intergration of dogon inspired aesthetics with biophilic design to

UNIVERSITY OF NAIROBI
College of Architecture and Engineering
School of Arts and Design
BDS 413: PROJECT PAPER
(Interior Design Specialization)
INTERGRATION OF DOGON INSPIRED AESTHETICS WITH BIOPHILIC
DESIGN TO CREATE TRANQUIL INTERIOR AND EXTERIOR SPACES FOR
MIDDLE AGED KENYAN ADULTS VISITING LE-VOYAGE RESORT, KITALE.
By:
P.K. Musoga - B05/53699/2012
Supervisor:
Mr. Chege Gitura
Project paper submitted in partial fulfillment of the requirement for the Bachelor of Art in
Design Degree submitted to the school of the Arts and Design, University of Nairobi.
December 18th, 2015.
UNIVERSITY OF NAIROBI
College of Architecture and Engineering
School of Arts and Design
BDS 413: PROJECT PAPER
(Interior Design Specialization)
INTERGRATION OF DOGON INSPIRED AESTHETICS WITH BIOPHILIC
DESIGN TO CREATE TRANQUIL INTERIOR AND EXTERIOR SPACES
FOR MIDDLE AGED KENYAN ADULTS VISITING LE-VOYAGE
RESORT, KITALE.
By:
P.K. Musoga - B05/53699/2012
Supervisor:
Mr. Chege Gitura
Project paper submitted in partial fulfillment of the requirement for the Bachelor of
Art in Design Degree submitted to the school of the Arts and Design, University of
Nairobi.
December 18th, 2015.
i
DECLARATION
I, Priscilla Khakai Musoga, declare that this is my original work and also affirm that
to the best of my knowledge, this project has not been presented in this or any other
University for examination or any other purpose.
Signed: ………………………………..
Date: ………………………………….
Priscilla Musoga
A Research Project submitted in partial fulfilment of the requirements for the award
of the degree of Bachelor of Arts (Design) at the University of Nairobi.
Supervisor,
MR.CHEGE GITURA
Signature: ………………………………
Date: ……………………………………
Director, School of the Arts and Design (StAD),
MR. MURITHI KINYUA
Signature: ………………………………
Date: ……………………………………
ii
DEDICATION
To my parents, you brought me up well in the way of the Lord and taught me how to
work hard. You encouraged me to never give up in life.
May the Lord God Bless you abundantly!
iii
ACKNOWLEDGEMENTS
Much thanks to Mr. M. Munene and Mr. C. Gitura for the guidance and help in
shedding more light in this project paper. My sincere appreciation goes to my
lecturer DR. Lilac Osanjo. Your positive and encouraging criticism and constant
encouragement helped me push myself and attain what I longed for.
Much gratitude to all who took time to answer questionnaires and sit down for the
interviews and special thanks to my family and my friends for the constant
encouragement throughout this journey. I also wish to thank the Mageto family for
allowing me to use their resort s my site and Arch. Moses Ngari for his guiding
professional input.
May God Bless you all!!
iv
Abstract
Profound effects of global warming, species extinction, pollution of air and water,
resource depletion, and population growth demand we address the need for
ecological responsibility. This phenomenological study explored awareness and
perceptions and applications of Biophilic Design. Here in Kenya, Biophilic Design
remains to be a relatively explored concept in residential homes, corporate and
hospitality facilities. However enough emphasis has not been made on its
importance to human wellness. This bio-approach discussed in this study has the
main focus of using elements of nature. The research ran for a few weeks, where a
number of participants were sampled in order to participate in the gathering of
relevant information. This information was used to understand the current opinions
related to the incorporation of nature inthe built environment.
The idea was to look into some of the existing resorts, lodges and natural
environments through the eyes of the respondents and determine what aspects and
elements they considered calming and relaxing from both areas. The literature
provided insights into a wider scope of Biophilic Design by looking into the use
application of Biophilia inspired designs in various design disciplines. Showing that
there is much to be draw from nature, this research highlighted ways of shaping
tranquil interior and exterior spaces for the middle aged Kenyan citizen.
