An investigation
of the effects of applying
biophilic design principles to
modern digital design
disciplines.
by Sian Posthumus
this is your viewfinder!
For best ‘biophilic’ results, keep this
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through this book and follow the
prompts - or don’t! Whatever
makes you feel calmest.
Use it to obscure & reveal,
to see the unseen,
and let its mystery calm you.
An Investigation of the effects of applying
biophilic design principles to modern digital design
disciplines.
text by Sian Posthumus
designs by Sian Posthumus
images by Sian Posthumus
supervisor: Dr. Lize Van Robbroeck
© 2021 Sian Posthumus
No part of this book may be reproduced or transmitted in any form
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Article written for the subject Theory of Art for a BA Visual Arts
degree in Visual Communication Design at the Department of
Visual Arts, Stellenbosch University.
sianposthumus99@gmail.com
abstract | 1
introduction | 4
background
aims & objectives | 10
review of literature | 16
research methodology & theoretical framework | 22
outline of chapters | 24
chapter one - becoming | 26
discovering biophilia as a contemporary designer
a brief history & biophilia as a feeling, & a phenomenon
reconnecting with nature
the reconnection
chapter two - exploring | 46
nature in the space, natural analogues, & nature of the space
nature in the space
natural analogues
nature of the space
applying these principles to modern digital designs | 62
brand identity
brand activation
brand guide
conclusion | 82
sources cited | 84
Fig 1. Nguyen La Chanh, Larosée. 2014. Plastazote, latex foam and moss | 13
Fig 2. Dining room table study space, 2021. Photograph by author | 34
Fig 3. View from new study space, 2021. Photograph by author | 35
Fig 4. Before and after changing iPhone lock screen, 2021. Screenshot by author | 39
Fig 5. Productive screen time comparison, 2021. Screenshot by author | 42
Fig 6. Karolinska Institutet indoor fitness centre, Stockholm. s.a. Screenshot by author | 50
Fig 7. Sergey Makhno & Alexander Makhno, Bila Wabi Sabi Apartment in Kyiv. 2018. 50 sq m. Kyiv,
Ukraine | 53
Fig 8. Darrell Godliman, Toyo Ito façade. 2009. Spain, Barcelona | 58
Fig 9. Olafur Eliasson Studio, Your Rainbow Panorama. 2011. Denmark | 61
Fig 10. breathe logo signature, 2021. Screenshot by author | 66
Fig 11. Jill Bliss, Mushroom medley with Helvella Heart. 2015. Photo on paper | 67
Fig 12. Logo co-laterals, 2021. Screenshot by author | 68
Fig 13. Brand activation poster, 2021. Screenshot by author | 73
Fig 14. Visualization exercise 1, 2021. Screenshot by author | 76
Fig 15. Visualization exercise 2, 2021. Screenshot by author | 77
Fig 16. Presence of water page, 2021. Screenshot by author | 78
Fig 17. Sun simulation, 2021. Screenshot by author | 79
“Perhaps we don’t need such rigorous evidence when
it comes to nature contact... Maybe we don’t know
everything there is to know about human benefits
of nature contact, but we have a pretty fair idea, and
we know a lot about designing nature into the built
environment. And given the pace at which decisions are
being made and places built, there is a pressing need to
implement what we know.
- Howard Frumkin, 2008, Nature Contact and Human Health, Biophilic
Design.
Academic, financial, as well as social stressors, play a large role in
the demanding lives of South African university students, including
myself (Govendor & Nel & Sibuyi, 2017). The consequences of
the spread of the Covid-19 virus have also proven to increase
feelings of anxiety and isolation as more and more people are
forced to stay at home (Tull & Edmonds & Scamaldo & Richmond
& Rose & Gratz, 2020). As a result, the population’s exposure to
stress, anxiety, and even depression, rises on a daily basis. This
research article explores the use of biophilic design principles as
a tool to relieve stress and anxiety, in myself and others. Biophilia
can be described as an instinctual connection that humans have
with nature and other planetary life (Wilson, 1993:31). Therefore,
biophilic design can be described as a nature-centered, organic,
and environment situated way of designing to combat stress
and anxiety. Through engagement in a practice-based and selfreflective research methodology, I apply biophilic design, and
more specifically biophilic inspired design, to contemporary design
disciplines through a variety of projects/schemes, in which I
monitor my stress and anxiety levels.
abstract. 1
use your viewfinder to obscure
parts of this image (and all other full
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background.
This research article is inspired by my personal experiences,
as well as the experiences of others like me. A vast majority
of people have at some point suffered from either stress
or anxiety; however, it is believed that university students
experience amplified stress attributable to the intricate
happenings within social and academic campus living
(Seipone & Gralewski & Balogun, 2013). The Stellenbosch
Centre for Student Counselling and Development is constantly
experiencing an influx of mentally exhausted students, and in
the midst of the Covid-19 pandemic, the mental exhaustion
becomes contagious. Isolating from strangers, peers, and
even family to protect oneself from the spread of the Covid-19
virus has had detrimental effects on mental health, resulting in
sleeplessness, eye strain, and lack of vitamin D (Craig & Neilson
& Altman & Travis & Vance, 2021:1). I propose that biophilic
design, which is based on natural elements, delivers alternative
stress relief. This inquiry therefore places the stress and anxiety
of myself, as well as people negatively affected by the Covid-19
pandemic, at its forefront and intends to reduce not only my
own stress and anxiety, but that of my peers, acquaintances,
and strangers alike.
Location, context, and environmental quality certainly affects the
mental health and well-being of humans (Lopez, 2012). Students
attending Stellenbosch University typically reside, study, and
relax in urban or urbanized spaces, and these urban landscapes
are inevitably associated with extensive hours of work and
4
unsatisfying working environments (Facey & Tallentire & Selzer &
Rotstein, 2015). These urban contexts enhance feelings of stress
and anxiety, and accessibility of natural spaces, or ‘nature-inspired’
spaces, in our urbanizing environment are becoming scarce
(Turner & Nakamura & Dinetti, 2004). Biophilic design and its
principles therefore introduces an ‘escape’ within stress-inducing
settings and provides a brief remedy to allow for a mental reset.
According to Carroll and Conboy (2020), the Covid-19 pandemic
is deemed the most significant disaster that the earth has seen
in fifty years, although Walter Matli (2020:1238) argues that “the
pandemic is the most defining crisis the universe has witnessed
since the Second World War (1939-1945) about 75 years ago.” It is
clear that a vast majority of the world can agree that the pandemic
is considered a defining time in all our lives. Not only has it altered
daily routines, whereabouts, responsibilities, and schedules, but
it has altered mindsets, mental health, and general wellbeing.
Its sudden arrival has impacted global work patterns and
practices (Carroll & Conboy, 2020), and along with the discomfort
experienced by such a drastic change, Covid-19 has taken the lives
of friends and families. Biophilic design and its healing properties,
as well as modern designs constructed through biophilic design
principles, can provide momentary stress and anxiety relief to the
ill-equipped, as well as aid individuals in constructing a soothing
environment to work in.
introduction.
5
The compelling relationship between nature and human stress
relief is hardly an unfamiliar one. In his book Nature by Design: The
Practice of Biophilic Design, Stephen R. Kellert (2018:vii) discusses
the fact that a healing relationship with nature existed since the
beginnings of human evolution, when humans were immersed
in and familiar with planetary forces, before artificial (man-made)
forces came to dominate daily experiences. This relationship, and
its importance in the built environment, is further emphasized in
the article 14 Patterns of Biophilic Design (Browning & Ryan &
Clancy, 2014). This article provides an in-depth explanation of the
various ways in which biophilic design patterns enable humans to
either directly, or indirectly connect to nature.
Nick J Fox and Pam Alldred (2019:1) describe New Materialism
as “a theoretical and practical ‘turn to matter’”, and further
discusses that these materialities include the human, non-human,
and all abstract concepts in between. This ontology rejects
familiar dualisms such as nature vs. culture, human vs. nonhuman etc., as well demanding attention away from hierarchies
and anthropocentrism1, and shifting the focus to multiplicity,
connections, rhizomes2, and becoming3 (Fox & Alldred, 2019:34). In this article, I use the word ‘nature’ freely, and with an
understanding of the New Materialism critiques of the word, but
since I derive the majority of my terminologies from writings on
biophilic design, where ‘nature’ is a keyword, I decided to use
the term, but with full cognizance of the problematic dualisms
associated with it. It is also important to note that new materialism
theory does not form part of this article’s theoretical framework,
but certain new materialist terms are used for enrichment
purposes and to provide a more practical way of explaining
certain points.
