"From infancy we concentrate happily on ourselves and other organisms. We learn to distinguish life from the inanimate and move toward it like moths to a porch light….To explore and affiliate with life is a deep and complicated process in mental development. To an extent still undervalued in philosophy and religion, our existence depends on this propensity, our spirit is woven from it, hope rises on its currents." Image above:www.sareptiles.co.za/forum/ E.O. Wilson 1984 “Biophilia”
Biophila as defined by E.O. Wilson in 1984, started a dialogue that has to date inspired the emergence of nature and constructed design. The intent, to create a ‘zone’ where all is reflected on and in exchange a sense of renewal or belonging is achieved. The result can be more than visual but healing as studies have proven in healthcare design. One only has to look to nature to see its influence going back centuries. Mehndi, the organic hand painted henna tattoo dates to more than 5,000 years. An art form that is as close as nature gets, on the body. Today, tattoos have gained immense popularity perhaps a personal quest to Bio”feel it.” Image: www.martofimages.com
Yet, the effort connect with the 'built environment' was initally attempted by letting in light. The simplest way to create a biphilia environment was attempted with great success as early as 126 AD in Italy in the Pantheon. While not organic in composition, the massive concrete dome was and still remains masterful in its elegance and contemplative simplicity. An almost organic nirvana is reached when light streams through the ‘oculus' above. Rain water streams in as well and is brilliantly collected by a drain system in the floor below. Personally, the effect of being in the space was mesmerizing and held a ‘zen-like’ experience which transformed my trip into a journey. Image above: martinfdc.wordpress.com
Modern times brought modern adaptations to the built environment and yet despite technological advancements in the industrial age, expansive views and natural light were more desired than ever, especially to illuminate wares and goods. Open light filled space proved to not only draw in shoppers but subconsciously enhanced their buying. Biophilia expressed in the Galleria in Milan Italy built in 1865 proved to be ‘pure genius’ then and 150 years later, today. Image above by Stephen Knowles www.redbubble.com
Fast forward approximately 70 years and the emergence of 20th century modernism was taking shape in the United Sates under the creative eye of Frank Lloyd Wright. Wright, one of the early modernist, uniquely embraced the environment that his buildings inhabited and purposely drew up his plans to be ‘one’ within the eyebrow of a mountain’s profile or within a vine’s grasp. The art of biophilia blossomed under the lily pad-like concrete structured canopy of ceiling light that Wright constructed for the Johnson Wax building of 1936 in Wisconsin then later in his masterpiece “Fallingwater” in western Pennsylvania. Other emerging modernists of the time, focused more so on austere form and function yet introduced natural forms and shapes through textile wall hangings or art. While the physical sites were often void of ornate ornament, organic or natural. The concise inside/outside view emerged and the cherished 'long view' became the new symbol of status. Image above: www.greatbuildings.com
Image above is of the concrete entry support/wall to 'Fallingwater" residence of 1935 with welcomed organic growth. Built the same time period as the Johnson Wax Building pictured above. Not without maintenance issues, concrete and the waterfall while visually seamless are not naturally copasetic from the practicality perspective of ideal materials to specify. Despite the cost to maintain Fallingwater today annually, the relationship forged based on early Biophilia experimentation draws world wide annual visitors who benefit from its healing imagery & mystique of integrated structure. Image: Copyrighted original photo by author/blogger of Design Driven.
Such a success was the canopy of illumination that Wright’s Wax building provided, that the organic structure and shape has since spurred architects to push the envelope in developing complex 'meshworks' ceiling systems that appear effortless and suspend the admirer into a calmer, more connected experience to nature itself as seen above in Orquideorma, Medelin Colombia by Plan B Architects image above: inhabitant.com or in prefabricated forms that are still organic in fluidity and interpretation as public seating & lighting. Interior image above: architizer.tumblr.com
In the 21st century Bioplhila has emerged in the use of living ‘green walls’ and beyond. Today’s ‘live green walls’ clean the air naturally and visually enhance. No better example than in the recently completed addition to Longwood Garden’s restroom wing off the main conservatory. Image below: www.inhabitat.com
Innovative architects and designers are now pushing the limit of biophilia and its positive impact on buildings. Stacked gardens, open views and furniture that is not only sustainable but aesthetically pleasing is the focus. Simply being ‘green’ for the sake of green and obtaining LEED certification is not enough, the final design has to offer aesthetic qualities that reach the soul and ideally the attention of onlookers decades to follow. 21st century design must be meet or at least consider: Nature in the Space • Visual Connection with Nature • Physical Connection with Nature • Non-rhythmic Movement/Sound/Smell • Dynamic and Diffuse Daylight • Access to Water • Natural Ventilation • Connection to Natural Systems • Frequent, Repeated, or Spontaneous Contact with Nature Natural Analogs • Biomorphic / Mimicking natural form • Fractals and Patterns • Complexity and Order • Material Connection with Nature (natural, local materials) Nature of the Space • Prospect Source: www.terrapinbrightgreen.com
Below: Example of Refuge to Prospect and water/elements Image: www.variousgreen.com
Designing for controlled spaces due to limited square footage that provide fundamental refuge yet offer prospect in way of views can often work. Merging with nature when possible where optimal views are not available i.e. inner cities have spring boarded the emergence and popularity of craft and form of reclaimed wood as sustainable w/reborn designs. The once sought after glass box , the ultimate modernist dream, is now re-thought and slowly being adorned with natural elements that subliminally ‘ground’ the homeowner and offer a material warmth in ‘worn’ or ‘weathered’ character. It seems Biophilia natural/wood elements once again balance the built environment and offer not only peace of mind but peace of bottom line budget .
It seems that while the natural line for the designer and architect is linear, curvilinear line work is starting to enter the design process and dialogue of creative work. Biophilia has led to an interest in Biomimicry which is the examination of nature through study of animals, insects etc. in shape, structure, and ability & process. The benefits of both offer an exciting new frontier of exploration meshed with adaptation, use and benefit for the end user.