Key words: Biophilic Design, human wellness, nature, tranquil
v
Table of Contents
DEDICATION ........................................................................................................................ iii
ACKNOWLEDGEMENTS .................................................................................................... iv
Abstract .................................................................................................................................... v
Operational Definition of Terms ............................................................................................. ix
CHAPTER ONE ...................................................................................................................... 1
1.0 INTRODUCTION ............................................................................................................. 1
1.1 Introduction ................................................................................................................... 1
1.2 Background.................................................................................................................... 1
1.3 Statement of the Problem .............................................................................................. 2
1.4 Objectives ...................................................................................................................... 2
1.5 Research Questions ....................................................................................................... 3
1.6 Significance of the Study............................................................................................... 3
1.7 Justification of the Study ............................................................................................... 4
1.8 Limitations of the Study ................................................................................................ 4
1.9 The Scope of the Study.................................................................................................. 5
1.9.1 Concept ................................................................................................................... 5
1.9.2 Content ................................................................................................................... 5
1.9.3 Geographical........................................................................................................... 5
1.10 Conclusion ................................................................................................................... 5
CHAPTER TWO ..................................................................................................................... 6
2.0 LITERATURE REVIEW .................................................................................................. 6
2.1 Introduction ................................................................................................................... 6
2.2 Biophilic Design ............................................................................................................ 6
2.2.1 Historical Context ................................................................................................... 6
2.2.2 Biophilic Design in relation to Sustainability ......................................................... 6
2.2.3 Biophilic Design and Human Well-Being .............................................................. 7
2.2.4 Biophilic Design in Interior Design ...................................................................... 10
2.2.5 Biophilic Design in Landscaping Design ............................................................. 11
2.2.6 Biophilic Design in Furniture Design ................................................................... 14
2.2.6 Exemplars ............................................................................................................. 16
2.3 Dogon Aesthetics......................................................................................................... 19
vi
2.3.1 Background of the Dogon..................................................................................... 19
2.3.2 Sculptures and Carvings ....................................................................................... 19
2.3.3 Masks .................................................................................................................... 21
2.3.4 Textiles ................................................................................................................. 22
2.3.5 Jewellery ............................................................................................................... 23
2.3.6 Dogon Inspired Aesthetics in Relation to Interior Design .................................... 23
2.4 Fusion of African Aesthetics and Biophilic Design .................................................... 24
2.5 Conclusion ................................................................................................................... 24
CHAPTER 3 .......................................................................................................................... 25
3.0 RESEARCH DESIGN AND METHODOLOGY ........................................................... 25
3.1Introduction .................................................................................................................. 25
3.2Research Design/ Research Methodology .................................................................... 25
3.3 Target Population and Sample ..................................................................................... 26
3.4 Data Collection Instruments ........................................................................................ 26
3.4.1 Interviews ............................................................................................................. 27
3.4.2 Questionnaires ...................................................................................................... 27
3.4.3 Observation........................................................................................................... 28
3.4.4 Photography .......................................................................................................... 28
3.5 Data Analysis............................................................................................................... 28
3.6 Data Presentation Methods .......................................................................................... 28
3.7 Conclusion ................................................................................................................... 28
CHAPTER FOUR ................................................................................................................. 29
4.0 SITE ANALYSIS AND INTERPRETION OF FINDINGS ........................................... 29
4.1 Introduction ................................................................................................................. 29
4.2 Qualitative Analysis .................................................................................................... 29
4.2.1 Site Analysis ......................................................................................................... 29
4.2.2 Landscape ............................................................................................................. 30
4.2.3 Recreational Activities ......................................................................................... 30
