1. Biophilic Design:
Bridging The Gap Between Nature & the Built Environment
A Thesis Presented
by
PAUL A. RAMOIE
Submitted to The Illinois Institute of Art â Chicago
in partial fulfillment of the requirements for the degree of
BACHELOR OF FINE ARTS â INTERIOR DESIGN
December 2014
Interior Design Program
Gerald Brennan
2. TABLE OF CONTENTS
ABSTRACT iv.
Part One
1. Introduction 1
2. History of Architecture 1
3. Harms of the Built Environment 2
4. Origin of the biophilia hypethesis 3
5. Defining Biophilic Design 3
6. Biophilic Design vs. Green Design 4
7. Psychophysiological Health and Well-Being 6
Part Two Biophilia in the Built Environment 7
8. Stephen Kellertâs 9 elements of biophilic design 8
9. Organic Design 8
10. Vernacular Design 10
11. 14 Biophilic Patterns 12
Part Three Implementation of Key Biophilic Design Patterns 14
12. Visual Connection with Nature 14
13. Thermal & Airflow Variability 14
14. Dynamic & Diffuse Light 15
15. Material Connection with Nature 15
Conclusion 16
Works Cited 18
4. Paul Ramoie 1
Biophilic Design: Bridging The Gap Between Nature & the Built
Environment
Part 1
For over two millennia, humans have been immersed in the wild, tangled
complexities of nature where we both thrived and evolved into the intelligent species that
we are today. In our present day, most humans are enthralled with nature and gravitate
toward it, and justifiably so. It is in this environment and scenery that our prehistoric
ancestors inhabited throughout evolutionary development, and became ingrained in our
psyche, physical DNA and brain adaptation. Evolutionary studies show that early humans
banded together in hunter-gatherer groups in the Savannahs of East Africa, before
migrating elsewhere. (Journal of Happiness Studies, 2000). In this natural landscape, we
were provided with all of the necessities crucial to growth, such as access to water for
food and navigation, warm sunlight contrasted with a cool night breeze, animals and
other organisms, eatable vegetation, fire, and shelter provided by trees and rocks.
(Heerwagen, 2008). Each of these combined enhanced the survival of our species and
created a genetic predisposition to natural scenery. Humans depended on this knowledge
of the environment to survive various predicaments. To place this in context, the brain
evolved in a biocentric world, not a machine-regulated world, in which we now live.
(Beatley, 2009).
It was around 6,000 years ago that dwellings and buildings appeared on the
evolutionary scene. (Heerwagen, 2008). These ancient builders and architects were much
attuned to their culture and the earth, mimicking forms they observed in nature and
creating amazing structures that still awe us today. (Molthrop, 2009). Stylized animals
and plants were used for decorative and symbolic ornamentation, such as the Egyptian
5. Paul Ramoie 2
sphinx, courtyard gardens, the Japanese intrigue with the bonsai tree, and fishponds. This
shows us that while biophilia may be a relatively novel concept, it is not a new
phenomenon, and stems from human intuition and neural sciences. (Browning, W.D.,
Ryan, C.O., Clancy, J.O., 2014).
Since the Industrial Revolution in the past 100 years, we have witnessed both
unprecedented growth in human populations and the built environment while greatly
degrading our environment. We have moved from thriving in the wild to living in
structures devoid of any life at all, surrounding ourselves with brick, stone, and drywall
often with little to no sunlight and ventilation. (Molthrop, 2009).
Scientific and controlled studies are increasingly showing that our modern
industrialized lifestyle with obsessive technology and changing cultures has been
detrimental to our psychological well-being. This discrepancy is most-likely linked to the
increases of psychopathology evidenced today. It is quite naive and dangerous on our part
to assume or expect that our brains would be able to adapt and evolve to such
extraordinary changes in a minute amount of time at an unlimited rate or capacity when
compared to our ancestors. Biophilia integrated into the built environment brings to light
this disconnect and seemingly missing link of recent decades. (Gullone, 2000).