I derive a more suited definition of nature from the term ‘Dark
Ecology’, coined by Timothy Morton (2016) in his book Dark
Ecology: For a Logic of Future Coexistence. Dark ecology reminds
readers that the separation between geology and humanity is
understandably a flawed dualism, while it also urges readers to
recognize the mutual configurations existing among the ‘natural’
6 introduction.
1 The Greek word ‘Anthropos’ means
‘human being’ (Barla, 2018). Arun
Saldanha and Hannah Stark (2016,
427) explore Deleuze’s thoughts on
the Anthropocene, and describe it as
“the geological age in which human
impact on earth systems has become
irreversible and will be detectable
far into the future.” Drawing from
this, the term ‘anthropocentrism’
can therefore be described as the
belief that humans are the ‘centre’ of
all living things, disregarding other
living beings, thus coining the term
‘anthropocene’ from the irreversible
way in which humans have changed
the Earth.
2 In the book a Thousand Plateaus,
Deleuze and Guattari (1987:7)
describe a rhizome as being able to
connect to absolutely anything else,
in fact, it is obligated to.
3 ‘Becoming’ as described by
Karen Barad (2003, 2007) and
Joanne Cassar (2017), is simply the
relationship existing among several
various phenomena. Barad (2003,
2007) and Cassar (2017) further
describe it as infinite moments and
possibilities, that simultaneously
shape infinite social and material
interconnections between entities,
which thus form the very foundation
of what life is.
introduction. 7
and ‘human’ elements (Jarosz, 2019:81). With this, Morton suggests
that humans should not consider themselves a separate entity
that has control over nature (reminiscent of the Anthropocene),
but rather consider themselves humans made up of non-human
elements and thus intrinsically related to non-humans (Jarosz,
2019:87). Therefore, the word ‘nature’ in this research article
sees itself as wholly integrated with humans and by no means
subordinate, which aligns it with new materialist conceptions of
nature. Humans, as nature, are merely a force existing within the
multifaceted structure that is our material planetary multiverse.
“I have argued in this book that we are human in good part
because of the particular way we affiliate with other organisms”
(Wilson, 1984:139). Here, Edward O. Wilson describes the natural
environment as other organisms which suggests a kind of division
between humans and other living things. The Anthropocene
emphasizes this separation by placing human superiority/
influence over nature, and makes biophilic design seem like a
desire and not a basic need. We are, after all, embodied beings
who need clean air, companionship, comfort, and belonging –
all things that biophilic design can provide. Therefore, the
importance of acknowledging and practicing the fact that we are
nature, could actively demonstrate how valuable the concept of
biophilic design is.
nature are separate entities because of the biophilia hypothesis
being used as a guide for this reconnection in Chapter One, and
biophilic design being directly derived from biophilia (1984) and
the biophilia hypothesis (1993). Therefore, when I use the word
‘nature’, it is used because it is common in biophilic design writings
and for readers to understand what exactly is being referred to.
My practice-based research methodology adopts an
epistemological approach and is led by several of the patterns set
out in Browning et al. Consequently, the theoretical framework
of this research article is also supported and guided by the 14
patterns described there.
I recognize that the definition derived from dark ecology
contradicts the way in which the biophilia hypothesis sees humans
and nature as two separate entities, however, I feel to appropriately
express the need for biophilic design to be applied to several
aspects of our lives, biophilia ought to be described as wanting to
reconnect with a lost part of ourselves, rather than a completely
separate entity. This more recent way of seeing humans as nature
(or rather what we believe to be nature) explains the innate
tendency to connect with it because it is us. In saying this, this
research article still employs language that suggests humans and
8 introduction.
introduction.
9
4 The bodies of work I am referring
to include both the projects I intend
on making during my fourth year of
study that form part of my practicebased research methodology.
5 ‘Nature in the Space’ can be
described as a direct, bodily, and
momentary encounter with nature in
an area or situation. It suggests living
organisms and natural elements
(Browning et al., 2014:9).
6 ‘Natural Analogues’ can be seen as
a more indirect, inert, and organic
encounter with nature. It suggests
materials, colours, patterns etc. found
in nature, and is rather ‘inspired’ by
nature (Browning et al., 2014:10).
7 “Nature of the Space addresses
spatial configurations in nature,” and
includes humans instinctual longing
for observations beyond what lies in
close vicinity, as well as our appeal
towards the unfamiliar (Browning et
al., 2014:10).
The purpose of this study is to investigate whether biophilically
designed work, or work exhibiting biophilic design principles, can
decrease stress and anxiety. As a designer, the bodies of work4 I
aim to create are designs directly inspired by nature, and will be
digital, graphic designs, which falls in line with the BAFA degree
in Visual Communication Design I am currently doing. My designs
are guided by Terrapin Bright Green’s the 14 Patterns of Biophilic
Design. John Muir (1877) stated that “in every walk with nature one
receives far more than one seeks.” Drawing from this statement,
my body of work should not be considered as ‘art for art’s sake,’
but rather as something that brings about relief and tranquility
along with aesthetic value.
The world of biophilic design is rather overwhelmingly broad. For
this reason, I choose to focus closely on 14 Patterns of Biophilic
Design which functions as a kind of ‘bible’ to my theoretical
framework and design discipline. In this article, Browning et al.
(2014:4) describes these 14 patterns as flexible, proficient for
various interior and exterior environmental executions, and that
it caters for project-appropriate application. In order to allow my
body of work to demonstrate biophilic design principles provided, I
adhere closely to the 14 patterns they prescribe.
The 3 categories that biophilic design can be structured into
are: “Nature in the Space5 , Natural Analogues6, and Nature of
the Space7” (Browning et al., 2014:9). The 14 patterns of biophilic
design all fall under one of these 3 categories. My practice-based
research appeals to all 3 categories.
aims & objectives. 11
An example of a ‘Nature in the Space’ biophilic design can be
seen in Figure 1, Larosée (La Chanh, 2014). Here, the artist Nguyen
La Chanh (2014) explores a physical, material way for humans
to connect with nature and this artist has used inspiration from
biophilic design patterns to form this connection. The moss that
the individual is standing on is real and grows from the water
droplets that fall from you after you shower/bath. This is an
example of a ‘visual connection with nature’, as well as a ‘nonvisual connection with nature’ as the individual can see the moss,
as well as experience it non-visually through touch. My research
will follow a similar approach, where my digital designs make clear
use of biophilic design principles/patterns. However, these designs
will not be a direct incorporation of the natural elements, nor will
it be defined as traditional biophilic design, but rather it will focus
on the methods in which biophilic design patterns can be applied
for individuals to experience the positive effects they would usually
experience from nature.
The kind of resources available to me as a student will influence
the kind of biophilic design pattern used to guide a specific body
of work – practical concerns under covid lockdown restricts which
patterns I can apply. A notable objective for this research article
is for my body of work to incorporate no less than 6 of the 14
patterns, and to truly dismantle and explore the patterns
decided for use in order to uncover the full potential of their
healing properties.
Because I, along with countless other individuals, will be spending
the majority of my time in isolation due to the Covid-19 pandemic,
I remain limited to exploring the various patterns within my own
immediate environment. I therefore intend on exploring these
patterns digitally, superficially, and within the limits that the
pandemic has established.
12 aims & objectives.
Figure 1: Nguyen La Chanh, Larosée. 2014. Plastazote, latex foam and moss.
The definition of nature derived from Dark Ecology disclosed in
the introduction is the definition my work aims to emanate from.
As my work intends to do, new materialists bring dichotomies
such as nature, culture, mind, and matter into common
ground (van der Tuin and Dolphijn, 2010:159). My body of work
will simultaneously provide stress relief while connecting/reconnecting the human and non-human, ultimately forming
an assemblage8.