4.2.4 Interior & Furniture Design .................................................................................. 31
4.2.3 Figure Exhibition & Display ................................................................................ 32
4.2.4 Interview ............................................................................................................... 32
vii
4.3 Quantitative Analysis .................................................................................................. 33
4.4 Presentation of Findings/ Answers to Research Questions ......................................... 37
4.4.1: How have Biophilic Design principles been used to incorporate natural elements
in the built environment with the aim of filling the gap between people and nature? ... 37
4.4.2: What calming properties observed in nature have been used to inform the
production of human friendly and tranquil interior and exterior spaces? ...................... 40
4.4.3: How have the calming properties observed in nature been used to inform the
production of human friendly and tranquil interior and exterior spaces? ...................... 45
4.4.4: How have Dogon inspired aesthetics been used in the designing of interior and
exterior spaces? ............................................................................................................. 46
4.4.5: Which elements and properties of nature do the middle aged Kenyan adults
consider tranquil and relaxing?...................................................................................... 47
4.4.6: How can the appropriate integration of Dogon inspired aesthetics with Biophilic
Design be used in the designing of tranquil interior and exterior spaces for the clients of
Le-Voyage resort? ......................................................................................................... 47
4.5 Conclusion ................................................................................................................... 50
CHAPTER FIVE ................................................................................................................... 51
5.0 SUMMARY, FINDINGS AND RECOMMENDATIONS ............................................. 51
5.1 Introduction ................................................................................................................. 51
5.2 Summary of Data Analysis .......................................................................................... 51
5.3 Recommendations ....................................................................................................... 52
5.3.1 Interior Design ...................................................................................................... 52
5.3.2 Landscape Design ................................................................................................. 56
5.3.4 Furniture Design ................................................................................................... 58
5.3.5 Exhibition and Display ......................................................................................... 59
5.4 Materials ...................................................................................................................... 60
5.5 Conclusion ................................................................................................................... 60
REFERENCES ...................................................................................................................... 62
APPENDIX ........................................................................................................................... 66
Appendix 1: Questionnaire ................................................................................................ 66
Appendix 2: Interview Questions ..................................................................................... 68
viii
Operational Definition of Terms
Biophilic Design
This is an innovative way of designing the built environment in a way that it
incorporates nature and its elements with the aim of creating sustainable and humanfriendly living environments.
Design
This is the arrangement or planning how something will appear or work from a
number of ideas. This term is used in this study to refer to design in interior
architecture.
Nature
In this study, term nature has been used to refer to the phenomena of the physical
world collectively, including plants, animals, the landscape, and other features and
products of the earth, as opposed to humans or human creations.
Sustainability
This term was used in this study to refer to the use of materials and processes while
considering their impacts on the environments.
Tranquil
This term has been used to refer to the state of no disturbance and calm.
ix
CHAPTER ONE
1.0 INTRODUCTION
1.1 Introduction
To an ever-increasing extent, the environment is dominated by structures that communicate
the visible cultural landscape of everyday life. The complex pattern of function and meaning
of buildings are highly influenced by people‘s perception of the world, their attitudes, and
sense of relationships. With the global warming phenomena having a profound effect on the
world, there is a significant need to address environmental concerns, so that both ecology and
human societies have a better chance of coping with environmental change.
The word environmental protection has much broader implications than its high-tech energy
systems and recycled materials interpretation. It is the responsibility of the design community
to not only practice design within the context of the natural environment but also to educate
people from other disciplines about the adverse effect of bad design on health, safety, and
welfare of people and planet Earth (Krasner, 1980).
1.2 Background
The relationship between human beings and nature has always been complex: ―We design
things and things design us‖ (Krasner, 1980, p.8). Nature was once considered a stronger
force than mankind but technology that has the power to enhance or destroy the environment
continues to advance. The burden that this technology placed on the environment now
threatens survival of the planet. People and technology must respect and nurture the ecology,
if the progress of the 20th century is to continue especially with the constant growth of urban
centers caused by the constant migration to towns (Magadi, 2006).
Restorative environmental design emphasizes two goals: (1) avoiding, minimizing and
mitigating the adverse effects of building construction and development on natural systems
and human health, and (2) promoting positive interactions between people and nature in the
built environment. The latter objective is unfortunately often neglected in modern design and
development yet humans continue to depend on constant contact with nature for their
physical and mental well-being. The character of contemporary built environment has also
increasingly isolated people from the beneficial experience of natural systems and processes
(Kellert, 2008).
1
Humans have always looked to nature for inspiration to solve problems but perhaps this is the
time to put more emphasis on it especially due to the increase in stress levels caused by
constant subjection to aggressive environments. Biophilic Design provides a set of design
principles that present guidelines on how to incorporate natural elements in built environment
that fills the gap between people and nature. This has been shown to create spaces that not
only improve individuals‘ health and well-being but also benefits the environment.
