Awareness of Biophilic Design and Biomimicry Approaches in Architecture and Interior Architecture
The word Biophilia (Biophilia) comes from the Greek Bio (Life) and Philia (Love) consists of a combination of words. Instinctively, humans interact with nature and other living things. It refers to the tendency of people to connect and be together instinctively with nature and other living things. Biophilic Design is a term coined by Stephen Kellert. Stephen Kellert, biophilic design “for the design of the built environment biofilm is assessing the idea” has been defined. This approach explores ways of sustaining human-nature interaction and the beneficial effects of nature in the built environment. He contributed to the preparation of a guide by re-evaluating the biophilic design principles prepared by Stephen Kellert for architectural design from the perspective of interior design. This field, which is also a branch of ecological and sustainable design, was inspired by Biologist Edward O. Wilson’s biophilia hypothesis. The biophilia hypothesis is defined as “people innate emotional affinity towards other living beings”.
Eric Formm first used the term “ biophilia “ in 1964. Biologist Edward Wilson pioneered this new concept by detailing the link between man and other species in his book “ Biophilia “, defining biophilia as an instinctive disposition towards natural systems and processes, and arguing that humans’ mental and physical well-being and maturation depend on nature. Biophilic Design book by Judith H. Heerwag and Bert Gregory, biophilic is the desire and access to nature rather than cultural preference is defined as a basic human need. The biophilia hypothesis suggests that people lead a healthier life when they are in touch with nature. Although Edward O. Wilson did not receive support from any scientific research while creating his hypothesis, scientists supported this theory after their research and proved that the hypothesis is beneficial for health. Innate biofilm is indicating that the trend of personal experience and sociocultural support needed to transform functional benefits as Stephen R. Kellert, biophilic values having both genetic and cultural structures of bio have been classified as a cultural phenomenon.
The design of the built environment in modern urban life has caused the deterioration of natural systems and thus the disconnection of humans from nature. This way of life causes consumption of natural resources, reduction of biodiversity, and atmospheric deterioration and ultimately negatively affects human health. Design strategies that encourage the beneficial theme of human and nature in transforming urban life are also needed in today’s architecture, and various design criteria called “ biophilic design” have been defined. The biophilic design does not encourage living in primitive conditions, but rather complex and connected spaces. Experts, who say that the neglected aspect of sustainable design in the built environment is biophilic design, argue that when biophilia is included in the architectural design criteria, the healing and sustainable aspect of architecture will be completed. This design approach refers to organic design strategies that refer to the natural environment in direct, indirect, or symbolic ways based on sustainable design. Kellert calls this design model “restorative environmental design”; It expresses that beneficial contact can be increased by minimizing both the negative effects on the natural environment and the distance between the modern urban built environment and human life. Appleton (1975) and Hildebrand (1999), who extended the biophilia idea of Erich Fromm and Edward Wilson, and Hildebrand (1999) have six elements that explain a human predisposition to nature: “expectation and shelter, order and confusion, attraction and danger”. Biophilic is accepted as the playbook of the hypothesis, interdisciplinary studies prepared by compiling “ Biophilic Design” book Kellert (2008), biophilic design “organic/natural” and “spatial/local” as examined in two basic sizes and biophilic two aspects of the design of six associated with the biophilic design element.
BIOPHILIC DESIGN DIMENSIONS
The first fundamental dimension of biophilic design is the direct, indirect, and symbolic use of nature in the built environment. Direct experience refers to being in direct contact with sunlight, vegetation, animals. Indirect experience refers to the use of potted plants, the element of water. Symbolic experience, on the other hand, includes ornamentation from nature through imitation, the use of visuals and sounds in the form of analogies. The second basic dimension of biophilic design expresses the local characteristics of the place that define its commitment to the geography and cultural ground. Stephen Kellert, biophilic is the two dimensions of design six biophilic associated the design element. Biophilic design in architecture; includes elements such as the use of natural materials, natural ventilation, natural lighting, shapes and forms inspired by nature, historical and ecological connection. It is emphasized that these factors increase individual and social livability with the characteristics of being healthy:
· Environmental features,
· Natural shapes and forms,
· Natural processes,
· Light and space,
· Ground-based relationships
· Enhanced human-nature relationship.