8 According to Nikolic (2018),
assemblage is an act of matching
and corresponding, as well as the
implementation of agencies being
actively combined.
aims & objectives. 13
The intent of this research article is by no means to substantiate
through scientific observation whether biophilic design really
reduces stress and anxiety. My research rather intends to assume
this as a given, and to explore it in a familiar environment of
my own, record observations based on my own stress/anxiety
levels, introduce new theories and perspectives in support of it,
and ultimately create a body of work that is inspired by biophilic
design principles and that fulfills the function of aiding me
with stress relief. More specifically, my body of work does not
aim to portray traditional notions of biophilic design, but rather
aims to continually utilize biophilic design principles to create
contemporary, ‘nature-inspired’, stress-relieving designs, as well as
investigate whether these contemporary designs can also provide
stress/anxiety relief.
This research article explores designs inspired by biophilic design
principles and combines this with a look at how a new materialist
inspired outlook can aid human and non-human connection. The
uniqueness of this article lies in the fact that it is practice-based,
self-reflective, and responds to the Covid-19 pandemic context. It
is also unusual because it applies biophilic principles to digital and
graphic design, whereas it is commonly only used in architecture
and fine art. The way in which various patterns and their effects
are researched forms part of my own situated knowledge9 and the
rare circumstances in which this research takes place.
Therefore, this article becomes distinctive in the subtle ways in
which the philosophies of nature and biophilic design, rather
than the particular conventions behind the architectural biophilic
designs itself, can be applied to provide stress/anxiety relief.
14 aims & objectives.
9 The term ‘situated knowledge’ is a
term coined by Donna Haraway in
her essay Situated Knowledges: The
Science Question in Feminism and
the Privilege of Partial Perspective
in 1988 (Rogowska-Stangret, 2018).
The notion functions on various
interrelated epistemological and
ontological planes and aims to think
independent of the objectivityrelativism duality, while being
developed through perceptions of
seeing, visions, and eyes.
15
??! pr*blems
This research article focuses and utilizes texts centered around
the concept of biophilia, and extended from this, biophilic design.
Additional texts include research surrounding stress and
stress and anxiety
anxiety, the Covid-19 pandemic and its consequences, as
well as new materialist theory. The main focus of my research is
to understand and apply biophilic design principles to a varied
body of work. The writings and artists I explore act as a main
source of guidance and inspiration.
Edward O. Wilson and Stephen R. Kellert’s The Biophilia
Hypothesis (1993), can be viewed as the ‘starting point’ of the
investigation and exploration surrounding the concept of a
connection with nature as instinctual to humans (Browning et
al., 2014:21). This book is an in-depth exploration of biophilia
and a multifaceted analysis of all its ideas, entities, issues, and
becomings. All fifteen chapters in the Biophilia Hypothesis
consult several diverse angles, ranging from affect and aesthetics
to ethics and political action. The book also includes the
opinions of multiple international authors, and certainly remains
the foundation of all recent literature surrounding biophilia and
biophilic design, of which my research article derives from.
The 14 Patterns of Biophilic Design by Browning et al. (2014:5)
declares that the various patterns introduced are intended to
tackle the
surrounding human health and security
within their constructed surroundings, rather than developing
programs intended for use in specific spaces. Several differing
regions, environments, and scales are considered as suitable
for the patterns to be fully functional, in order to lessen common
stressors and strengthen comfort (Browning et al., 2014:5). This
article therefore undertakes a pragmatic approach and provides
architects, designers, and creatives alike, with researched
strategies and assistance in biophilic design. The article offers
the foundation for critical reflection on what exactly it means for
humans to be connected with nature, and how the 14 patterns
presented can advantageously be utilized to enhance the process
of health and well-being improvement within our situated
surroundings (Browning et al., 2014:5).
In The prevalence of depression and anxiety among undergraduate
students in low- and middle-income countries: a systematic
review protocol (January & Madhombiro & Chipamaunga & Ray
& Chingono & Abas, 2018) the state of universal mental health
amongst countless university students, including both African
and South African students, are evaluated. Similarly, the Effects
of biophilic indoor environment on stress and anxiety recovery:
A between-subjects experiment in virtual reality (Yin & Yuan &
Arfaei & Catalano & Allen & Spengler, 2020) investigates the
stress and anxiety reducing effects of bringing biophilic elements
into indoor environments. Younger people are more vulnerable to
stress, anxiety and depression during Covid-19 pandemic: A global
cross-sectional survey (Varma & Junge & Meaklim & Jackson,
2020) during the pandemic and clarifies why a
explores the reason for stress, anxiety, and depression
surprising number of students arebeing more prevalent in the younger population
reviewing my stress levels.17
experiencing symptoms similar to mine. Finally, The changing
work landscape as a result of the Covid-19 pandemic: insights
from remote workers life situations in South Africa (Matli,
2020) investigates the positive and negative aspects of
remote working conditions, new schedules, and working in
isolation, and is valuable for my exploration of the negative
effects of working remotely. This research article includes the
amongst university students, such
as myself, as well as levels of stress/anxiety for th
exploration
of local and international literature on stress, anxiety, and
depression
e
isolated indiv
idual
during the Covid-19 pandemic. The purpose of exploring this
research, however, is to gain insight about the commonality
of these symptoms, to investigate the way in which
individuals are inclined to cope with the symptoms, as well as
why these common symptoms seem to be occurring within a
Covid-19 pandemic context.
18 review of literature.
New Materialism (2019:1) by Nick J Fox and Pam Alldred
explores a wide array of modern perspectives in several
disciplines that all emphasize a practical ‘turn to matter.’
This book explores the principal aspects, strands within,
and range of critiques and perspectives from primary new
materialist authors (such as Braidotti and Latour). In addition,
Posthumanist Performativity: Toward an understanding of
how matter comes to matter (Barad, 2003) and the webpage:
newmaterialism.eu provide additional new materialist
perspectives that provide motivation for biophilic
design studies.
19
20
21
.
primary researcher. My body of work surrounding biophilic design
is a physical manifestation of my research methodology and
theoretical framework, and will follow both a hypothetical/abstract
thought process guided by Browning et al.’s (2014) the 14
Patterns of Biophilic Design, as well as a material outcome in the
form of designs.
Working remotely can lead to a decrease in emotional support
while simultaneously dealing wwith work/home related concerns,
which leads to increased stress levels and eventually exhaustion
(Perry & Rubino & Hunter, 2018:577). The biophilic inspired body of
designs will act as an attempt to reduce the stress and
anxiety experienced by individuals affected by the negative
consequences of the Covid-19 pandemic (more specifically, people
working remotely).
This article’s research methodology and its theoretical framework
is based on the 14 Patterns of Biophilic Design (Browning et al.,
2014), my own personal experience with stress and anxiety, and
lastly, information about these afflictions. My method is practiceled. I explore various biophilic design options and write about the
theoretical aspects of this design method, and about my findings,
in this written component.
This research article is the product of a practice-based exploration,
which Shaun McNiff (1998:29), describes as the methodical
application of various art practices as a process/expression, in
order to investigate the experience of both the audience and
Personal interaction forms the foundation of this practice-based
research methodology. I intend to focus on the process of
creating bodies of work and interacting with my own biophilic
inspired designs. These designs will then materialize as part of
the research methodology. My own emotional response both
before and after interacting with biophilically designed pieces
will be recorded and will contribute to future ideas, designs, and
possibilities. Furthermore, the amount of stress relief and strength
in connection I experience in interaction with living matter both
before and after the interaction will play a vital role in the execution
of this research article. Along with this, the data that this research
article will analyze, demands a self-reflective evaluation.
research methodology & theoretical framework. 23
Chapter two: Exploring Nature in the Space, Natural Analogues and Nature of the Space
Chapter one: Becoming –
Discovering Biophilia as a contemporary designer
Chapter one of this research article serves as an in-depth
exploration of Biophilia as a term, feeling and phenomenon. In the
Biophilia Hypothesis (1993:32), Wilson states that close human
involvement with other living organisms has been around since
our hunter-gatherer past. This chapter aims to record and research
the way in which I, as a designer, attempt to develop an intimate
‘hunter-gatherer’ like relationship with nature. This connection will
be established through the strategic use of Stephen R. Kellert and
Elizabeth F. Calabrese’s Practice of Biophilic Design (2015) and
will act as a kind of ‘human-nature connection goal’ for others to
reach when interacting with my biophilic designs. New materialist
terms and concepts will be investigated, and clear associations
established between biophilic design and new materialism.