The middle aged Kenyan group comprises of 25-60 year old. This is the age group that makes
up most of the working class group which also means that there are higher stress levels
among this age group.
1.3 Statement of the Problem
The degrading relationship between the designed and natural environments is one of the most
critical issues facing the design profession. This is highly influenced by the fact that
contemporary built environments are being designed to isolate people from the beneficial
experience of natural systems and processes. Resort environments are expected to provide
and offer holistic healing methods to both the mind and body. Healing in this context is seen
as an improvement of the overall well-being that incorporates the mind as well as physical.
However what is offered is not what it is. The healing methods offered in most resorts are
mostly concerned with physical activities the guests engage in, and less consideration is given
to the environment for the physical, social, creative and psychological wellness it can
promote. Therefore, there is a need to create such an environment that offers the essential
holistic healing to the mind and body.
This research seeks to address inadequate representation of Dogon inspired aesthetics and
Biophilic Design in the creation of tranquil interior and exterior spaces for the middle aged
Kenyan adults in Le-Voyage Resort, Kitale.
1.4 Objectives
The main objective of this research is to determine how the integration of Dogon inspired
aesthetics with Biophilic Design can be used to create tranquil interior and exterior spaces for
middle aged Kenyan adults visiting Le-Voyage Resort, Kitale.
The specific objectives of the design are:
1. To investigate how Biophilic Design principles have been used to incorporate natural
elements in the built environment to fill the gap between people and nature.
2
2. To determine how the calming properties observed in nature have been, and can be
used to inform the production of human friendly and tranquil interior and exterior
spaces.
3. To investigate how Dogon inspired aesthetics have been used in the designing of
interior and exterior spaces.
4. To determine the elements and properties of nature that the middle aged Kenyan
adults consider tranquil and relaxing.
5. To propose an appropriate integration of Dogon inspired aesthetics with Biophilic
Design in the designing of tranquil interior and exterior spaces for the clients of LeVoyage resort.
1.5 Research Questions
This paper seeks to answer the following questions:
1. How have Biophilic Design principles been used to incorporate natural elements in
the built environment with the aim of filling the gap between people and nature?
2. What calming properties observed in nature have been used to inform the production
of human friendly and tranquil interior and exterior spaces?
3. How have the calming properties observed in nature been used to inform the
production of human friendly and tranquil interior and exterior spaces?
4. How have Dogon inspired aesthetics been used in the designing of interior and
exterior spaces?
5. Which elements and properties of nature do the middle aged Kenyan adults consider
tranquil and relaxing?
6. How can the appropriate integration of Dogon inspired aesthetics with Biophilic
Design be used in the designing of tranquil interior and exterior spaces for the clients
of Le-Voyage resort?
1.6 Significance of the Study
This research project will contribute at large to the scarce and limited academic resources on
Dogon inspired aesthetics. It will also contribute to the academic resources on Biophilic
Design and its contribution to creating healing and calming experiences for the middle aged
in Kenya. The research project will also be used upgrade the interior and exterior spaces of
Le-Voyage Resort to create a more human friendly and sustainable vacation experience for
their visitors.
3
The researcher will use this study to learn about the needs of the middle aged Kenyan citizens
and the design requirements needed to be factored and capitalized in creating tranquil living
environments for this age group. This study will at large help designers understand the
middle aged Kenyan citizens and their needs by comprehensively understanding Biophilic
design properties. This proposed study will generally help the researcher to have a deeper
understanding of the studied Biophilic design interior design. The researcher will come up
with possible solutions and guidelines on Biophilic interiors. For the students who have
specialized in interior design, the study will serve as their reference and guide in enhancing
and expanding their knowledge and design skills.
Through this study, the owners of Le-Voyage Resort will be able to learn and understand the
needs of the middle aged Kenyan citizens and by doing so; they will consider incorporating
natural elements that enhance the creation of an experiential and tranquil ambience for their
clientele.