Some of our most fond memories are those that were made outdoors in the natural
environment, however tamed by human hands it might have been. In our modern society,
most people are oblivious to the delirious stresses that the built environment has on our
minds and bodies. We have become comfortable, accustomed to and even complacent
towards our new habitats, leading to the chronic stress, depression, and other physical and
psychological ailments common in this contemporary society. Nature combats these
6. Paul Ramoie 3
symptoms, providing us with amazement, awe, knowledge, understanding and both
physical and mental stimulation. This visceral engagement offers the sense of deeper
meaning and purpose in life. (Beatley, 2009).
The term âbiophiliaâ was first coined by social psychologist Eric Fromm and later
popularized by the biologist Edward Wilson. (Browning, W.D., Ryan, C.O., Clancy, J.O.,
2014).
Biophilia is the theory that humans have an innate or evolutionary-based affinity
for nature. It is the belief that we have a connection and a reliance on nature that has been
passed along throughout evolution (Wilson, 1984). According to Edward O. Wilson, a
Harvard myrmecologist and conservationist, contact with nature is essential to human
health and well-being. Based on this theory, a framework has been developed that will
reconnect humans and nature within the built environment. This framework is biophilic
design, which incorporates organic design and vernacular design principles to interior
and exterior architecture. Biophilic design seeks to create a positive connection between
people and the environment as well as promoting health and well-being (Kellert, 2008).
In his 1984 book entitled Biophilia, Wilson described his biophilia hypothesis as a
human âinnate tendency to focus on life and lifelike processes.â Edward Wilson is the
founder of sociobiology, and believes the natural environment is central to human history
as social behavior itself. (Wilson, 1984). He argues that social scientists should be aware
of human actions and behavior trying to erase or diminish such an ingrained part of
human evolutionary experience. (Wilson, 1984).
Wilson describes biophilia as "the innately emotional affiliation of human beings
to other living organisms.â Innate means hereditary and this complex affinity took
7. Paul Ramoie 4
hundreds of thousands of years of constant human-nature immersion to come to fruition.
(Beatley, 2009).
According to Wilsonâs hypothesis, it is inconceivable that our environment has
not shaped our cognitive and emotional apparatus. Our modern brains are the direct
product of this evolving process, allowing us to be attuned to nature. The end-goal of
implementing biophilic design is to reduce the stresses and harms of the built
environment on humans, and working hand-in-hand with sustainable design principles to
avoid impacting the natural environment. Working together in tandem, sustainable design
and biophilic design bridges the severed gap between humanity and nature. (Molthrop,
2009).
It is, however, important to note that biophilic design is not an architectural style
or limited aesthetic. It is a theory compromised of scientific facts, evidence-based design
research, and key principles and elements in a space. Biophilic design does not advocate
tree houses or cave-dwelling, but it does provide nature-based features that prompt
complex thinking in humans. We will explore these features in detail below. (Molthrop,
2009).
Green design as we know it has often failed its occupants over long periods of
time because they are more concerned with water and energy conservation while lacking
the emotional appeal to humans. Stepehen R. Kellert, professor emeritus, Yale
University, is highly critical of LEED standards, and once compared our environments to
inhumane barren animal cages.
âIn our attempt to create a more sustainable environment, we attack the negative
consequences of our artificial life on the natural world, but we have done nothing
8. Paul Ramoie 5
to bridge the widening gap between humans and nature itself,â he says. âWe give
them a computer with a nice screen saver and maybe a poster of a potted plant,
and if itâs energy efficient, we call it âGold.ââ (Ruiz, 2012).
Kellert continues, saying, âPeople donât live by efficiency alone. By ignoring the
human need to connect with nature and place, low-impact designs are often
experientially and aesthetically deficient.â (Ruiz, 2012).
LEED standards must transition to acknowledge new research that calls for
positive physical and mental well-being in buildings occupants.
â[Human] performance and well-being⊠depend not only on the absence of
significant [environmental] problems but also on the presence of particular kinds
of features and attributes in buildings⊠The challenge of green design is⊠to
integrate into buildings the positive biophilic features of our evolved relationship
with nature and to avoid biophobic conditions.â â Judith Heerwagen, PHD.
psychologist. (Kellert, 2008).