Chapter two is focused on a body of designs centered around the
3 main biophilic design categories I outlined earlier – nature in the
space, natural analogues, and nature of the space. Nature in the
space encompasses 7 of the 14 biophilic design patterns and will
most likely contain the majority of the patterns I aim to incorporate
into my designs. Browning et al. (2014:9) asserts that the kind
of experiences stemming from this category include intimate,
meaningful encounters with natural elements, specifically using
interactive bodies of work, in order to establish unadulterated
connections. The remaining two categories compel my body of
work to focus on indirect suggestions of natural elements, as well
as “spatial configurations” that exist in nature (Browning et al.,
2014:14). The exploration of these 14 patterns will be reinforced by
analyzing and discussing the works of different artists designing
with each specific category/concept in mind. These artists will also
serve as a source of inspiration for my body of work. The efficacy
of the biophilic-inspired designs in relieving my own stress and
encouraging a closer connection with nature will also be observed
and commented on.
outline of chapters. 25
discovering biophilia as a
c o n t e m p o r a r y d e s i g n e r.
This chapter functions as a deep dive into Biophilia, what it
means, as well as how I aim to explore and apply it to my
practical body of work. A brief discussion of the history of our
environment and the importance of Biophilia will take place
to provides an understanding of the term. I explore how I, as
a contemporary designer, reconnect with nature by following
biophilic practices, and I show how this reconnection allows me
to explore biophilic design in my practical body of work. In his
book discussing the theory of biophilia, Kellert (2018:4) reminds
us that evidence supports the fact that our innate tendency
to connect with nature is crucial for good health, productivity,
and overall happiness, despite our continuous dismissal of
how valuable nature is. In saying this, I will also share my own
thoughts on how developing a connection with nature has
benefited my health, productivity, and overall wellbeing.
26
27
a brief history of biophilia as a
feeling and phenonemon.
Biophilia, as explained in the abstract, is a conscious awareness
of a sense of connection with nature that, Kellert speculates,
developed at time when humans became familiar with natural
forces, and had not yet developed technologies that created
significant artificial environments and forces (Kellert, 2018:vii).
The following section aims to provide a succinct understanding
of the term ‘Biophilia’ as a basis of what biophilic design, in the
form of my practical body of work, delivers. This section relies on
the writings of Stephen R. Kellert, and Edward O. Wilson as the
authors who popularized the term.
“Human history began hundreds of thousands or millions of
years ago with the origin of the genus Homo” (Wilson, 1993:32).
Humans existed for most of our time on earth without industry
and technology. All of their time was spent in nature, and they
relied solely on knowledge obtained from their immediate natural
environment. After the age of the hunter-gatherer human, we have
expanded significantly into a civilization fueled first by cultivation
and then by industry (Wilson & Kellert, 1993:345). Judging by
the rapid way in which 21st century technology is changing and
growing, it is safe to assume that technology is what humans
are prioritizing. However, with this prioritization comes endless
expansion into our immediate natural environment, inflicting
lasting damage and irreversible changes to ecosystems. Humans
have become extremely reliant on industry and technology to not
only make their lives easier, but also to make their lives better.
Consequently, Earth has not only entered a new geological era
(called the Anthropocene), but humans are the cause of it.
28 chapter one | becoming
10 This word refers to a concept that
places humanity ‘in’ nature, and
visualizes it as a ‘union-in-diversity’
where humanity is integrated with
and adopts the Earth’s natural living
conditions (Moore, 2016:6).
11 “These are complex, selforganizing but collectively producing,
boundaryless systems” (Dempster,
2000).
12 “Autopoietic systems have
self-defined boundaries, are selfproduced, are organizationally closed,
homeostatic, centrally controlled, and
predictable” (Dempster, 2000).
In the words of Josef Barla (2018) the Anthropocene indicates
a time where the operations of the Earth were interrupted by a
geophysical force – humans. This indicates the immense effects
humans have on the Earth’s forces and material functioning. Two
additional authors have reshaped the meaning of ‘Anthropocene’,
namely the Capitalocene (coined by Jason Moore), and the
Chtuhulucene (coined by Donna Harraway) (Barla, 2018). The
Capitalocene refers to capital being the main reason for the Earth’s
ecological shift, not the ‘human’ or technology in general (Moore,
2016:6). Jason Moore (2016:2) explains that dualisms such as
humanity vs. nature, or capitalism vs. nature, is the kind of thinking
that caused the geological shift and is a large part of the problem.
The Chtuhulucene is an extension of the ‘ecozoic’10 perspective
coined by Thomas Berry (2008) and promotes a sympoietic11
system above an autopoietic12 system, that is always unified, with
no distinct start or boundary, and that is continuously interacting
(Haraway, 2015). The characteristics of the Chtuhulucene thus
promote a ‘oneness’ between the human and non-human,
disregards the need for a distinct hierarchy between species, and
encourages partnership between the human and non-human.
The concept of the Chtuhulucene ties in closely with the definition
derived from dark ecology, and is the kind of thinking we as
humans need to start doing.
Drawing from these various descriptions of the Anthropocene, it is
clear that humans have not only detached themselves from nature,
but have done so deliberately, and with harmful consequences.
Humans struggle to see themselves as ‘nature’, which is where it
all started. Calling this geological era the ‘Anthropocene’ indicates
that the human race needs to deeply consider the natural
environment now more than ever before, and this needs to be
chapter one | becoming 29
done for the good of both the human, non-human, and for
humans to find this lost part of themselves we label ‘nature’.
Although this research article explores the benefits of Biophilia/
Biophilic Design for stress and anxiety felt by humans, a
reconnection to nature can act as a catalyst for promoting
sustainability and more ‘ecozoic’ thinking.
According to Wilson and Kellert (1993:31) biophilia is not a solitary
feeling, but a multiplicity of various knowledges that can be
manipulated, taken apart, and dissected as single entities. Biophilia
is merely a connection with nature, thus it is inclusive of all feelings
and phenomena that draw from the sensation of connectivity
– “from attraction to aversion, from awe to indifference, from
peacefulness to fear-driven anxiety” (Wilson & Kellert, 1993:31).
These connections can be experienced with direct forms of nature
(e.g. plants, water, insects etc.), but can also be experienced with
entities that emanate from the natural environment, i.e. the sound
of water. Immersion in natural sounds, sensations, colours etc. has
the ability to decrease stress and anxiety (Kellert & Calabrese,
2015:8), therefore the connection feels soothing. Nature can
increase feelings of satisfaction and motivation (Kellert et al.,
2015:8), therefore the connection feels refreshing. Aggression,
frustration, and failure are proven to decrease in contact with
natural environments (Kellert et al., 2015:8); the connection feels
peaceful, and some may even describe it as quiet. Every
individual may perhaps experience the feeling of biophilia in their
own unique way, but in the long run, these experiences are
almost always positive.
30 chapter one | becoming
Humans are always intra-acting with nature as we continuously
‘measure’ its various capacities, consequently producing complex
entanglements between ‘how’ we research nature, and nature
itself. The word ‘intra-action’, coined by Karen Barad (2007), is used
in place of ‘interaction’ which involves recognized entities that
participate and engage with one another, always diffracting and
exchanging, operating inseparably without end. Neither nature
nor humans are separate, single entities. They behave in unity,
because they are of the same occurrence, the same phenomenon.
These very acts of intra-acting, measuring, and entangling
produces a kind of onto-epistemological balance and denies the
assumed differences between human and non-human, mind
and body (Barad, 2007:185), which ultimately demonstrates the
Biophilia phenomenon as innate, not taught or learnt.
chapter one | becoming 31
the reconnection.
reconnecting with nature.
Browning et al. (2014) explains that Biophilia is the reason we find
crashing waves and fires so fascinating, why we prefer to have a
garden view over the view of a parking lot, why we
fear heights, and why dogs can be our best friends. I, as a
contemporary designer, make an active effort to include naturefilled or nature-inspired activities and entities throughout my daily
routine to facilitate my personal connection with nature. I pay
special attention to a few of the things listed by Browning et al.,
as well as various others, in my daily routine in order to try and
experience the greatest number of benefits provided by nature.
The conscious effort to reconnect with nature commenced on the
4th of July 2021 and continued to materialize indefinitely; however,
the discussion of my experiences, results, and reactions take
place over a month-long period. The way in which I attempt my
reconnection with nature (including direct, indirect, and space and
place experiences with nature) will first be discussed, followed by
a self-reflective section wherein I closely examine my productivity
levels, stress levels, and mental health since attempting
this reconnection.