1.7 Justification of the Study
This research is motivated towards the desire to understand how the built environment can
connect people with nature, as well as provide a positive physical and psychological
experience. It‘s also aimed at finding ways through which Le-Voyage can utilize its given
environment to create an opportunity for its users to transform and transcend their usual
states of consciousness (associated with illness and despair), and move into a more optimistic
and healing attitude for their health and well-being.
1.8 Limitations of the Study
This study is limited to the four areas of interior design which constitute the area of study:
Landscaping and Human Environment
Interior Design and Human Development
Trends and Styles in Furniture Design
Exhibition and display Techniques.
These four areas of interior design will be applied to the area of interest which is Biophilic
Design and Dogon Inspiration. The duration of the research was also limited within three
months; hence the information presented was gathered in the given time frame.
4
1.9 The Scope of the Study
1.9.1 Concept
The scope shall be limited to the aspect of Biophilic Design that is rooted in the creation
of optimal healing environments. The study also concentrated on application of Dogon
inspired aesthetics and Biophilic Design in Le-Voyage Resort with reference to furniture
design, interior architecture, landscaping and human development and exhibition and
display.
1.9.2 Content
This whole study relied on both primary and secondary sources of data collection. All these
materials, data, ideas and concepts were proposed to be applied in redesign of Le-Voyage
Resort.
1.9.3 Geographical
The research was based in Nairobi, Kenya while its case study was Le-Voyage Resort in
Kitale.
1.10 Conclusion
Reducing the adverse effects of modern development is arguably the first and more basic
priority of Biophilic Design, but we must go beyond this limited objective to also identify
how buildings and landscapes can foster human lives of meaning and satisfaction by
celebrating our dependence on nature as an irreplaceable core of intellectual creativity and
emotional capacity.
5
CHAPTER TWO
2.0 LITERATURE REVIEW
2.1 Introduction
This chapter will explore the artistic elements from the Dogon people that can be used to
inspire Dogon aesthetics and how they have been employed so far in the designing of the
interior and exterior spaces. It also analyses how the Biophilic Design philosophy has been
brought out through design and how it‘s currently being applied interior and landscape
design.
This chapter also explores Biophilic Design in relation to how it has impacted a sustainable
built environment with the aim of exploring properties in nature that can be used to create
tranquil and human friendly environments. Biophilic Design will also be explored in relation
to sustainability, and how it offers an opportunity for the built environment to act as part of a
proactive and salutogenic approach to health rather than the standard reactive and pathogenic
approach to health.
2.2 Biophilic Design
2.2.1 Historical Context
Although we present Biophilic Design as an innovation today, the concept has been practised
since ancient times. The term however, is relatively new. The age of industrial revolution saw
to a transformative shift towards urban living and isolation from the natural world. Until that
age, our lives and homes were integrated with our natural surroundings hence our
development was influenced by interactions with nature and the spatial properties of natural
landscapes (Molthrop, 2012).Many architects and designers came to realise that there is a
connection between some of our urban ills and the impoverished design of a lot of modern
buildings and environments. This in turn led to the creation of a new practice: Biophilic
Design, which involves the integration of nature and natural elements, materials and forms
into the built environments (Sarah, 2013).
2.2.2Biophilic Design in relation to Sustainability
Over the long run, few low environmental impact designs will prove to be sustainable or
contribute significantly to a more benign society if the developments lack significant
Biophilic Design features and characteristics. Buildings and landscapes that people do not
associate with a positive experience of nature will almost always be discarded overtime
6
because they are not connected to people‘s emotional and intellectual well-being
(Kellert,2008).
In his 2012 book, Birth right: People and Nature in the Modern World, Stephen Kellert
discusses the impact nature-based design can have. Kellert advocates a new standard, which
he calls ―restorative environmental design,‖ that combines LEED metrics and essential
Biophilic elements to achieve ―true and lasting sustainability.‖ He maintains that no matter
how energy efficient a building is, ―if it‘s a place that doesn‘t breed satisfaction, enhance
morale, or motivate people (and in fact alienates them) . . . when the cutting-edge technology
that made it energy efficient is no longer cutting edge, and people don‘t want to be there, they
won‘t sustain that environment.‖Kellert concedes that there are times when Biophilic
objectives will conflict with energy-efficient design, ―but you must try to have your cake and
eat it too,‖ he says. ―It‘s tougher, but if you want sustainability, you must weigh these
objectives and blend them.‖ (Miller,2013).
