Words Jackie Tyrrell
In recent times there’s been a significant shift of approach in interior design that strives to enhance human wellness and betterment. Architects and designers have been considering novel approaches not just to how a space can look better, but how it can be better for the humans that occupy it. Biophilic interior design focuses on creating a space connected with nature. The term biophilia was first used by the German-born American social psychologist and psychoanalyst Erich Fromm in his book, The Anatomy of Human Destructiveness (1973), to describe a psychological tendency in humans of being attracted to all that is alive and vital.
However, the concept is not new. Over 2000 years ago the Romans were designing homes with outdoor spaces. In the classic layout of the Roman Domus, the atrium, an open central hall, served as the centre of the house’s social, business and political life. It was open at the roof, which let in light and air for circulation, and also allowed rainwater for drinking and washing to collect in the impluvium, a shallow pool sunken into the floor. The peristylium, an open garden courtyard within the house, offered a tranquil refuge from stress, noise and crowds. The occupants sought to create healthier cleaner air, wanted improved scents and less noise pollution specifically to improve health and wellbeing.
It is essential that interior design primarily focuses on the human experience and considers the physical, mental, and emotional needs of the people that will occupy a particular space. Contemporary interiors are increasingly incorporating biophilia as a holistic approach to design to promote health, safety and welfare.
As cities grow taller and denser, many structures consist of windowless spaces with artificial light. This lack of daylight significantly affects the physical and mental health of those spending time in these environments. To combat such issues, the concepts of biophilia looks at the impact that nature has on humans. It then works to incorporate these positive aspects into our everyday lives.
Biophilic design can be organised into three core principles – Nature in the Space, Natural Analogues and Nature of the Space. These core principles encompass fourteen patterns of biophilia.
Nature in Space
This literally means to bring the outdoors inside. It addresses the direct, physical and ephemeral presence of nature in a space or place. This can be achieved by including plant life, animals, water, sounds, scents and other natural elements that will ignite the five senses. The seven biophilia design patterns that make up this category are:
1. Visual connection with nature:
Stimulating views to elements of nature, living systems and natural processes. This can include a window with a garden or sea view, potted plants, flower beds, courtyard gardens or artwork of natural scenes. Experience: Stimulating or calming. Conveys a sense of time, weather and living things.
2. Non-visual connection with nature:
Focuses on the non-visual senses. Listening to the singing of birds, the trickle of water flow, the crackling of a fireplace. Scent elements can include naturally fragrant plants or essential oils. Touch can be stimulated by using natural or artificially-textured materials or the opportunity to interact with an animal, and taste by a kitchen herb garden or edible plants. Experience: Fresh and well-balanced. Sounds, smells and textures that are reminiscent of being outdoors in nature.
3. Non-rhythmic sensory stimuli:
The rich sensory stimuli of nature, inconsistent yet unpredictable motion, such as the movement of a cloud, the flicker of a flame, the sway of grasses, leaves in a breeze or ripples on water. Experience: A brief but welcome distraction that is interesting, stimulating and energising.
4. Thermal and airflow variability:
Changes in temperatures and airflow that occur in natural environments. This can naturally occur when the sun passes through a window or airflow across the skin. Subtle changes in air and surface temperatures can be introduced to mimic natural environments. It is common practice to keep the temperature at the same level all day but this is not recommended. Experience: Invigorating, refreshing, active and alive, but also comfortable.
5. Presence of water
Water enhances the built environment experience since it can be seen, heard and touched. This can be achieved by including a water wall, an aquarium or simply by playing water sounds. Experience: Stimulating, powerful, fascinating and looks attractive.
6. Dynamic and diffuse light
Provide varying intensities of light and shadow that change over time, to create conditions that appear in nature. This may naturally occur through sunlight, moonlight or firelight. It can be mimicked with dimming features and accent lighting. Experience: Displays signs of time and movement and causes feelings of drama and intrigue.
7. Connection with natural systems
Awareness of natural processes and the changes that occur during natural life cycles such as seasonal changes, reminding us of the process of healthy ecosystems. Create consciousness of seasonality and cycles with native plantings that grow and die with the seasons. Experience: Creates awareness of seasonality and cycles of life. Can be nostalgic, profound and enlightening.
Natural Analogues
Introducing non-living evocations of nature to include objects, materials, colours, shapes, sequences and patterns. These can be in artwork, ornamentation, furniture, décor, and textiles. The three biophilia design patterns that make up this category are:
8. Biomorphic Forms and Patterns:
Symbolic references to contoured, patterned, textured or numerical arrangements that exist in nature. These can be incorporated through natural colours, organic shapes, curves and other geometrical forms. Introduce fabrics, carpets or wallpapers with floral patterns, or sculptures that mimic natural elements. Experience: Interesting, fascinating, attractive but also comfortable. Can provoke abstract thinking and creativity.
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. Examples include indigenous materials such as specific types of wood, clay, leather, stones or wool. Experience: Rich, warm, authentic and comforting, and can sometimes stimulate touch.
10. Complexity and Order
Rich sensory information that adheres to a spatial hierarchy similar to those encountered in nature. Repetitive and symmetrical shapes can be introduced in wallpaper, carpet design and flooring. Fractal patterns can be found in classical art and ancient Mayan and Egyptian art. Embracing this concept satisfies a psychological need that everyone strives for, namely wholeness, integration and order. Experience: Engaging and information-rich. Makes for an intriguing balance between boring and overwhelming.
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 and our fascination with the slightly dangerous or unknown, but also the provision of a place for withdrawal, providing a feeling 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. The four biophilic design patterns that make up this category are:
11. Prospect
A space that feels open and free with an unimpeded view over a distance, for surveillance and planning. Displaying a piece of art at the end of a long hallway will highlight the open space while keeping a focus. Consider open plan and transparent materials. Experience: A feeling of openness and freedom but also stability and safety.
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. Examples include incorporating high-backed chairs, reading nooks, booth seating or canopy beds. Experience: Feels safe and provides a sense of retreat and withdrawal for work, protection, rest or healing. Separate or unique from surroundings but not necessarily disconnected.
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. This can be achieved by incorporating curved edges, winding paths and obscured views. Experience: A sense of anticipation that makes one want to investigate further, understand or explore.
14. Risk/Peril
An identifiable threat coupled with a reliable safeguard. Art that seems to defy gravity using magnets, life-sized photography of feared animals or a transparent railing or floor panel are all examples of how to introduce this concept. Experience: Exciting, intriguing, even irresistible but with a suggested threat that may be a little harmful or negative. Creates an urge to explore.
Jackie Tyrrell Design is an award-winning interior designer who specialises in biophilia and biophilic design. Her experience also embraces interior and graphic design, product branding and project management. She formerly lectured at the Dublin Institute of Design. For further advice, contact Jackie at +353 86 277 87 96 or jackie@jtd.ie
- ‘Interior design: Biophilia’ is published in Anthology Volume 16. Read more features from this volume or buy it now.
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