Biophilic Design Elements

Fresh air isn't only a matter of design - it's a necessity. Designing for air can be as simple as creating access to open windows to connect with the outdoors and get a sense of the weather.

Thought should also be given to improving air quality and ventilation and introducing movement and flow that engages our senses. This can be using indoor plants as filters or tuning into aspect and seasonality to make the most of breezes.

Connecting with outside air isn't just good for ventilation, but it also gives people the chance to become aware of the natural state of time and seasons.

Light is one of the most important natural attributes to consider in a building. A lack of natural light can affect us physically; we need it to regulate our sleep cycles and to produce essential hormones like vitamin D.

Access to natural light is only one aspect of biophilic design. Natural light can also be used to create interesting shapes and forms that inspire imagination and exploration. It can create light and shadow to illustrate passing time. A pool of light, fire or hearth can be used for wayfinding or to create a sense of warmth and security. Diffused light creates a sense of connection to an outside area.

Natural light isn't just about illumination, it should be incorporated to make a space more dynamic and biophilic.

We evolved outdoors surrounded by a variety of natural materials. Incorporating them into our built environment creates opportunities to directly connect with nature.

Feeling the relative softness of timber or the coolth of stone is a tactile experience that mimics what we might feel outdoors.

Natural materials also often have a life of their own and will change over time. This may be part of the reason why we prefer real natural materials over inorganic materials designed to look like them.

Colour is a clear visual signal that we use to interpret our environment. Perceiving colour is relatively unique in the animal kingdom; humans and apes are the only mammals that have adapted trichromacy - that is the ability to see red, blue and green.

This evolutionary advantage helps us quickly recognise threats, food sources and resources through colour. We've evolved to see and respond to it, even if it is a subtle emotional or physiological response.

Our reaction to colour is also influenced by culture and individual differences in sight. It should also take the purpose of the space into account as different colours can induce different moods. Colour is best approached in concert with other elements of biophilic design, such as those that are influenced by place or to encourage complexity and discovery.

There's a reason why people gravitate towards areas with a view - be it a window of a highrise or a lookout at the end of a hike. Being able to see at a distance, to prospect, was an advantage as it allowed us to survey the landscape and recognise any danger well in advance.

If sweeping views are available they should be designed with the human scale in mind; anything too high or large can be a discomfort. If the space is more confined, taking advantage of large windows, long corridors and wide landings can give the perception of a vista.

Water is a matter of survival for humans, so naturally, our preference is to be close to it. As well as a resource, we have developed an affinity for water gazing or listening to the sound of water.

Having sites that are close to bodies of water may be unattainable. In these case water can be weaved into built environment with water features or by mimicking the random light reflection (called caustics) caused by water.

Deliberate space is also biophilic consideration. In nature, spaces are varied in size, complexity and shape and this should be reflected in our built environment. This could be a blend of inside-outside spaces, the use of varied shapes and forms to stimulate interest or a balance of open and closed space.

Natural landscapes, though seemingly random are filled with patterns.

Imagine a tree branching out into smaller and smaller but similarly shaped branches - that is a fractal. Fractals are repeated patterns of different sizes and they are found throughout nature from snowflakes, leaves, lightning and cloud formations.

Spirals are another form of fractal. The centre of a shell is a tiny curl that gets wider by the same factor with each spiral. If it were possible to zoom in on this structure, it would repeat in the same pattern infinately. This is an example of the 'golden spiral' or 'logarithmic spiral' that is found in flowers, spider webs and invertebrate shells.

Our eyes evolved in environments filled with these patterns and our preference could reflect the ease our eyes feel when interpreting them.

Perfectly straight lines are a rarity in nature. More often we find circles, oblongs, curves and meandering lines. Resisting straight lines and sharp angles creates a more biophilic space that is reflective of a natural surrounding.

Natural motifs give an indirect experience of nature, but maintain a connection to it. This could be the use of botanical or animal motifs and patterns in decor or mimicking natural forms in the building structure such as 'tree-like' supporting columns.

Geomorphology and biomimicry look to landscape and lifeforms to inspire design. The former results in structures that are cohesive with their surrounds while the latter can adapt designs or functionality from the biosphere.

Biomorphy is design that wasn't inspired directly by nature, but possesses an organic form that leads observers to believe that it was.

Varied surroundings reflect the information-richness of natural environments. This doesn't necessarily mean creating busy spaces. A desert at first glance can seem bare and empty, but a closer look will reveal complexity and detail. Like a desert, buildings should have a balanced level of order and complexity.

Inviting curiosity is also part of the element of complexity. Spaces should encourage exploration or discovery. This could be through the use of complementary contrasts, playing with balance and tension, or using texture and detail to add richness and sensory variability.

An essential part of the natural experience is discovery. Our spaces should foster a sense of exploration, anticipation and even risk.

Our surroundings should feel safe and familiar, but also have an element of surprise to add pleasure to the experience of a building.

Think of design elements that encourage us to explore or play - curved walkways, stepping stones, corridors, dark nooks and infinity edges can all add flux to predictable spaces.

Weathering and ageing make up the aesthetic of nature. Variations in colour, texture and pattern as a result of the patina of time should be embraced in the built environment. It is the antithesis of a controlled, sterile and timeless environment.

Incorporating materials that age connects us to passing time - a sign that of life in ourselves and our surroundings.

Place-based design underpins all of the elements of biophilia. At its core, biophilic design is about connecting humans with nature through the built environment. But the definition of nature is bound to place, and place is closely connected to culture.

Indigenous cultures are inherently tied to country. Place-based biophilic design isn't a practice, is culture, and there is much to learn from their wisdom. Working with local Indigenous communities to understand history, ecology and country is key to embedding a sense of place into our buildingst.

Paying respectful homage to the history and cultural heritage of communities that have lived in the area will also foster a sense of participation. Incorporating collective memory through design meaningfully links past, future and present through our spaces.

Local ecology and landscape should be celebrated rather than diminished in biophilic buildings. Place should orient structures, for example, a north-eastern aspect for sunlight or considering a design for a slope. Biohpilic designs emphasize landscape features and add to a sense of place.

Ecological features like local flora, prominent geological features or views can also inspire design. Native plants can be used to create direct connections to natural surrounds wheres attrtibutes from larger features can be carried into the built environment. This can be mirroring shape and form or inspiring materials and colour choices.

In addition to the building incorporating natural surrounds in its design, it should also contribute to the surrounding environment. A plan for minimising and mitigating negative ecological impacts should be part of every biophilic design plan.

An appealing aesthetic is as much about preservation as it is about appreciation.

We are attracted to beauty in nature and the built environment as it encourages imagination, curiosity and creativity. These are all opportunities to create connections that can sustain a sense of stewardship towards the built environment.

Our building's function is to provide shelter and safety from threats. It should act as and feel like a private refuge. But a balance should be struck between creating a safe space and one that the is completely isolated.

This can be achieved by designing diverse areas with different levels of exposure. Some spaces function to connect with the surrounds and others provide sanctum.

Designing for a 'sprit of place' ties many of these elements together. The purpose is to imbue the built environment with features that allow the building to take on a life of its own. This embeds buildings into culture, ecology and history.

A building with character that is specific to its locale provokes a stronger connection to our built environment and is the basis for responsibility, care and stewardship.