
The Thermal & Airflow Variability pattern has evolved from research measuring the effects of natural ventilation, its resulting thermal variability, and worker comfort, well-being and productivity; physiology and perception of temporal and spatial pleasure (alliesthesia); the impact of nature in motion on concentration; and, generally speaking, a growing discontent with the conventional approach to thermal design, which focuses on achieving a narrow target area of temperature, humidity and air flow while minimizing variability.
Research shows that people like moderate levels of sensory variability in the environment, including variation in light, sound and temperature, and that an environment devoid of sensory stimulation and variability can lead to boredom and passivity [e.g., Heerwagen, 2006]. Early studies in alliesthesia indicate that pleasant thermal sensations are better perceived when one’s initial body state is warm or cold, not neutral [e.g., Mower, 1976], which corroborates more recent studies reporting that a temporary over-cooling of a small portion of the body when hot, or over-heating when cold, even without impacting the body’s core temperature, is perceived as highly comfortable [Arens et al., 2006].
According to Attention Restoration Theory, elements of 'soft fascination' such as light breezes or other natural movements can improve concentration [Heerwagen & Gregory, 2008; S. Kaplan, 1995]. Other research indicates that a variety of thermal conditions within a classroom can lead to better student performance [Elzeyadi, 2012]; and that changes in ventilation velocity can have a positive impact on comfort, with no negative impact on cognitive function, while also offering the possibility of some increase in the ability to access short term memory [Wigö, 2005].
Working with the Pattern
The objective of the Thermal & Airflow Variability pattern is to provide an environment that allows users to experience the sensory elements of airflow variability and thermal variability. The intent is also for the user to be able to control thermal conditions, either by using individual controls, or allowing occupants access to variable ambient conditions within a space.
In contrast, conventional thermal design tries to achieve a narrow target area of temperature, humidity and airflow, while minimising variability – the goal being to maintain conditions within the 'ASHRAE comfort envelope'. When the entire space meets this goal, laboratory-based predictive models assert that 80% of the occupants would be satisfied at any given time – traditionally an acceptable outcome industry-wide. An alternative approach is to provide combinations of ambient and surface temperatures, humidity and airflow, similar to those experienced outdoors, while also providing some form of personal control [e.g., manual, digital, or physical relocation] over those conditions.
Providing variable conductance materials, seating options with differing levels of solar heat gain [indoors and outdoors] or proximity to operable windows – as welcome as catching a cooling breeze on a sunny day or leaning one’s back on a warm rock on a cool day – could improve the overall satisfaction of a space.
Since thermal comfort is inherently subjective, and strongly varies between people, it is important to give a degree of control to individuals, which can manifest architecturally [e.g., access to operable windows or shades] or mechanically [e.g., access to localised and energy-efficient fans or heaters, and thermostat controls]. When an individual experiences thermal discomfort, he or she will likely take action to adapt [e.g., put on a sweater; move to a different seat; submit a complaint]. Sometimes these adaptive actions are simply in response to dynamic changes in personal preference. In order to create an enhanced thermal experience, conditions do not have to reach the point of discomfort for these opportunities for changing the thermal conditions to create a positive experience [Brager, 2014].
Examples
Naturally Occurring
- Solar heat gain
- Shadow and shade
- Radiant surface materials
- Space/place orientation
- Vegetation with seasonal densification
Simulated or Constructed
- HVAC delivery strategy
- Systems controls
- Window glazing and window treatment
- Window operability and cross ventilation
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Nature in the Space
The Presence of Water
The Experience
A space with a good Presence of Water condition feels compelling and captivating. Fluidity, sound, lighting, proximity and accessibility each contribute to whether a space is stimulating, calming, or both.
Roots of the Pattern
The Presence of Water pattern has evolved from research on visual preference for and positive emotional responses to environments containing water elements; reduced stress, increased feelings of tranquility, and lower heart rate and blood pressure from exposure to water features; improved concentration and memory restoration induced by complex, naturally fluctuating visual stimuli; and enhanced perception and psychological and physiological responsiveness when multiple senses are stimulated simultaneously.