To prevent ambiguity, the term ânatureâ in environmental research as related to
biophilic design and discussed in this thesis, refers to anything that is not created by
humans or exists apart from humans. This includes natural sunlight, water, animals,
vegetation, mountains, and various landscapes, including manicured lawns. (Costino,
2013).
Psychophysiological Health and Well-Being
Our current understanding of biophilia and its implementation, as we will review
in the third portion of this thesis, has been immensely influenced through scientific
research in psychology, neuroscience and endocrinology and its relation to our
9. Paul Ramoie 6
psychophysiological health and well-being. Empirical research shows that exposure to
natural environments greatly increases a personâs psychological health when it comes to
emotional restoration, decreases cases of anxiety, fatigue, tension, anger, and mood
swings. Physiological health is impacted by our aural, musculoskeletal, respiratory,
circadian systems and physical comfort. Each of these responds to nature and determines
muscle relaxation and the lowering of diastolic blood pressure and stress hormone (i.e.,
cortisol) levels in the blood stream. (Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
By lowering stress, a personâs self-esteem is enhanced and over-all mental health
is influenced positively. Lowering blood pressure reduces the risk for heart attack and
obesity. Biophilia also aids in recovering from ill health, improves cognitive skills,
academic performance, the development of social skills, and moderates the effects of
ADHD, autism and other illnesses common in children. (Blair, 2012).
In fact, biophilia in the built environment and exposure to nature is crucial for a
childâs development. Like adults, nature assists improvement in childrenâs attention
functioning, social well-being, and psychological health. Nature helps offset a childâs
stress levels and maintain positive mental health, whether through immersion in nature
through frequent outdoor play or scenic window views. More time spent outdoors has
also been shown to lower sickness rates, improve motor development, fitness, creativity,
social skills and lowers the risk of being overweight. From a young age, we need to be
mindful of the built environment from homes, to schools, to childcare centers. (Kellert,
S.R.; Heerwagen, J.H.; Mador, M., 2008).
10. Paul Ramoie 7
Part 2
Biophilia in the built Environment
By implementing key aspects of biophilia in the built environment, we can
increase the recovery time from ailments, greatly reduce or eliminate stress, improve our
cognitive skills and work performance, and assist in the effects of autism and ADHD in
children. In doing so, we can save architecture from haphazard artistic designs that are
devoid of the biological life surrounding them. (Beatley, 2009).
â...the enjoyment of scenery employs the mind without fatigue and yet exercises
it, tranquilizes 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.â - Frederick Law Olmsted, American landscape architect, 1865.
(Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
Stephen Kellert has come up with six elements to standardize biophilic design,
and nine elements that describe humansâ relationship with nature, which he codifies as
Restorative Environmental Design. (Ruiz, 2012). These six elements include
environmental features, natural shapes and forms, natural patterns and processes, light
and space, place-based relationships, and evolved human relationships to nature. (Ruiz,
2012). The nine perspectives include utilitarian, naturalistic, ecologistic scientific,
aesthetics, symbolic, humanistic, moralistic, dominionistic, and negativistic. (Gullone,
2000).
VALUE DEFINITION FUNCTION
Aesthetic An emotional response to
the physical beauty and
attraction of nature.
Inspiration, harmony,
peace and security
Dominionistic The tendency to control
and manipulate nature.
Mechanical skills, physical
power.
11. Paul Ramoie 8
Humanistic An emotional response to
care for and become
attached to nature.
Bonding, sharing, and
companionship.
Moralistic Moral and spiritual
connection to nature.
Emphasizes right and
wrong behavior toward
the natural environment.
Order and ethics.
Naturalistic The satisfaction we obtain
from direct experience
with nature.
Curiosity, outdoor ability,
physical well-being.
Negativistic The fear and dislikes we
have with nature.
Security, safety and
protection.
Scientific The study of biological
processes and observation
of nature.