32 chapter one | becoming
Firstly, I would like to address how I reconnect to nature using
direct experiences, which include “light, air, water, plants, animals,
weather, natural landscapes and ecosystems, and fire” (Kellert et
al., 2015:13). I paid special attention to my immediate environment
and spaces where I spend majority of my time. During the Covid-19
pandemic, this space is the home that my family and I reside in,
and more specifically, it is the space where I spend the majority of
my day working. I initially used the dining room table as a study
space (see in Figure 2), which can be described as cluttered,
dark if the sun is not out, and with no direct view of nature. In
consideration of the demands of a biophilic approach, which
encourages direct experience of light and natural landscapes, I
moved my study space to my bedroom (Figure 3). This space has a
large window, thus significantly increasing natural light, as well as
providing a picturesque view of a green park. This ‘green park’ is a
concept predetermined by humans to describe a well-maintained
green space. However, this park is unquestionably still considered
as ‘nature’, and is always-already infused with the human presence.
With this shift in space, I tried to always keep a bottle of water
close by to increase my water intake, added a few plants to the
shelf next to my study space, as well as made a conscious effort
to bond with the animals in my environment. Some smaller details
I paid attention to include sitting/eating outside in the sun on a
beautiful day, watching the sunrise if I am awake before it, and
finally, always studying and driving with a slightly open window to
increase my natural air intake.
chapter one | becoming 33
Figure 2: Dining room table study space, 2021. Photograph by author.
34 chapter one | becoming
Figure 3: View from new study space, 2021. Photograph by author.
chapter one | becoming 35
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Secondly, I want to explain how I utilized indirect experiences
of nature to encourage my discovering of biophilia. Indirect
experiences of nature include “images of nature, natural materials,
natural colours, simulating natural light and air, naturalistic shapes
and forms, evoking nature, information richness, change and
the patina of time, natural geometries, and biomimicry” (Kellert
et al., 2015:13). Although I did not spend as much time engaging
indirect experiences of nature, I do believe that the experiences
encountered had a large role in cultivating an overall sense of
connection. I paid close attention to applying these indirect
experiences of nature to material objects and devices around me
and focused on connecting with nature through the smaller daily
tasks that seemed overlooked. Some of these applications were as
small as changing my iPhone lock screen to a natural landscape
(see Figure 4), changing my Google background to randomly
display a different image of nature each day, painting organic and
free-flowing shapes, listening to the sound of rain while studying
and working, and finally, spending a moment and appreciating
fractals13 around me when I notice them.
38 chapter one | becoming
Figure 4: Before and after changing iPhone lock screen, 2021. Screenshot by author.
13 Fractals are complex, and naturally
uninterrupted patterns that are everpresent in nature (Trombin, 2020:3).
chapter one | becoming 39
Lastly, the experience of space and place also played a role in
my journey to reconnecting with nature. The experience of space
and place includes “prospect and refuge, organized complexity,
integration of parts to wholes, transitional spaces, mobility and
wayfinding, as well as cultural and ecological attachment to place”
(Kellert et al., 2015:13). I found it quite difficult to grasp the full
experience of space and place, but I did manage to incorporate
a few of my connection-encouraging activities into this category.
A vast majority of the connections and emotions I experienced
through space and place can only be described as both spiritual
and abstract. I utilized scenes of nature (often just looking out
a window) as an option for refuge, and often found myself just
being present in nature’s complexities and feeling drawn to natural
environments that reminded me of the mental clarity that certain
nature-filled experiences provided.
living things just interacting with other living things), and this small
activity was able to shift my mood into one of contentment and
gratitude. A noticeable decrease in my stress levels occurred when
experiencing nature indirectly. Unlocking my phone, logging onto
google, and simply sitting in silence and listening to nature around
me, were all mindless acts that subconsciously reminded me of
nature and the calming effects that it provides me with. These
acts provided me with momentary stress relief and small mood
boosts. Similarly, to direct and indirect experiences with nature,
space and place experiences boosted my mood, but mostly, they
grounded me. They allowed me to feel present, calm, and at ease.
The abstract feeling of being connected with nature accurately
showed itself to me throughout all three experiences, however, the
positive feelings were more frequently felt after I had had multiple
experiences with nature.
The direct experiences with nature certainly had the largest impact
on my productivity levels, stress, and overall mental health. I found
that these experiences provided a pure, and almost immediate
connection with nature, and allowed me to feel the benefits wholly.
Studying in my bedroom with natural light and fresh air provided
me with more energy and allowed me to focus longer, thus
increasing productivity levels. As seen in Figure 5, my productive
screen time (study/work time) increased by almost 2 hours, as
well as my average screen time also continued increasing a week
after I moved to a room with more biophilic elements. I noticed
a significant change in my mental health when I increased my
water intake and made an effort to bond with the animals around
me. I dedicated at least one hour of my day to either playing,
caressing, or walking dogs (another predetermined concept that
should be considered as infused with humans as we are, after all,
The various actions and activities that allowed me to experience
nature had a considerable impact on my own productivity, stress,
anxiety, and mental health, as well as the way in which I approach
biophilic design in my body of work. Discovering biophilia and
reconnecting with nature has positively influenced the way in
which I live my day to day life, and has encouraged me to use my
own feelings and experiences with nature to create a ‘biophilically’
designed body of work that assists others to feel this way too. The
fact that I, the designer of this body of work, feel more connected
to nature will result in me being able to effectively detect the
kind of biophilic patterns/principles which bring about the most
positive/calming feelings into my day. These patterns/principles
can then either be directly used or used as inspiration for the
projects included in my final body of work, to ultimately produce
digital designs that subconsciously de-stress and fulfill me.
40 chapter one | becoming
chapter one | becoming 41
Figure 5: Productive screen time comparison, 2021. Screenshot by author.
42 chapter one | becoming
43
use your viewfinder to obscure
any text, image, or texture in this book and
just let loose! Draw, scratch, paint, or tear
what you see.
44
45
nature in the space, natural analogues,
and nature of the space.
This chapter functions as a deep dive into my complete body of
biophilic inspired graphic designs. It will serve as an in-depth
discussion of how I, as a now ‘connected-to-nature’ designer,
have incorporated and applied several biophilic design patterns/
principles into a contemporary body of mostly digital designs. How
this fresh connection with nature has aided me in my designs, will
also be discussed. The body of work being discussed includes
visual communication digital designs exploring topics such as
brand identity, brand activation etc., which includes things such
as web design, poster design, editorial design etc. It is important
to note that these designs do not function as fine art, but rather
as information conveyance art (or graphic design) that use
aesthetic value to enhance/compliment the information being
displayed. In saying this, the biophilic inspired elements present
within these designs are there to impart the benefits of nature/
biophilic design, but are designed in conjunction with the main
topics being explored. The way in which each category of biophilic
design patterns, namely nature in the space, natural analogues,
and nature of the space, have been applied to specific projects will
be discussed, as well as the positive effects that these patterns
are able to induce. It is also important to note that these patterns
can work simultaneously at any time, and often become entangled
with one another, forming a large web of various biophilic design
patterns.In conjunction with these discussions, the works of
various artists/companies/designers who explore biophilic design
patterns will be analyzed and examined as inspiration for my own
46
chapter two | exploring. 47
nature in the space.
The ‘Nature in the Space’ category contains seven of the 14
biophilic design patterns, which include: “a visual connection with
nature, a non-visual connection with nature, non-rhythmic
sensory stimuli, thermal and airflow variability, presence of water,
dynamic and diffuse light, and a connection with natural systems”
(Browning et al., 2014:23). Each biophilic design pattern will be
discussed in detail as it is used or observed.
body of work. Most of the artists’ biophilic designs being
discussed are architectural, but clear connections between both
the artists use and my use of the biophilic design patterns will be
composed. This section will first be discussing specific chosen
biophilic design patterns I have decided to focus on, as well as
examples of other works containing these patterns in order for
these patterns to be properly understood. Then later, my own body
of work will be discussed and analyzed according to the different
patterns that have already been reviewed in detail.
48 chapter two | exploring.