BIOPHILIC DESIGN MODEL
In the book, Biophilic Design, Heerwagen and Gregory draw upon neuroscientist Nicholas Humphrey’s ideas on nature-based design, and seven attributes that will form the basis of the biophilic design approach; sensory richness, movement, coincidence, variety in a theme, flexibility, sense of freedom, expectation, and shelter. Browning et al, Heewag that, Rachel and Stephen Kaplan, Kellert and Ulrich biophilic is the design work based on the built environment design applications of biophilic have explained the benefits it offers to the people and fourteen clauses under three main headings biophilic has created the design model. The determined parameters have been determined as applicable and flexible models with wide application possibilities for indoor and outdoor spaces. These design models are focused on relieving stress factors and increasing the livable qualities of spaces.
ELEMENTS OF BIOPHILIC DESIGN
Nature in the Space:
The visual connection to the natural landscape,
Non-visual connection to the natural landscape,
Non-rhythmic sensory stimuli
Heat and airflow variability,
The use of the water element in the space,
Use of dynamic and diffused light,
Relationship with natural systems.
Natural Analogies:
Biomorphic forms and patterns,
The use of natural materials.
The Naturalness of The Space:
View,
Taking refuge,
Mystery,
Risk.
BIOPHILIC DESIGN ELEMENTS
Environmental Factors: These are the elements that include the use of the basic elements in nature in the built environment.
Natural Shapes and Forms: These are formal elements that contain natural representations and similes used in interior and facade designs of buildings.
Natural Models and Processes: Elements that emerge by incorporating natural shapes and processes into the built environment rather than representation.
Light and Space: These are the elements that emphasize the use of light in space and spatial relationships.
Spatial Relationships: These are the elements based on the geography where the building is located and the relationship of the culture to which it belongs to the natural environment in which it is located.
Evolutionary Human-Nature Relationship: These are the elements that examine the relationship between man and nature from an evolutionary point of view and reflect the spirit of the place.
Marissa Yaounde, 2003 in the work of thirteen biophilic has identified property. These are:
1. Mystery,
2. Danger,
3. Access to water,
4. Natural ventilation,
5. Asylum and surveillance,
6. Confusion and order
7. Local-natural materials,
8. Dynamic and diffused light,
9. Education about biophilic traits,
10. Visual connection from the interior to the nature view,
11. Physical connection from interior to nature,
12. The material connection between indoor and outdoor space,
13. Frequent spontaneous connection with nature.
TYPOLOGY OF BIOPHILIC DESIGN VALUES
Utilitarian (Utilitarian): The nature of the material in use. [Definition]. Physical sustainability, security. [Function].
Naturalistic: Happiness resulting from direct interaction with nature. [Definition]. Curiosity, mental and physical development. [Function].
Ecologic-Scientific: To learn and to contribute to the science of nature’s rules. [Definition]. Knowledge, observational skill. [Function].
Aesthetic: Physical beauty and charm of nature. [Definition]. Inspiration, harmony, creativity. [Function].
Symbolic: for use in communication language and symbols related to nature. [Definition]. Communication, mental development. [Function].
Humanistic: Human nature and the deep love and devotion towards all living beings. [Definition]. Commitment, sharing. [Function].
Moralistic: We share ethical responsibilities to protect nature. [Definition]. The meaning and order of life. [Function].
Dominionistic: Take control of nature to sustain human life. [Definition]. Mechanical skills, control. [Function].
Negativistic: heard against natural elements of fear and estrangement. [Definition]. Security, protection. [Function].
BIOPHILIC DESIGN ELEMENTS FEATURES
Environmental Features:
· Colour,
· Water,
· Weather,
· Daylight,
· Plants,
· Animals,
· Natural Materials,
· Landscapes,
· Facade Greening,
· Geology and Landscape,
· Habitat and Ecosystem,
· Fire.
Natural Shapes and Forms:
· Herbal Motifs.
· Tree and Vertical Transports.
· Animal Motifs.
· Shell and Spirals,
· Oval and Round Shapes,
· Straight and non-right-angled forms,
· Similitude of natural features,
· Biomorphology,
· Geomorphology,
· Biomimicry.
Natural Patterns and Processes:
· Sensory Diversity,
· Information Richness,
· Aging, Change, Traces of Time,
· Growth and Reproduction,
· Central Focal Point,
· Restricted Spaces,
· Transition Spaces,
· Linked series and chains,
· Integration of the Part into the Whole,
· Complementing Opposites,
· Dynamic Balance and Tension,
· Fractals,
· Hierarchical ratio and proportion.
Light and Space:
· Natural light,
· Filtered and Diffuse Light,
· Reflective (Reflected) light,
· Light Pools,
· Warm Light,
· Formal Light,
· Width (Refreshment),
· Spatial Diversity,
· Formal Space,
· Spatial Harmony,
· Indoor and Outdoor Relationship.