The imperative want to
obtain knowledge,
observation.
Symbolic The tendency for humans
to use nature to
communicate thoughts
metaphorically.
Communication,
psychological
development.
Utilitarian The material gain that
humans benefit from the
exploitation of nature,
either for desire or need.
Physical sustenance and
security.
Adapted from (Kellert, 1993, 2005).
In his 2008 book, Biophilic Design: The Theory, Science, and Practice of Bringing
Buildings to Life, Stephen Kellert describes two types of biophilic design, organic design and
vernacular design. He describes organic design as any shapes or forms that directly, indirectly
or symbolically represent nature. This includes forests, landscapes, water streams, natural air
and sunlight. Organic design is a term that was originally coined by the famed architect Frank
Lloyd Wright. Wright was ahead of his time when it came to incorporating nature into his
architectural creations, such as falling water (Bear Run, Pennsylvania), Taliesin East
(Spring Green, Wisconsin), Taliesin West (Scottsdale, Arizona) and the Emil Bach home
(Chicago, Illinois). It was important to Wright that his buildings encompassed organic
qualities, and the symmetry and harmony found in nature. He did this by implementing
12. Paul Ramoie 9
an abundance of natural lighting, views of the surrounding landscape, and high ceilings
that provoked a sense of spaciousness. (Kellert, 2008).
Emil Bach Home, Chicago Il.
âNature is a good teacher. I am a child of hers, and apart from her precepts, I
cannot flourish. I cannot work as well as she, perhaps, but at least I can shape my
work to sympathize with what seems beautiful to hers⊠Any building⊠should
be an elemental, sympathetic feature of the ground, complementary to its nature-
environment, belonging by kinship to the terrain.â â Frank Lloyd Wright. (Kellert,
2008).
Other examples of organic design include Neoclassical details with its simplistic
geometric shapes and symmetry, Baroque and Gothic architecture columns that display
shapes of animals and plants, high vaulted ceilings reminiscent of forests, and Art
13. Paul Ramoie 10
Nouveau with its intrinsic organic details. This symbolic depiction is referred to as
âbiomorphicâ architecture. (Kellert, 2008).
âMany of the worldâs most revered buildings contain biomimetic featuresâŠ.
They draw on design principles of natural forms. They have intricate fractal
patterns in their spatial layouts and surface materials. They contain small, random
variations in key elements rather than making exact replicates of forms, visual
patterns, and spaces.â (Kellert, 2008).
In contrast, vernacular design focuses on buildings and places themselves, and
how the built environment is formed to the particular cultures where people live and
work. Vernacular design connects people and nature to a particular cultural and
ecological setting. (Kellert, 2008).
14. Paul Ramoie 11
Organic & Vernacular Design. (Blair, 2012).
Terrapin Bright Green, an environmental consulting and strategic planning firm,
recently published the most comprehensive compilation of research to date in â14
Patterns of Biophilic Designâ. Decades of research from theorists, scientists, and
designers are combined to reveal the impact nature and the built environment have on
humans, including the science behind each pattern and strategies for design
implementation. This research stems from verified laboratory and field studies, focusing
mainly on the mind and body - cognitive, psychological and physiological. (Browning,
W.D., Ryan, C.O., Clancy, J.O., 2014).
For brevity, we will only review in-depth several key patterns and their
15. Paul Ramoie 12
implementation and the impact of particular design decisions. These 14 biophilic patterns
are divided into three subcategories. The first is Nature in the Space, which oversees 7
patterns. These seven patterns are as follows:
1. *Visual Connection with Nature. A view to elements of nature, living
systems and natural processes.
2. Non-Visual Connection with Nature. Auditory, haptic, olfactory, or gustatory
stimuli that engender a deliberate and positive reference to nature, living systems
or natural processes.
3. Non-Rhythmic Sensory Stimuli. Stochastic and ephemeral connections with
nature that may be analyzed statistically but may not be predicted precisely.
4. *Thermal & Airflow Variability. Subtle changes in air temperature, relative
humidity, airflow across the skin, and surface temperatures that mimic natural
environments.