Visual preference research indicates that a preferred view contains bodies of clean [i.e., unpolluted] water [Heerwagen & Orians, 1993]. Research has also shown that landscapes with water elicit a higher restorative response and generally have a greater preference among populations in comparison to landscapes without water. Supporting evidence has suggested that natural scenes without water and urban scenes with water elements follow with primarily equal benefits [Jahncke et al., 2011; Karmanov & Hamel, 2008; White et al., 2010].
Research on response to activities conducted in green spaces has shown that the presence of water prompts greater improvements in both self-esteem and mood than activities conducted in green environments without the presence of water [Barton & Pretty, 2010]. Auditory access and perceived or potential tactile access to water also reportedly reduces stress [Alvarsson et al., 2010; Pheasant et al., 2010].
Working with the Pattern
The objective of the Presence of Water pattern is to capitalise on the multi-sensory attributes of water to enhance the experience of a place in a manner that is soothing, prompts contemplation, enhances mood, and provides restoration from cognitive fatigue.
Repeated experiences of water do not significantly diminish our level of interest over time [Biederman & Vessel, 2006], so one small water feature may be adequate. Taking advantage of the sounds created by small-scale running water, and our capacity to touch it, will amplify the desired health response with a multi-sensory experience. Vistas to large bodies of water or physical access to natural or designed water bodies can also have the health response so long as they are perceived as ‘clean’ or unpolluted. Images of nature that include aquatic elements are more likely to help reduce blood pressure and heart rate than similar imagery without aquatic elements.
Examples
Naturally Occurring
- River, stream, ocean, pond, wetland
- Visual access to rainfall and flows
- Seasonal arroyos
Simulated or Constructed
- Water wall
- Constructed water fall
- Aquarium
- Fountain
- Constructed stream
- Reflections of water [real or simulated] on another surface
- Imagery with water in the composition
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Nature in the Space
Dynamic and Diffuse Light
The Experience
A space with a good Dynamic & Diffuse Light condition conveys expressions of time and movement to evoke feelings of drama and intrigue, buffered with a sense of calm.
Roots of the Pattern
Lighting design has long been used to set the mood for a space, and different lighting conditions elicit differing psychological responses. The impact of daylight on performance, mood and well-being has been studied for many years, in a variety of environments, and as a complex field of science and design, light has been extensively studied and written about.
Early research showed that productivity is higher in well daylighted work places, sales are higher in daylit stores, and that children performed better in daylighted classrooms with views – the research focus was on lighting strategy and task performance and less on human biology. For instance, quality daylighting has been reported to induce more positive moods and significantly less dental decay among students attending schools with quality daylight than students attending schools with average light conditions [Nicklas & Bailey, 1996].
Recent research has focused more heavily on illuminance fluctuation and visual comfort, human factors and perception of light, and impacts of lighting on the circadian system functioning. Sunlight changes color from yellow in the morning, to blue at midday, and red in the afternoon/evening; the human body responds to this daylight color transition. The response is apparent in body temperature, heart rate, and circadian functioning. Higher content of blue light [similar to skylight] produces serotonin; whereas, an absence of blue light (which occurs at night) produces melatonin. The balance of serotonin and melatonin can be linked to sleep quality, mood, alertness, depression, breast cancer and other health conditions [Kandel et al., 2013].
Working with the Pattern
The objective of the Dynamic & Diffuse Light pattern is twofold: to provide users with lighting options that stimulate the eye and hold attention in a manner that engenders a positive psychological or physiological response, and to help maintain circadian system functioning. The goal should not be to create uniform distribution of light through a [boring] space, nor should there be extreme differences [i.e., glare discomfort].
The human eye and the processing of light and images within the brain are adaptable over a broad range of conditions, although there are limitations. For example, when the lighting difference between adjoining sources or surfaces has a brightness or luminance ratio of greater than forty-to-one, glare may occur, which diminishes visual comfort [Clanton, 2014]. For work areas, luminance ratios between task and immediate surroundings should not exceed 10 to one. So while dramatic lighting differences may be great for some religious, socialisation and circulation spaces, they are not a good idea on work surfaces.
Diffuse lighting on vertical and ceiling surfaces provides a calm backdrop to the visual scene. Accent lighting and other layering of light sources creates interest and depth, while task or personalised lighting provides localised flexibility in intensity and direction. These layers help create a pleasing visual environment [Clanton, 2014].