Local Contextual Relationships:
· Geographical Connection with Space,
· Historical Link with Space,
· Ecological Connection with Space,
· Cultural Connection with Space,
· Local Materials,
· Geographical Orientation,
· Geographic (Landscape) features that Shape The Building,
· Integration of Culture and Ecology,
· Spirit of the Place,
· Avoiding Space.
Evolutionary Human-Nature Relationships:
· Shelter and Alertness,
· Order and Complexity,
· Curiosity and Excitement (Charm),
· Change and Metamorphosis,
· Security and Protection,
· Domination and Control,
· Emotional closeness bond(ness)
· Charm and Beauty,
· Discovery and Invention,
· Information and Cognition,
· Fear and Admiration,
· Respect and Spirituality Religiousness.
ARCHITECTURAL PROJECTS THAT RECEIVED THE STEPHEN R. KELLERT BIOPHILIC DESIGN AWARD
The Stephen R. Kellert Biophilic Design Award acknowledges Stephen’s legacy as a pioneer in articulating and applying biophilic design principles to the built environment. The award is in recognition of achievements in the built environment, including buildings, interiors, and communities, that demonstrate the principles and benefits of biophilic design.
Here are some of the awarded projects:
1. Maggie’s Leeds Centre
2021 AWARD
MAGGIE’S LEEDS
Yorkshire, UK.Project Team:
Architect: Heatherwick Studio
Engineer: AKTII
Landscape: Balston Aguis
2. Louisiana Children’s Museum
2021 AWARD
LOUISIANA CHILDREN’S MUSEUM
New Orleans, Louisiana USAProject Team:
Architect: Mithun
Engineer: Arup
Interior: Mithun
Landscape: Mithun
3. Heart of School at Green School
2019 AWARD
HEART OF SCHOOL AT GREEN SCHOOL BALI
Bali, IndonesiaProject Team:
Owner: Green School Bali
Architect: IBUKU
Environmental Psychologist: Rita Trombin
4. Growing a Biophilic City in a Garden
2019 AWARD
GROWING A BIOPHILIC CITY IN A GARDEN
Singapore.
Project Team:
National Parks Board of Singapore.
5. Khoo Teck Puat Hospital
2017 AWARD
KHOO TECK PUAT HOSPITAL
Singapore.Project Team:
Architect: CPG Consultants Pte Ltd
Design Consultant: RMJM
BIOPHILIC DESIGN AND ARCHITECTURE: THE BEST BIOPHILIC BUILDINGS
Biophilic Designer Oliver Heath says:
“Biophilic design is more than just bringing the outside in, it’s about making and strengthening a connection with many aspects of nature. It’s about natural light, views on nature, plants, natural materials, textures, and patterns.”
Let’s look at the best biophilic buildings that bring nature into human-made spaces:
1. One Central Park
ONE CENTRAL PARK
Location: Sydney
Architect, Design Architect: Ateliers Jean Nouvel.
Architect of Record: PTW Architects (Gardens by Patrick Blanc)
Completed: 2014.
2. Selgascano Architecture Office by Iwan Baan / Selgascano
SELGAS CANO OFFICE
Location: Madrid, Spain.
Architect: Selgas Cano Office
Completed: 2007
3. Bosco Verticale
BOSCO VERTICALE
Location: Milan, Italy
Arhitect: Stefano Boeri Architetti and Barreca & La Varra
Completed: 2014.
4. St. Mary’s Infant School
Architects: Jessop and Cook Architects, Jessop and Cook Architects
Area: 160 m²
Year: 2013
Photographs: Nikhilesh Haval
Manufacturers: VELUX Commercial, Armitage Shanks
5. Mirror Cube (Tree House Hotel)
Location: Sweden
Architects: Tham & Videgård Arkitekter
Chief Architects: Martin Videgård and Bolle Tham.
Staff: Andreas Helgesson, Julia Gudiel Urbano, Mia Nygren.
Completed: 2010
BIOMIMICRY
Along with the sustainable approach, new approaches are emerging on how the built environment is built, how it will continue its life, and how it will be operated. One of these approaches is to understand the complex relationship of living organisms in an ecosystem, which is already a successful example, to learn these relationships, and to imitate life in this ecosystem. Biomimicry, as a new idea with sustainable and even renewable potential, based on the imitation of this living network of relationships where everyone benefits mutually, is an important future-oriented approach among sustainable design approaches.
BIOMIMICRY ELEMENTS
Nature as a model: Biomimicry studies models that exist in nature and uses these designs for problem-solving.
Nature as a measure: Biomimicry uses ecological balance to decide whether the design is good or bad.