The Karolinska institutet’s indoor ‘nature gym’ in Stockholm
(Karolinska Institutet indoor fitness centre, Stockholm, s.a.) is a
suitable example of the first biophilic design pattern, namely ‘visual
connection with nature’. The gym was designed by a company
called ‘Biofit’, which opened its doors in January of 2018, and was
designed this way to specifically encourage both staff and students
to de-stress during the day through physical activity (Karolinska
Institutet indoor fitness centre, Stockholm, s.a.). As explained by
Browning et al. (2014:24), is simply a “view to elements of nature,
living systems, and natural processes”. This pattern has been
proven to significantly reduce stress, improve concentration, and
better emotional behaviour (Browning et al., 2014:24). As seen in
Figure 6, the nature gym makes clear use of the visual connection
with nature pattern in conjunction with other patterns too. The
gym completely encompassed its walls with a vibrant, green
forest scene, as well as adding pot plants throughout. The visual
connection with nature biophilic design pattern is used cleverly as
the nature scene works in immersing whoever is exercising in this
facility to make them feel surrounded by nature. This scene can
also be experienced for as long as the viewer needs.
chapter two | exploring. 49
Figure 6: Karolinska Institutet indoor fitness centre, Stockholm. s.a. Screenshot by author.
50 chapter two | exploring.
A ‘non-visual connection with nature’ is the biophilic design
pattern I felt most drawn to, and thus, I subconsciously explored
this pattern the most. This pattern seeks to connect individuals
to nature by making use of sensory experiences that exclude the
visual, therefore, experiencing nature through hearing, tasting,
smell, and touch (Browning et al., 2014:26). In the 14 Patterns of
Biophilic Design (Browning et al., 2014:26), a good non-visual
connection with nature is described as feeling fresh, poised,
and rather intricate - but still comfortable, where the sensory
experience suggests being outside in nature. My body of work
often makes use of auditory experiences as a connection with
nature, this is because humans are specifically attuned to the
sound’s nature produce and these sounds have been proven to
increase activity performance and promote a positive mental
wellbeing (Browning & Walker, 2018:6). Personally, the sound of
ocean waves crashing on the shore, the sound of a soft breeze
blowing through tall trees, and even the sound of birds chirping
in the early hours of the morning, are all more soothing than
any ‘calm music’ playlist. Playing these kinds of natural sounds
over a speaker have also been proven to boost performance and
concentration in the workplace (Browning et al., 2018:8), therefore,
experiencing natural sounds and/or playing them over a speaker
will both result in positive cognitive effects, and can thus be
applied to my digital body of work.
chapter two | exploring. 51
Gustatory14 and olfactory15 stimuli are slightly more difficult to
simulate. In more traditional examples of biophilic design, herbs
and edible plants are consumed as gustatory stimuli, and plant
oils and phytoncides16 are used for olfactory stimuli. These
kinds of experiences cannot be replicated using digital design;
however, they can be imagined through processes of concentrated
visualization. Haptic17 stimuli can be experienced through textures,
materials, and various consistencies found naturally. Figure 7, the
Bila Wabi Sabi Apartment in Kyiv (Sergey Makhno Architects,
2018), is a good example of haptic stimuli as it imitates rough
textures (such as rocks and sand) naturally found in the outdoor
environment. Although the image shown is a photograph of
the texture, one is able to envision what the wall would feel like
without it having to appear in front of you, thus, haptic stimuli
can be used in my digital designs as simulated texture, as well as
designs inspired by various textures existing naturally.
Other notable Nature in the Space biophilic design patterns
include “non-rhythmic sensory stimuli” and the “presence of
water” (Browning et al., 2014:23). Non-rhythmic sensory stimuli
refer to random, short periods of connection to nature, and feels
like one is experiencing a moment of something exceptional,
exciting, and invigorating (Browning et al., 2014:28). This pattern
is known to decrease stress and fatigue, and can be utilized by
designing for short exposure to natural smells/sounds or random
movement occurring in nature e.g. birds chirping or clouds moving
(Browning et al., 2014:29). This pattern would be ideal for digital
designs, more specifically, animated digital designs that are able to
provide momentary stress relief to whoever is viewing it. Likewise,
the ‘presence of water’ biophilic design pattern is also ideal for
digital designs, whether its visual, auditory, haptic, or simulated
in an artistic way. The presence of water can bring about feelings
of fascination and attraction, as well as positive mental health
benefits such as lower blood pressure and increased feelings of
calmness (Browning et al., 2014:32).
52 chapter two | exploring.
14 Also known as ‘taste.’
Figure 7: Sergey Makhno & Alexander Makhno, Bila Wabi Sabi Apartment in Kyiv. 2018. 50 sq m. Kyiv,
Ukraine.
15 Also known as ‘smell.’
16 Essential oils from trees (Browning
et al., 2014:26).
17 Also known as ‘touch.’
chapter two | exploring. 53
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natural analogues.
According to Browning et al. (2014:10): “Natural Analogues
addresses organic, non-living, and indirect evocations of nature.
Objects, materials, colours, shapes, sequences, and patterns
found in nature...” This category contains three of the 14 biophilic
design patterns, namely “biomorphic forms and patterns, material
connection with nature, and complexity and order” (Browning et
al., 2014:23).
Biomorphic forms and patterns are figurative references to
specific arrangements that occur naturally in the environment,
which include contours, both numerical and normal patterns,
and textures (Browning et al., 2014:38). Visually, we as humans
prefer organic shapes and although we know they are non-living
entities, they are seen as symbolic references of living things
(Browning et al., 2014:38). This biophilic design pattern places
emphasis on both the mathematical findings existing naturally, as
well as cyclical organic shapes and forms e.g. the patterns found
on seashells or on wood. Figure 8 is a photograph showing the
Toyo Ito façade (Toyo Ito, 2009) which was designed to mimic the
shapes and forms naturally created by ocean waves. This is a good
example of a non-living recreation of something existing in nature
as this design subtly reminds us of the calming characteristics
of ocean waves. Furthermore, the organic, free-flowing contours
are extremely satisfying to the human eye, and one can almost
envision the slow, delicate movements a structure like this would
make if it were to be alive.
A material connection with nature is quite simply what the title
declares. It refers to minimally processed natural materials
that reflect and remind one of surrounding ecology, therefore
generating a sense of place (Browning et al., 2014:10). This sense
56 chapter two | exploring.
of place could be created through surrounding individuals with
environments crafted out of natural materials (e.g. wood, stone,
cork etc.), or simply using a colour palette that’s drawn directly
from nature, particularly different shades of green as this colour
has been proven to facilitate creativity (Browning et al., 2014: 40).
18 These are fractals that exist
innately in nature and are both
unsystematic and display an organic
touch (Trombin, 2020:10).
19 These are human-made fractals
that show precision, symmetry and
scale-controlled repetition (Trombin,
2020:10).
Complexity and order, in my own opinion, is a pattern quite closely
connected to biomorphic forms and patterns. It refers to “rich
sensory information that adheres to spatial hierarchy similar to
those encountered in nature,” and is known to be described as
a captivating balance between monotonous and overwhelming
(Browning et al., 2014:42). Fractals play an important role in
the implementation of this pattern, and have been known to
increase energy levels, de-stress, improve creativity, and cause
delight (Trombin, 2020:3). These never-ending patterns are in
fact found all around us at many times throughout our day, from
the feathers on birds, to the patterns on leaves found on palm
trees. There are two types of fractals, namely statistical18 fractals
and exact19 fractals. Although the mimicry of statistical fractals
would be ideal, because of our disconnection to nature and our
dependence on technology, it is challenging to display the same
‘organic touch’ that nature has. There are technological tools and
software available to create mathematically generated fractal
patterns (Trombin, 2020:7), however, I aim to use my newfound reconnection to nature to attempt creating statistical fractals that at
least display a small benefit to individuals interacting with it.
chapter two | exploring. 57
Figure 8: Darrell Godliman, Toyo Ito façade. 2009. Spain, Barcelona.
58 chapter two | exploring.
chapter two | exploring. 59
nature of the space.
The third and final category deals with spatial formations and
constructions that exist in nature, and includes our natural
attraction to the uncomfortable unknown and the fact that we
are drawn to what’s beyond obscured views (Browning et al.,
2014:10). It includes the final four of the 14 patterns of biophilic
design, which includes “prospect, refuge, mystery, and risk/peril”
(Browning et al., 2014:10). Digital design, habitually being displayed
as two-dimensional, does not necessarily complement the idea
of spatial configuration, however, my body of work leans towards
exploring ideas inspired by these patterns and investigating if they
would have a similar effect.
