In his book The Geography of Childhood, Gary Paul Nabhan explains how he noticed, on a hike with his children, how much time adults spent “scanning the landscape” for picturesque views and panoramas “while the children lay on the ground and amused themselves with what was in front of them”. This childish interest in insects, bones, pine cones or wild flowers, always examined very closely, is what the biologist Edward O. Wilson (a specialist in something as close to the ground as ants) dedicated a book to the concept of biophilia, which he defined as “the innate tendency to pay attention to life and natural processes”. Soon after, one of his university colleagues and frequent collaborators, Stephen Kellert, brought biophilia into the field of design and architecture and developed the idea of biophilic design.
What is biophilic design and why is it important?
In an article he dedicated to the application of biophilia in design, Kellert justified the need for something like this by recalling that most of what we consider habitual today has a relatively recent origin: the invention of cities (6,000 years), the mass production of goods and services (400 years) or electronic technology (a couple of centuries). “The human body, mind and senses evolved in a biocentric world, not one built or invented by humans”, he argued.
Despite having gradually moved away from nature, this tendency to seek it out is still there (willingness to pay more for a house with views of nature, we continue to go to the countryside or go hiking) and there are many studies that relate contact with nature with health benefits (and its deficit, with problems).
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“In design, biophilia translates into spaces that replicate the complexity, harmony and resilience of natural ecosystems. It is not just about adding plants, but about regenerating both people and spaces, integrating multisensory strategies that respect the culture and context of each place,” explains Nuria Muñoz, an expert in biophilic design and founder of Habitarmonia. Academy and Ecosystem.
Incorporating biophilic elements into spaces “improves people’s quality of life and promotes their physical and emotional well-being,” say Jade Serra and Laia Montserrat, professionals from the sustainable architecture studio Slow Studio. “The reason for biophilia is that humans evolved in natural environments, so our health and comfort depend on maintaining a connection with nature, even in urban environments”, they explain.
Biophilic design strategies
How does all this translate into the design of a space? Nuria Muñoz insists that it is not simply about incorporating nature into architecture or design, but rather about adopting a “regenerative and functional” approach, which seeks to “heal both people and spaces, in harmony with their culture and ecosystem, directly impacting our cognitive, emotional and physiological health.”
From Slow Studio, Serra and Montserrat mention some specific benefits of biophilic design: improved health (by reducing stress and anxiety and speeding up recovery from illness), increased productivity and concentration, fostering creativity and emotional well-being and reducing social problems (“improves interpersonal relationships and strengthens the sense of community”).
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In design practice, all this can be expressed through the following strategies listed by Nuria Muñoz:
- Design inspired by living nature. Spaces with natural materials and biodiversity that reflect the local environment.
- Light and natural rhythms. Design with lighting cycles that respect the circadian rhythm, using natural light, dynamic shadows and transitions that mimic sunrise and sunset.
- Healthy and breathable materials. Use elements such as clay, untreated wood and natural fibres that not only provide visual and tactile well-being but also improve air quality.
- Restorative Sounds and Acoustic Landscapes. Introduce sounds of water, wind or local fauna, avoiding disruptive urban noises and creating environments that promote concentration and calm.
- Regenerative and cultural spaces. Designing places that not only connect with nature, but also with local identity and heritage, respecting ancestral traditions and knowledge.
- Fluency and connection with the environment. Open spaces, smooth transitions between interior and exterior, and elements that encourage interaction with the natural and social environment.
Materials for biophilic design
Concluding that introducing biophilia into a space simply consists of using natural materials opens the door to a common mistake: not seeing beyond what is supposedly green. Serra and Montserrat point out that the environmental impacts of the extraction, transportation or processing of the natural materials used must be considered. In addition, many of them sometimes include synthetic finishes, paints or varnishes that emit volatile organic compounds and other toxins.
This does not mean that we should give up on products that are the result of technological innovation. Natural veneer boards, combined with the application of embossed finishes on the surface, such as Fibranatur Tex Roble Rigato Fuji, in addition to having generated low emissions in their production, allow to have the warmth and naturalness of wood together with assured durability.
Something similar happens with Fibrapan Tex Mojave and Fibrapan Tex Flute, textured fibre boards that offer a compact surface, ideal for the application of different types of varnish or lacquer. Another option is Fibrapan Castaño Flavia, a chestnut wood veneer that maximizes the texture of the tree, or the Fibrapan Roble Rigato board, made of selected European oak veneer cut to the grain, ideal for panelling projects or furniture fronts. All of these products have also been developed in a sustainable way.
Common mistakes when understanding biophilic design
“True biophilic design is not just about bringing nature into spaces, but about creating under the principles of nature: resilience, adaptation, regeneration and integral well-being,” says Nuria Muñoz. These are some of the most common mistakes:
- Reducing biophilia to a decorative element. “Adding plants without optimising light, ventilation, healthy materials or ecological integration does not generate a real impact”, explains Nuria Muñoz. Something similar is proposed by Jade Serra and Laia Montserrat, who insist that it is a design philosophy that must be present from the conception of the project. “This also involves creating transitional spaces between the exterior and the interior, such as bioclimatic patios, pergolas or galleries, or ensuring a constant visual and sensorial connection with nature. It is not just about contact with nature, but about designing for people’s comfort and quality of life”, they exemplify.
- Not taking into account local characteristics. “A common mistake is to ignore the geographical, climatic and cultural context of the place. For example, implementing bioclimatic strategies that are inappropriate for the local climate, such as using large windows in areas with extreme climates without sun protection, or using non-native plants that require disproportionate water consumption and do not integrate into the ecosystem”, say the Slow Studio experts. You also have to adapt to the context and the culture, adds Muñoz. “Biophilia is not a universal concept that can be applied in the same way everywhere; it must reflect the environment, traditions and specific needs of each community”.
- Lack of coherence with the function of the space. An example of this, proposed by Nuria Muñoz, would be to include materials or a design that generates poor acoustics in a hospital or a lack of comfort in offices. This also ignores multi-sensory integration: sound, texture, dynamic lighting, air quality or temperature must not be forgotten.
- Not considering the regeneration of the environment. In line with what Jade Serra and Laia Montserrat have previously stated, Nuria Muñoz explains that “an effective biophilic design not only benefits the occupants of a space, but also restores the ecosystem, improves biodiversity and promotes climate resilience”.
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What is still missing for a biophilic future?
Biophilia is not, in fact, anything new, Slow Studio recalls, although right now it is perceived as an innovative technique. “In the study, we always say that people have become accustomed to mistakenly calling ‘conventional materials’ those that have been in human history for just over 100 years, such as synthetic materials, plastics, concrete or steel. These materials require fossil fuels in their production processes and emit large quantities of CO2, mainly in the early stages of their life cycle (extraction and transformation). For us, conventional materials are those that have been part of the history of architecture for thousands of years: stone, earth, wood, clay, lime or plant fibres, among many others”, they reflect.
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In this current moment of distancing from the natural, how can we make biophilic design go from being a trend to the normal way of doing things? Nuria Muñoz mentions some areas that could be explored in greater depth: a more rigorous and mandatory approach in global regulations (WELL and LEED are two good beginnings, but more is needed), greater awareness in the real estate and construction sectors, investment and financial support, interdisciplinary integration (professionals in architecture, urban planning, design, neuroscience or health “must collaborate”) and, finally, measurement and validation of the impact.
As more studies “reinforce its impact and more companies and institutions adopt it, biophilia will cease to be a luxury or an exception. to become a standard for regenerative design”, the designer concludes. And this stage of distancing from nature will become only a strange parenthesis in the history of human evolution.