Nature as a tutorial: Biomimicry is an approach based on learning from nature, not an approach to gain or infer from nature.
BIOMIMICRY IN ARCHITECTURE
In the field of architecture with biomimicry; To live in harmony in the world and to create a sustainable environment, it is aimed to produce new, applicable, and long-lasting solutions inspired by biological systems. The term biomimicry was first coined by Janine M. Benyus, a Montana writer and scientific observer. From this concept also meant to mimic nature, the “ bios-life)” and “ mimetic to impersonations” comes from the roots, and analogously “ Biyomimesis “, “ Biyognosis “ and “Bionic” is also derived.
“We can learn the way of nature and make our way of life and production as nature does.” He suggests Benyus biomimetic produce such a world of animals and plants, sun and disappears in nature using simple components can be fibers, ceramics, plastics, and chemicals may produce ideas is. Benyus explained biomimicry with three elements to benefit from nature:
1. Nature as a model,
2. Nature as a measure,
3. Nature as a teacher.
Biologists and ecologists study animal and plant physiology and environmental factors in their behavior. They try to transform this knowledge, analysis, and observations into the unknown of architecture. Like the skeleton, nervous system, nutrition, communication, and sensory systems of animals, buildings have systems such as structure, circulation, protection, energy and water use, communication, and thermal balancing. Considering the network of interrelationships of internal systems with the surrounding environment, which is a part of the global network, the interaction of animals with the ecological system has the principle of sustainability. Living things can instinctively build light, stable, energy-efficient structures based on their genetic information. With the emergence of these natural forms; Architects and designers aim to benefit from the global harmony network by existing in nature by conducting research and studies in the field of biology and ecology, and aim to create a sustainable, built environment. As an example of this type of natural structure; the material of a seashell, the strength of a spider web, geometric and spatial relationships in the beehive. The process of photosynthesis, etc., to obtain energy from the sun. The key point is the knowledge behind nature.
BIOMIMETIC APPROACHES IN ARCHITECTURE
There are many different approaches to architecture and biomimicry. As a result of his original research on biomimicry, academician architect Ilaria Mazzoleni has obtained striking findings of the characteristics of animals developed to adapt to the system and their skin. Due to its multi-purpose function, leather is the ideal organ to be taken as a source of inspiration in architecture. It is the most visible, readable, and dated part of the body. It is also the threshold between the internal and external systems. The skin is a barrier. It is possible to define it both biologically and architecturally in this way. The skin has many critical functions. It provides thermoregulation in heat loss and gains. Likewise, it maintains the water balance in water loss and gain. Mammals, fish, birds, amphibians, and reptiles have different skin layers. Mazzoleni, with animal skin and building armor; focused his research on four common features: communication, thermo- regulator, water balancer, and protection.
LEVELS OF BIOMIMICRY IN ARCHITECTURE
Biomimicry can be applied at different levels in architecture and it can be grouped under three main headings. These are;
· Format,
· Period,
· Ecosystem.
Form and process are imitative elements within the ecosystem. An ecosystem is an environment in which elements that can be imitated can be observed. To give an example from nature, a feather can be imitated formally, but this may not be a sustainable approach. However, when we go a little deeper and imitate the process, it is observed that the hair emerges at body temperature, as a result of natural chemical processes, without the need for toxic waste or high pressure. These are the examinations made at the form and process level, and when the feathers stand on the bird at the ecosystem level, how they coexist, and how they continue to exist in the biosphere as a whole, the ecosystem level is reached.
BIOMORPHIC DESIGN
Biomorphic (life-shaped) design or architecture has its roots in the Surrealists and Art Nouveau. Known as a surrealist Gregory Grigson’s, 1936 Biomorphism has coined the term and has maintained its presence as a style since then, today similar to the free-form in the nature using the power of design computational or a design approach which mimics them. It has become possible to understand and model natural forms, surfaces, and volumes, especially with the understanding of mathematics existing in nature, which cannot be explained by Euclidean geometry and can be explained with the help of fractal geometry. However, this type of form-finding method lacks an important requirement expected from the results of design, which is that a method based on imitating living creatures cannot be adapted to function.