5. Presence of Water. A condition that enhances the experience of a place
through seeing, hearing or touching water.
6. *Dynamic & Diffuse Light. Leverages varying intensities of light and shadow
that change over time to create conditions that occur in nature.
7. Connection with Natural Systems. Awareness of natural processes, especially
seasonal and temporal changes characteristic of a healthy ecosystem.
(Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
The second sub-category is Natural Analogues, which oversees 3 patterns. These
patterns are often described as âbiomimicryâ.
16. Paul Ramoie 13
8. Biomorphic Forms & Patterns. Symbolic references to contoured, patterned,
textured or numerical arrangements that persist in nature.
9. *Material Connection with Nature. Materials and elements from nature that,
through minimal processing, reflect the local ecology or geology and create a
distinct sense of place.
10. Complexity & Order. Rich sensory information that adheres to a spatial
hierarchy similar to those encountered in nature.
(Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
And lastly, the third sub-category is Nature of the Space, which concludes the 4
remaining patterns.
11. Prospect. An unimpeded view over a distance, for surveillance and planning.
12. Refuge. A place for withdrawal from environmental conditions or the main
flow of activity, in which the individual is protected from behind and overhead.
13. Mystery. The promise of more information, achieved through partially
obscured views or other sensory devices that entice the individual to travel deeper
into the environment.
14. Risk/Peril. An identifiable threat coupled with a reliable safeguard.
When it comes to applying these 14 patterns into a design project, itâs important
for the designer to use good judgment and strategize ways to keep the space integrated.
Overloading the occupant with too many diverse patterns could have a negative impact if
the design is not unified. These patterns are also not scientific formulas to be followed
verbatim, but rather used as tools in the design process to inform and guide designers to
consider how the pattern impacts a space, the scientific evidence that links biology,
17. Paul Ramoie 14
nature and the built environment and the relation between each pattern. Successful
applications of these patterns has been shown to lead to better building performance,
including the area of thermal comfort, acoustics, energy and water management, and
biodiversity. Natural air flow, ventilation and indoor vegetation eliminate sick building
syndrome, the impact of asthma and reduces harmful air particles, while day lighting
reduces energy use. (Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
Part 3
Implementation of Key Biophilic Design Patterns
For the third and final section of this thesis, weâre going to review 4 biophilic
design patterns and examples of how they can be implemented into various spaces. The
patterns weâll study are Visual Connection with Nature, Thermal & Airflow Variability,
Dynamic & Diffuse Light and Material Connection with Nature.
The Visual Connection with Nature makes a space feel whole, stimulating and
calming. It gives a person a sense of time, weather, and living biodiversity. This visual
connection stimulates the visual cortex in the brain, which triggers pleasure receptors,
heart rate and stress recovery. Implementation examples include aquariums and koi
ponds, views of vegetation, terrain, animals and bodies of water, green walls, water
fountains, and artwork with a prioritization of real over simulated nature and that can be
experienced a minimum of 5-20 minutes per day. Spatial and furniture layouts should not
block or impede on the visual access. In hospitals and urban environments, simulated
nature and digital mediums are key for beneficial micro-restorative effects. (Browning,
W.D., Ryan, C.O., Clancy, J.O., 2014).
Thermal & Airflow Variability creates a refreshing, invigorating and
comfortable space that offers flexibility and a sense of control. Research shows that most
18. Paul Ramoie 15
folks prefer sensory variability, including a variation in light, sound, and temperature. An
environment without sensory stimulation and variability causes passivity and boredom.