The pattern my work feels most drawn to exploring in this category,
is mystery. This pattern assures the exposure of more information
through tempting individuals to journey deeper into nature by
partly obscuring sensory experiences or views (Browning et al.,
2014:48). Unlike majority of the calming, de-stressing, and blissful
experiences from the other patterns, mystery heightens feelings
of curiosity and attentiveness, and increases the probability of
coming across other various biophilic conditions (Browning et
al., 2014:48). Figure 9 shows Your Rainbow Panorama (2011) by
Olafur Eliasson Studio, which is an above-ground art installation
for a museum in Denmark. Visitors are able to move freely around
the circular hallway and experience the colour transitions as the
glass around them shifts from yellow, to red, to blue, persuading
the viewers to keep walking and experience the view from all the
colours the artwork has to offer (Ryan, 2016). It is almost enticing
attempting to explore and utilize the mystery pattern, and I believe
it could bring a fresh, unexpected benefit to my body of work.
60 chapter two | exploring.
Figure 9: Olafur Eliasson Studio, Your Rainbow Panorama. 2011. Denmark.
chapter two | exploring. 61
applying these principles to
modern digital designs.
This section serves as an in-depth exploration of the effects
of applying biophilic design principles to modern design
disciplines. Various digital designs will be shown, analyzed, and
discussed, and more importantly, the effects of applying biophilic
design principles/patterns to the designed body of work will
be investigated. The figures containing the designs will first be
followed by a brief explanation of the project concept, thereafter
the way in which I applied/felt inspired by the 14 biophilic design
patterns will be thoroughly discussed with a description of my
own experiences and responses followed shortly after. Both
my experience while designing, as well as my experience while
observing/interacting with these designs will be described with
the intent of investigating whether biophilic inspired digital design
can still have the same positive, restorative effects that traditional
biophilic design has.
In the 14 Patterns of Biophilic Design, Browning et al. (2014:19)
mentions that it is unrealistic to assume the outcomes of humannature interactions, or to even assume that the positive effects
of biophilic design will materialize within the subject interacting
with it because of specific approaches or mediations. In saying
62 chapter two | exploring.
this, the various biophilic design patterns that my body of work
includes or is inspired by has the intent of generating the specific
restorative effects described in the 14 Patterns of Biophilic
Design, but is not inclined to generate these effects for every
individual. Nonetheless, this research is directed at exploring
how the restorative effects affect only me as a student, living
through the Covid-19 pandemic and designing for stress relief.
My own experience with my biophilic inspired designed works is
therefore a unique one, and other individuals may experience it
very differently. A variety of potential design ideas and concepts
relating to the possible restorative effects stemming from biophilic
inspired design will be discussed later.
chapter two | exploring. 63
b r a n d i d e n t i t y.
Figures 10 – 12 are the first designs being discussed. These
designs are form a small part of a project exploring the identity of
a brand created by me as a designer. The main aim of this project
was to construct, design, and establish a brand surrounding
the themes and concepts being explored in this very research
article. The brand being analyzed is therefore called ‘breathe’ and
aims at spreading knowledge and create awareness about the
many healing properties of nature and biophilic design, which is
reflected in the slogan of the brand. Along with publicizing the
positive effects of a connection to nature, the visual elements of
the brand itself is also inspired by the biophilic design patterns,
and is therefore a kind of biophilic design in itself.
Figure 10 presents the complete logo signature, which includes a
logo mark, the name of the brand, and the slogan. The inspiration
for the logo mark was taken directly from nature and is inspired
by the organically shaped mushrooms displayed in Figure 11.
The repetition of these organic shapes in the logo stem from the
‘biomorphic forms and patterns’ biophilic design pattern, and aside
from mushrooms, echo many other shapes and forms found in
nature (such as stones, leaves, puddles etc.). In conjunction with
these shapes being reminiscent of the natural environment, the
colours used to fill these shapes also stem directly from nature
and natural phenomena. The use of colour drawn from nature
demonstrates a biophilic design pattern titled ‘material connection
64 chapter two | exploring.
with nature.’ An increase in creativity levels has been proven to
come from exposure to the colour green (Browning et al., 2014:40),
therefore various shades, tints, and tones of this colour have been
used throughout all the designs being discussed. These specific
tones of green were inspired by The Karolinska institutet’s indoor
‘nature gym’ in Stockholm and were chosen as they reminded
me most of the kind of colours a tranquil nature scene would
encompass. A visual connection with nature is also seen in Figure
12 which displays various versions (or ‘co-laterals’) of the logo mark
that include zoomed in and recognizable scenes of the natural
environment.
chapter two | exploring. 65
Figure 10: breathe logo signature, 2021. Screenshot by author.
66 chapter two | exploring.
Figure 11: Jill Bliss, Mushroom medley with Helvella Heart. 2015. Photo on paper.
chapter two | exploring. 67
Figure 12: Logo co-laterals, 2021. Screenshot by author.
68 chapter two | exploring.
When taking a first glance at the logo mark, it does not necessarily
make me feel calm, but it does in a lot of ways remind me of
nature and natural scenes. However, the way in which the shapes
are positioned does feel very comfortable, and certainly does
not increase my feelings of stress or anxiety. Browning et al.
(2014:40) states that humans in fact prefer organic shapes and
some biomorphic forms and patterns are interpreted as symbolic
depictions of life, and this description perfectly describes my
response to these shapes and explains why they help me feel
closer to nature, but do not necessarily reduce my stress levels.
Although I cannot tell or measure whether constantly observing
the colour green throughout creating my designs have facilitated
feelings of creativity, the colour green most certainly provides
me with a sense of contentment and security, and the constant
repetition of these colours have often brought relief to my feelings
of anxiety when working with them. Much like staring out my
window into a green park as I did in Chapter One, the colour green
provides me with a sense of tranquility that certain other colours
(like orange or purple) fail to provide me with.
chapter two | exploring. 69
brand activation.
Figure 13 is the second design being discussed and is a design
that follows on from the first few figures discussed. Figure 13
functions as a digital poster and is therefore intended to be
observed through a screen and with audio if available, however,
this poster is also able to function physically, and this will be
discussed in detail later. Both the physical and digital posters are
visually identical, the discrepancy lies in the fact that the physical
poster is designed for public interaction, and the digital poster is
designed to be viewed on a screen with elements of sound and
movement. The poster serves as a way to ‘activate’ the brand
mentioned in the previous analysis (breathe), and forms part of
a triptych of posters. The first two posters function together with
the intent of showing observers what feeling stressed/anxious
is like, and if the observers feel they can relate to the feelings
portrayed, the final poster functions as a biophilic design ‘solution’
to the feelings portrayed in the first two posters. For the purpose
of this research, only the digital poster (which will be referred to
as ‘poster three’) will be discussed in detail as it was designed
biophilically with the intent of restoring/healing individuals and
had specific biophilic design patterns in mind.
The digital poster incorporates aspects of both sound and
movement to enhance the viewers’ experience and includes an
intangible viewfinder20. These sounds can be described as multiple
birds chirping in a secluded forest as if standing right beneath
them. The movement of the poster occurs in the ‘clouds’ of water
colour present as the background of the poster, and consists
of slow, scale attentive movements almost as if the poster is
‘breathing’. The animation only lasts a mere ten seconds, providing
a brief, but effective engagement with aspects of simulated nature.
70 chapter two | exploring.
20 A viewfinder is a term used in art
to describe a frame that is used to
create compositions (Li & Lv & Tang,
2019:2822). It is usually a rectangle
made of solid material with a ‘hole’ in
the middle by means of revealing and
obscuring certain parts of the scene
it is pointed at (Li et al., 2019:2822).
The physical poster includes a tactile, interactive viewfinder that
can be detached from the poster to be utilized in the environment.
All three posters in the series have ‘tear-off’ viewfinders for
viewers to take, keep for themselves, and use whenever they
feel they need a biophilic design experience. Another aspect of
the design that needs to be taken note of, is the fact that it is
inspired by the biophilic design patterns (or rather follows biophilic
design principles) and does not follow traditional or ‘architectural’
methods of execution, as well as specifically researching whether
following and applying these principles to graphic design can
achieve similar restorative effects.