Biomorphic design, as a style, can be observed in different geographies at different times. While Frank Lloyd Wright in the United States spoke of the harmony between the organic world and human creations, Antonio Gaudi in Spain designed the famous La Sagrada Familia, reflecting the effects of the forces existing in nature on an organism. Calatrava, who can be considered as the modern successor of Gaudi, designed biomorphic forms by considering both aesthetic and structural concerns together. Just like Gaudi, while trying to achieve organic forms by thinking about natural loads, a design approach that references living forms has developed along with it. A sun-blocking structure called the Burke Brise Soleil, located on the Quadracci Pavilion was designed as an annex for the Milwaukee Art Museum. Calatrava, by reference to which live bird forms existing in nature, develop and design the shape of a bird, the resulting engineering problem occurs along with the side-frame structure geometric bird formally bi solved by considering the way. Another example of a biomorphic structure, Orquideorama, designed by the Colombian architectural offices of Planb + and JPRCR, emerged from the relationships of architecture and living organisms and was designed to be perceived as an extension of a forest by those who see it on a large scale. Designed by Benedetta Tagliabue (EMBT) for the 2010 Shanghai World Exhibition, the Spanish Pavilion features a biomorphic design.
BIOMIMETIC-BIOMIMICRY PROJECT EXAMPLES
1. Eden Project
One of the pioneers and best-known biomimetic projects is the Eden Project, which took place in England. Although not perfect, it is the first and successful application of a biomimicry and architecture partnership. The Eden Project is a large-scale plant theater located in Cornwall, England. The architectural design of the project was made by Nicholas Grimshaw in 1996, inspired by the Moon. The project was made using steel and thermoplastic and was completed in 2001. The building, which is 50 meters high, covers an area of 23.000 square meters. It resembles a giant insect and is home to thousands of plant species. The design concept is naturally occurring geometries.
2. Boston’s Treepods / Influx_Studio
Although nature has developed mechanisms by cleaning the atmosphere, which is a source of life for itself, these mechanisms may not be sufficient to clean the heavily polluted atmosphere, especially in big cities. Based on this situation, Mario Caceres and Cristian Canonico developed a project for the “SHIFT Boston” competition, called Treepod, which mimics the carbon filtering properties of trees. Treepod systems have the ability to separate carbon dioxide from the air and release it from carbon dioxide to oxygen through a process called moisture release. In addition, the solar panels and the kinetic energy obtained from the seesaws on which the visitor can play can produce the energy required for both the air filtering process and the lighting. TREEPOD’s are produced by recycling plastic bottles. The designers of the project aimed to make these trees go beyond just interesting urban furniture, making use of biomimicry to be a meeting space that has the function of a real tree and benefits nature.
3. Super Trees
The Super Trees project, designed by Wilkinson Eyre in Singapore’s southern marina, consists of 18 tree structures produced with sustainable materials. Structure of trees; It consists of a steel body, plant panels, and a cover system on a reinforced concrete core. This project, which is intertwined with nature and imitates the tree structure both formally and to provide suitable conditions for the growth of plants, also has an effective structure in terms of energy and carbon emissions. Showcasing a diverse selection of flora accented by gorgeous bromeliads, ferns, orchids, and tropical climbers, the Supertrees will delight any plant lover.
4. Ski Shelters
In Winnipeg, Canada, in the region between the Red and Assiniboine rivers, the need for a shelter unit for skiers has emerged where they can be protected from the cold and wind. Patkau Architects can easily take precautions against harsh winter conditions by imitating the protection behavior of buffaloes for their ski shelter projects. These are delicate and ‘alive’ structures. They move gently in the wind, creaking and swaying to and fro at various frequencies, floating precariously on the surface of the frozen river, shaking off any snow that might adhere to their surfaces. Plywood walls are constructed by placing them on a triangular floor and keel. The shelters are made of plywood and their shape has been thought through with the aerodynamic effect of the wind in mind.
This research aims to analyze the experiences of interior architects and architects about the biophilic design hypothesis, to determine whether the designers apply biophilic and biomimicry design parameters in their projects consciously or unintentionally, to reveal the intersecting features of sustainable design and biophilic design parameters. In addition, it is to increase the awareness and knowledge of interior designers/architects about the biophilic design hypothesis. As a result, designers who adopt biophilic, biomimicry, and other climate-sensitive design approaches should consciously aim to “re-establish a sensitive connection by incorporating their design approach with nature” into interiors and architecture.
As biophilic an architect, to create a more productive and healthy built environment, we must cooperate with nature. Biophilic design can reduce stress, enhance creativity and clarity of thought, improve our well-being and expedite healing; as the world population continues to urbanize, these qualities are ever more important. Applying biophilic design principles and biomimicry solutions are the sustainable aspect of ecological architecture is a crucial element for living buildings and environments. We should know to create green spaces, water features, plants, and natural materials that bring a range of benefits such as reducing a development’s carbon footprint and regulating temperatures of buildings.