Movement of light and shadows along a surface can attract our attention. For example, the dappled light under the canopy of an aspen tree, or the reflections of rippling water on a wall. These patterns tend to be fractals, and the brain is attuned to moving fractals.
Just as variations in lighted surfaces are important for interpreting surfaces, conducting a variety of tasks, and safe navigation, circadian lighting is important for supporting biological health. Leveraging opportunities for illuminance fluctuation, light distribution and light color variability that stimulate the human eye without causing discomfort will improve the quality of the user experience.
Examples
Naturally Occurring
- Daylight from multiple angles
- Direct sunlight
- Diurnal and seasonal light
- Firelight
- Moonlight and star light
- Bioluminescence
Simulated or Constructed
- Multiple low glare electric light sources
- Illuminance
- Light distribution
- Ambient diffuse lighting on walls and ceiling
- Day light preserving window treatments
- Task and personal lighting
- Accent lighting
- Personal user dimming controls
- Circadian color reference [white light during the day and lack of blue light at night]
- Color tuning lighting producing white light during the day, and minimising blue light at night
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Natural Analogues
Biomorphic Forms and Patterns
The Experience
A space with good Biomorphic Forms & Patterns feels interesting and comfortable, possibly captivating, contemplative or even absorptive.
Roots of the Pattern
Biomorphic Forms & Patterns has evolved from research on view preferences [Joye, 2007], reduced stress due to induced shift in focus, and enhanced concentration. We have a visual preference for organic and biomorphic forms but the science behind why this is the case is not yet formulated. While our brain knows that biomorphic forms and patterns are not living things, we may describe them as symbolic representations of life [Vessel, 2012].
Nature abhors right angles and straight lines; the Golden Angle, which measures approximately 137.5 degrees, is the angle between successive florets in some flowers, while curves and angles of 120 degrees are frequently exhibited in other elements of nature [e.g., Thompson, 1917].
The Fibonacci series [0, 1, 1, 2, 3, 5, 8, 13, 21, 34...] is a numeric sequence that occurs in many living things, plants especially. Phyllotaxy, or the spacing of plant leaves, branches and flower petals [so that new growth doesn’t block the sun or rain from older growth] often follows in the Fibonacci series. Related to the Fibonacci series is the Golden Mean [or Golden Section], a ratio of 1:1.618 that surfaces time and again among living forms that grow and unfold in steps or rotations, such as with the arrangement of seeds in sunflowers or the spiral of seashells.
Biomorphic forms and patterns have been artistically expressed for millennia, from adorning ancient temples to more modern examples like Hotel Tassel in Brussels [Victor Horta, 1893] and the structures of Gare do Oriente in Lisbon [Santiago Calatrava, 1998]. More intriguing still is the architectural expression of mathematical proportions or arrangements that occur in nature, the meaning of which has been fodder for philosophical prose since Aristotle and Euclid. Many cultures have used these mathematical relationships in the construction of buildings and sacred spaces. The Egyptian Pyramids, the Parthenon [447-438 BC], Notre Dame in Paris [beginning in1163], the Taj Mahal in India [1632–1653], the CN Tower in Toronto [1976], and the Eden Project Education Centre in Cornwall, UK [2000] are all alleged to exhibit the Golden Mean.
Working with the Pattern
The objective of Biomorphic Forms & Patterns is to provide representational design elements within the built environment that allow users to make connections to nature. The intent is to use biomorphic forms and patterns in a way that creates a more visually preferred environment that enhances cognitive performance while helping reduce stress.
Humans have been decorating living spaces with representations of nature since time immemorial, and architects have long created spaces using elements inspired by trees, bones, wings and seashells. Many classic building ornaments are derived from natural forms, and countless fabric patterns are based on leaves, flowers, and animal skins. Contemporary architecture and design have introduced more organic building forms with softer edges or even biomimetic qualities.
There are essentially two approaches to applying Biomorphic Forms & Patterns, as either a cosmetic decorative component of a larger design, or as integral to the structural or functional design. Both approaches can be utilised in tandem to enhance the biophilic experience.