A technologically complex, low environmental impact building isolated from the natural
world has higher chances of being abandoned once its high technology systems are no longer
novel while constructions that affirm an enduring and inherent affinity for the natural
environmental are revered and recycled generation after generation (Kellert,2008).
2.2.3Biophilic Design and Human Well-Being
Research increasingly shows that our ability to directly access nature can alleviate feelings of
stress, promote recovery from mental fatigue, and enable better focus, mental stamina, and
productivity. A 2011 review in the International Journal of Environmental Health Research
compiled findings from several different disciplines to develop 12 specific ―evidence-based
nature contact recommendations‖ for ―creating healthful places.‖ Among these are: cultivate
grounds for viewing, maintain healing gardens , light rooms with bright natural light ,
provide a clear view of nature outside and display nature photography and realistic nature art.
Biophilic design recognizes the inherent human need for nature together with sustainable and
universal design strategies to create environments that truly enhance life. It emphasizes on the
incorporation of things like natural lighting and ventilation, natural landscape features and
other elements in buildings to create a more productive and healthy built environment for
people. Natural air flow, ventilation and indoor vegetation eliminate sick building syndrome,
the impact of asthma and reduces harmful air particles, while day lighting reduces energy use
(Browning, Ryan & Clancy, 2014).
7
In addition to health benefits, there are indications that attention, learning, and cognitive
function may be improved by nature-based design. Several studies have analysed the impact
of nature contact on what pioneering environmental psychologists Rachel and Stephen
Kaplan first defined as ―attention recovery- the ability to reactivate mental effort after a
period of intense work. ―Subsequent research by the Kaplans and others has proven that
contact with nature, even just by viewing it through a window, improves cognitive
functioning. For example, in a recent study of subjects who were ―mentally fatigued‖ after
completing a cognitively demanding task, those shown six minutes of ―restorative images‖
(photographs of natural landscapes) had faster reaction times, more correct responses, and
better overall memory recall than those who viewed photographs of urban images for the
same amount of time(Miller , 2013). ‗‘To investigate how Biophilia can be expressed in
building design, we need to understand what it is about nature that creates a sense of please,
well-being and engagement with place‘‘ (Kellert, 2008).
Biophilic design can be organized into three categories:
Nature in the Space - addresses the direct, physical and ephemeral presence of nature
in a space or place.
Natural Analogues – addresses organic, non-living and indirect evocations of nature.
Objects, materials, colours, shapes, sequences and patterns found in nature, manifest
as artwork, ornamentation, furniture, décor, and textiles in the built environment
Nature of the Space – providing a framework for understanding and enabling
thoughtful incorporation of a rich diversity of strategies into the built environment.
These three categories provide a framework for understanding and enabling thoughtful
incorporation of a rich diversity of strategies into the built environment. Within the three
categories are a total of 14 patterns that describe design interventions that enable the human
connection to nature.
Nature in the Space: Visual Connection to Nature, Non-Visual Connection to Nature, NonRhythmic Sensory Stimuli
Thermal & Airflow Variability: Presence of Water, Dynamic & Diffuse Light, Connection
to Natural Systems
Natural Analogues: Biomorphic Forms & Patterns, Material Connection to Nature,
Complexity & Order
8
Nature of the Space: Prospect, Refuge, Mystery, Risk/Peril
(Browning, Ryan & Clancy, 2014)
Kellert et al (2008, p7 - 15) has also divided Biophilic Design into six design elements. These
elements just like the ones mentioned above can be a useful guide for designers and
researchers to apply in designs that can bring nature closer to people:
Environmental features— which involve colour, water, air, sunlight, plants, animals,
natural materials, views and vistas, facade greening, geology and landscape, habitats,
ecosystems and fire in nature. This first biophilic design element encourages natural light,
natural ventilation, natural materials and plants for the well-being of people. ‗‘The mere
insertion of plants into the built environment can enhance comfort, satisfaction, well-being
and performance‘‘ (Kellert, 2008).