This variability improves concentration, performance, comfort, and even short-term
memory. Thermal comfort is subjective from person to person, so it is important to allow
a person a sense of control, such as access to windows, shades, fans, heaters or
thermostats. Thermal comfort is a key area where sustainable design and biophilic design
overlap, and has the potential to reduce oneâs energy costs as the average person typically
finds temperatures two degrees above and two degrees below conventional standards
comfortable. (Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
Dynamic & Diffuse Light fluctuation has an important impact on our circadian
system. Throughout the day, the sun goes through three color stages including yellow,
blue, and red. Our bodies respond to these colors, from changes in our body temperature
to our heart rate. Blue light, similar to the sky, is what produces our serotonin. At night,
we produce melatonin. The harmony between melatonin and serotonin determines our
mood, quality of sleep, and even depression. Providing lighting that stimulates the eye
and catches ones attention leads to prolonged psychological or physiological health while
maintaining a personâs circadian system. Uniform distribution of light in a space is
boring, and can create extreme discomfort (such as glare). A designer can accomplish
pleasing visuals through diffuse lighting on the ceiling or surfaces, accent lighting or
layering light sources for depth and interest, and lastly flexible task lighting. (Browning,
W.D., Ryan, C.O., Clancy, J.O., 2014).
A space that is designed with a Material Connection with Nature in mind
creates feelings of warmth, authenticity with rich stimulation both visually and to the
20. Paul Ramoie 17
comfort zones or outside of the status quo of 'how it's always been done'. It is sufficed to
say that the empirical scientific evidence is pointing us in that direction. Biophilic design
is not a luxury, and we shouldn't need any other studies to show that our innate
relationship and affinity to nature is crucial to our health and well-being. As interior
designers, we have an ethical responsibility to respond to profound knowledge and the
ability to dramatically transform peopleâs lives. That makes for a beautiful ending.
âMan is an outdoor animal. He toils at desks and talks of ledgers and parlors and
art galleries but the endurance that brought him these was developed by rude
ancestors, whose claim to kinship he would scorn and whose vitality he has
inherited and squandered. He is what he is by reason of countless ages of direct
contact with nature.â James H. McBride, MD, 1902 Journal of the American
Medical Association
(Browning, W.D., Ryan, C.O., Clancy, J.O., 2014).
21. Paul Ramoie 18
Works Cited
Blair, Matthew. "ENHANCING HUMAN HEALTH AND RECOVERY THROUGH
BIOPHILIC DESIGN." Graduate School of the University of Massachusetts Amherst,
2012. Web. 2014.
Browning, W.D., Ryan, C.O., Clancy, J.O. (2014). 14 Patterns of Biophilic Design. New
York: Terrapin Bright Green, LLC.
Costino, Erin. "Biophilia and Corrections: Bringing Nature into Correctional
Environments." Academy of Architecture for Justice (2013). The American Institute of
Architects. Web.
<http://www.aia.org/aiaucmp/groups/ek_members/documents/pdf/aiab101434.pdf>.
Gullone, Eleonora. "THE BIOPHILIA HYPOTHESIS AND LIFE IN THE 21st
CENTURY: INCREASING MENTAL HEALTH OR INCREASING PATHOLOGY?"
Journal of Happiness Studies (2000). Kluwer Academic Publishers. 2014.
Heerwagen, Judith. "Biophilia, Health, and Well-being." Restorative Commons (2008).
J.H. Heerwagen & Associates. 2014.
Journal of Happiness Studies (2000). Kluwer Academic Publishers. 2014.
Kellert, S.R.; Heerwagen, J.H.; Mador, M. 2008. Biophilic design: Theory, science, and
practice. Hoboken, N.Y.: Wiley.
Kellert, S.R.; Wilson, E.O. 1993. The biophilia hypothesis. Washington, DC: Island
Press.
Molthrop, Elizabeth. "Biophilic Design A Review of Principle and Practice."
Environmental Sciences (2009). Dujs.dartmouth.edu. 2014.
Ruiz, Fernando. "Biophilia Becomes a Design Standard." Eco Building Pulse. 2012.
2014.
Timothy Beatley, Biophilic Urbanism: Inviting Nature Back to Our Communities and
Into Our Lives, 34
Wilson, E.O. 1984. Biophilia. Cambridge, MA: Harvard University Press.
Wm. & Mary Envtl. L. & Pol'y Rev. (2009),
http://scholarship.law.wm.edu/wmelpr/vol34/iss1/6