The first biophilic design pattern that was carefully considered
while creating poster three, was the pattern titled ‘a non-visual
connection with nature’. This pattern places a large amount of
emphasis on experiencing nature through sensory experiences
that does not include the visual (Browning et al., 2014:26). In
the digital poster, a non-visual connection with nature can be
experienced through auditory sensory stimuli, which is of course
the birds that can be heard chirping in nature. This digital auditory
experience is defined as a ‘simulated or constructed’ non-visual
connection with nature, and although not occurring completely
naturally, it is still recognized as a principle of a biophilic design
pattern (Browning et al., 2014:27). In conjunction with the nonvisual connection to nature, the pattern titled ‘biomorphic forms
chapter two | exploring. 71
and patterns’ (Browning et al., 2014:38) was considered when
designing the water colour ‘clouds’ present in the background of
both the physical and digital poster. These ‘clouds’ were in fact
inspired by real clouds in the sky, and their texture, shape, form,
and placement were taken into consideration when designing
these artistic figures. The last pattern that was focused on is
labelled ‘mystery’, and this pattern is reflected through the tangible,
interactive viewfinder present on the physical version of the poster.
Users are inclined to pick up the viewfinder and place it in front of
one of their eyes (closing the other), and frame a specific section
of any nature scene. Using the tangible viewfinder in nature allows
individuals to ‘partially obscure’ views around them, and choose
the small, extremely unique piece of nature they want to ‘zoom in’
on, subsequently enticing them to travel further into nature to find
more unique frames infinitely present in the environment.
The auditory stimuli present in the digital poster feels comforting
and reminds me of waking up on a relaxing camping trip out in
nature. The ten seconds of sound that I listen to provides me with
a brief, but indispensable sense of relief. This sound paired with
the biomorphic forms and patterns present in the water colour
clouds provide an almost mesmerizing experience. Although this
experience provides a sense of calmness and comfort, the feelings
are brief and temporary, as opposed to architectural biophilic
design that provides longer, more permanent calming experiences.
The viewfinder, however, provides an immersive and unending
biophilic experience if intended by the user. The infinite ways that
I am able to frame the nature scenes that I alone intend to frame,
provides me with a deeper understanding and connection with
nature. Browning et al. (2014:48) states that the mystery pattern
offers a kind of refusal (the ‘in between’ parts while trying to find a
unique view) but also a reward (the compelling scenes that make
your viewfinder stop in its path) that entices me to find more and
more partially obscured, but extremely rare frames of nature. The
reward creates feelings of delight and curiosity, demonstrating the
positive effects of this biophilic design pattern.
72 chapter two | exploring.
Figure 13: Brand activation poster, 2021. Screenshot by author.
chapter two | exploring. 73
brand guide.
Figures 14- 17 are excerpts from breathe’s interactive digital brand
guide. “A brand guide is a document that details a company’s
visual identity, along with rules and guidelines for any public-facing
communication” (Masterclass Staff, 2020). The entirety of brand guides
often demonstrates the overall look and feel of the company in order for
its audience to adequately apply the guidelines in real life situations. In
saying this, breathe’s brand guide is designed according to the biophilic
design pattern principles for nature-motivated calmness and serenity
to be experienced in its overall look and feel. The guide also contains
several nature-inspired ‘prompts’ to express how breathe uses the
biophilic design patterns to invoke feelings of calmness and stressrelief, thus promoting the kind of response the company is aimed at
providing when people involve themselves with it.
Figure 14 and 15 shows one of the first prompts in the brand guide.
The viewer of the guide is able to press the pause button in the top
right corner to commence the biophilic experience. As stated, the first
experience is a visualization exercise that includes both video and
audio, and instructs the viewer to visualize certain nature scenes while
listening to birds chirping and animals walking through a field. The
inspiration for this exercise is taken from the ‘non-visual connection
with nature’ biophilic design pattern. The exercise includes an auditory
stimulus through the audio being played, as well as imagined haptic
and olfactory stimuli through visualizing the prompts displayed.
For example, figure 15 demonstrates an imagined haptic stimulus
prompting the viewer to visualize feeling the grass that the animals
are walking through between their toes, as well as another imagined
olfactory stimulus asking the viewer if they can ‘smell’ the fresh air
around them.
74 chapter two | exploring.
After the next few pages, figure 16 reveals itself to the viewer. This
next prompt is inspired by the ‘presence of water’ biophilic design
pattern, which is appropriately described through the title of the
pattern. Upon pressing the pause button in the top left corner of
the page, the painted blue design begins to gently swift and sway
like a body of water on a calm day, and this is reinforced by the
audio of sea waves crashing on the shore. This prompt allows the
viewer to briefly be soothed by the presence of water.
The final prompt I will be discussing is observable in figure 17.
This prompt is inspired by the ‘dynamic and diffuse light’ biophilic
design pattern. Pressing the pause button triggers a shimmer in
the glowing yellow circle and initiates an audio of sun beetles on
a hot day. This prompt is intended to simulate the feeling sun on
your skin on a summer’s day, setting a warm and joyful mood.
These prompts proved themselves to be extremely effective in
performing the functions they are supposed to. The visualization
exercise took me to my own ideal natural setting, and allowed
me to experience the setting in my own unique way. Some of the
benefits I experienced from taking a moment to do this exercise
included a burst of energy from relaxing for a second, as well as a
feeling of relief from stress and anxiety from focusing all my energy
towards visualizing the picture-perfect scene. I realized that a
visualization exercise, as appose to providing a natural landscape
for viewers to observe, is advantageous as it allows viewers to
generate their own interpretation of the prompts and build what is
considered their ‘ideal’ nature scene, which is more beneficial as it
suits their needs perfectly.
chapter two | exploring. 75
Figure 14: Visualization exercise 1, 2021. Screenshot by author.
76 chapter two | exploring.
Figure 15: Visualization exercise 2, 2021. Screenshot by author.
chapter two | exploring. 77
Figure 16: Presence of water page, 2021. Screenshot by author.
78 chapter two | exploring.
Figure 17: Sun simulation, 2021. Screenshot by author.
chapter two | exploring. 79
“Natural water sounds, specifically that of a small stream, are
reportedly the most effective at attracting our attention.” (Browning
et al., 2018:7). Upon attracting our attention, the presence of water is
also known to help us feel less stressed, as well as provide us with
feelings of tranquility and a lower heart rate (Browning et al., 2014:32).
Personally, I believe that experiencing the presence of water prompt
in breathe’s brand guide is a very good tool for temporary stress relief.
The combination of the subtle suggestions of water in the motion
element with the immediately recognizable water audio provides for a
captivating but calming experience that most certainly helped ease my
stress and anxiety for the moments it was playing.
Having a well naturally lit room to work in all day has some surprising
benefits, some of which include improved concentration, boosted
moods, and less dental decay (Browning et al., 2014:35). Although
the simulation of the sun displayed in figure 17 is unable to produce
natural light, it does have properties that contribute to boosting a mood
or providing comfort. Similar to the experience from the visualization
exercise, observing this warm colour and listening to the sun beetles
was able to help me visualize the feeling of warm sun rays on my skin.
This feeling was more comforting than stress-relieving, and it most
certainly did not increase my stress levels, but rather compelled me to
focus on the visualization for a moment.
80 chapter two | exploring.
81
21 Playing additional music,
nature sounds, or installing
ventilation systems in offices to
lower intelligibility of speech from
surrounding employees (Browning
et al., 2018:5).
Upon researching the effects of biophilia, biophilic design, and
biophilic inspired design on myself as example of a stressed/
anxious human, there is no doubt that it plays a large role in destressing and relaxing me, and hence it can be concluded that it
could be beneficial to various other individuals. I do believe that
applying these biophilic design principles to modern design has
the potential to create brief moments of stress relief for anyone
interacting with these designs. I also believe that viewing both
humans and nature as a unified entity is able to boost the biophilic
experience as humans would be more inclined to connect with a
lost part of themselves rather than a completely separate entity.
Mobilising biophilic (or biophilic inspired) designs in technological
entities such as mobile apps, social media, television commercials,
and radio/podcast stations could potentially make a significant
difference in the lives of working individuals. Browning et al.
(2018:5) states that wasted time in the average working day of
an individual decreased by more than 55% following an active
acoustic treatment21 designed to lower noise disturbance, in the
process largely increasing annual productivity. Following this, and
observing my own processes, I can state with some confidence
that, the use of biophilic design in all aspects of life, design and
technology, could improve the health and wellbeing of humans.
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