Examples
Naturally Occurring
- Daylight from multiple angles
- Direct sunlight
- Diurnal and seasonal light
- Firelight
- Moonlight and star light
- Bioluminescence
DECOR
- Fabrics, carpet, wallpaper designs based on Fibonacci series or Golden Mean
- Window details: trim and moldings, glass color, texture, mullion, window reveal
- Installations and free-standing sculptures
- Furniture details
- Woodwork, masonry
- Wall decal, paint style or texture
FORM AND FUNCTIOn
- Arrangement of the structural system [e.g., columns shaped like trees]
- Building form
- Acoustic paneling [wall or ceiling]
- Railings, banisters, fencing, gates
- Furniture form
- Window details: frit, light shelves, fins
- Pathway and hallway form
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Natural Analogues
Material Connection with Nature
The Experience
A space with a good Material Connection with Nature feels rich, warm and authentic, and sometimes stimulating to the touch.
Roots of the Pattern
While scientific documentation on the health impact of natural materials is limited, available research is beginning to shed light on opportunities for informed design. As such, the Material Connection with Nature pattern has evolved from a limited body of scientific research on physiological responses to variable quantities of natural materials, and the impact of natural color palette, particularly the color green, has on cognitive performance.
One such study demonstrated that a difference in wood ratio on the walls of an interior space led to different physiological responses [Tsunetsugu, Miyazaki & Sato, 2007]. The researchers observed that a room with a moderate ratio of wood [i.e., 45% coverage], with a more subjective 'comfortable' feeling, exhibited significant decreases in diastolic blood pressure and significant increases in pulse rate, whereas a decrease in brain activity was observed in large ratios [i.e., 90% coverage], which could be either highly restorative in a spa or doctor’s office, or counterproductive if in a space where high cognitive functionality is expected.
In a series of four experiments examining the effect of the presence of the color green on the psychological functioning of participants, the results concluded that exposure to the color green before conducting a task 'facilitates creativity performance, but has no influence on analytical performance' [Lichtenfeld et al., 2012]. Humans are also able to distinguish more variations in the color green than of any other color [Painter, 2014]. However, which variation[s] of the color green most influence creativity or other mind-body responses is not well understood.
Working with the Pattern
The objective of the Material Connection with Nature pattern is to explore the characteristics and quantities of natural materials optimal for engendering positive cognitive or physiological responses. In some cases, there may be several layers of information in materials that enhance the connection, such as learned knowledge about the material, familiar textures, or nested fractals that occur within a stone or wood grain pattern.
Natural materials can be decorative or functional, and are typically processed or extensively altered [e.g., wood plank, granite countertop] from their original ‘natural’ state, and while they may be extracted from nature, they are only analogous of the items in their ‘natural’ state.
Examples
DECOR
- Accent details [natural wood grains; leather; stone, fossil textures; bamboo, rattan, dried grasses]
- Interior surfaces [veneer, countertops]
- Woodwork, stonework
- Natural color palette, particularly greens
FORM AND FUNCTIOn
- Wall construction [wood, stone]
- Structural systems [heavy timber beams]
- Façade material
- Furniture form
- Footpaths, bridges
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Final Thoughts
The science supporting biophilic design is still emerging. In many ways, it could be argued that the research is really just corroborating the rediscovery of the intuitively obvious. Unfortunately, too much of our modern design is oblivious to this profound knowledge. Deep down, we know that the connection to nature is important. When asking people to think about their favorite places for vacation, the majority will describe some place outdoors; we use the term ‘recreation’ and forget that recreation is about recreating, restoring ourselves. So while empirical evidence is accumulating, we ought to go about restoring the human-nature connection in the built environment.
Just to remind ourselves why biophilic design is so important, consider that in the 12,000 years since humans began farming and other activities that transformed the natural landscape [Smithsonian, 2014], only in the last 250 years have modern cities become common. Within the last few years we became urban dwellers, with more people living in cities than in the countryside. In coming decades, it is projected that 70 percent of the world’s population will live in cities. With this shift, the need for our designs to [re]connect people to an experience of nature becomes ever more important. Biophilic design is not a luxury, it’s a necessity for our health and well-being.
We hope '14 Patterns of Biophilic Design' helps shed light both on the importance of the human connection with nature that are supported by biophilic design. We encourage people to challenge convention by bringing biophilic design patterns into a vision for healthy homes, workplaces and cities.