Natural shapes and forms— these are the man-made designs that include natural traits,
motifs, forms or structures. These are also representations of the natural world on the building
façade.
Natural patterns and processes— these comprise the integration of natural elements and
cycles that are compatible with the built environment. An attribute of this element is
biomimicry where natural systems are mimicked.
Light and space— involves the function of lights and spaces in outdoors and indoors of built
environment. This feature element encourages maximum natural light and systems that
enhance reflective light. The aim is to prevent the negative impact of dull rooms.
Place-based relationships— these involve the merging of ecology into culture, for example
the adaptation of Yin-Yang concepts into design, where the Chinese culture incorporates the
natural elements into daily life. This feature enables an individual to feel safe in an
environment they are familiar with, as one can feel intimidated in a new place. ‗‘The
connection of people to places reflects an inherent human need to establish territorial
control‘‘ (Kellert, 2008).
Evolved human-nature relationships— which describe the affiliations between human
beings with nature and how nature has influenced them. This is the only attribute that focuses
on the inherent human relationship with nature. An example of this feature is therapeutic
gardens where gardening activities are undertaken (Tasyurdu, 2014).
9
2.2.4 Biophilic Design in Interior Design
Hase says, in her experience, designers generally have good instincts when it comes to
developing interior environments with nature in mind. She also notes, however, that much of
their training not only dismisses these instincts but actively seeks to replace them with a
focus on efficiency in planning. ―We need to bring out what‘s inherent in who we are—to
create spaces that incorporate elements of the natural preferred habitat. It‘s important to
understand that it‘s more about feeling than thinking when a person enters a built
environment,‖ she says. ―The challenge is to interpret and apply features in creative ways.
You can get the effect of a water element without real water (and the chlorine smell and
mould and mildew). The subconscious will ‗see‘ a glossy, shimmering, blue surface and get
the same good feeling our primitive ancestors did when they could see the shining surface of
a pond or flowing river in the distance.
Stephen Kellert describes two types of Biophilic design: organic and vernacular design. He
describes organic design as any shapes or forms that directly, indirectly or symbolically
represent nature. This includes forests, landscapes, water streams, natural air and sunlight.
Organic design is a term that was originally coined by Frank Lloyd Wright who was ahead of
his time when it came to incorporating nature into his architectural creations such as the
Falling Water (Refer to Figure 6& 7). In contrast vernacular design focuses on buildings and
places themselves, and how the built environment is formed to the particular cultures where
people live and work (Ramoie, 2014). Vernacular design connects people and nature to a
particular culture and ecological setting (Kellert, 2008).
Fractal Patterns
Evidence is building that the irregular, self-similar geometries that occur virtually
everywhere in nature have a significant role to play in creating built environments that
contribute to human performance and well-being. As Lance Hosey, chief sustainability
officer at the architecture firm RTKL and author of The Shape of Green: Aesthetics, Ecology,
and Design, writes: ―We respond so dramatically to this pattern that it can reduce stress levels
by as much as 60 per cent: just by being in our field of vision.‖Hase suggests incorporating
fractal shapes—particularly those that echo the patterns formed by the limbs, branches, and
twigs of the acacia trees on the African savanna—wherever possible. Textile designs or
architectural or furniture detailing that repeat similar shapes at different scales mimic the
10
―difference within likeness‖ quality of nature that humans find simultaneously stimulating
and restful.
Biodiversity
―If you just let nature happen, you get diversity,‖ Hase says. ―And people are more
comfortable, more engaged, more alive, in interiors that offer variety.‖ Environments that
provide interesting and changing artefacts, unique architectural details, and graphic or video
displays for people to ―discover‖ as they move through the workplace can provide the
stimulating qualities of mystery and surprise that are part of the natural environment.
As Lance Hosey puts it, ―A revolution in the science of design is already under way, and
most people, including designers, aren‘t even aware of it.‖ On the other hand, Betty Hase
points out, with a little awareness of who we are and where we came from, designing with
nature in mind can be instinctive. ―To make a space that people will want to be in, create an
environment that has elements of the natural preferred habitat. Make a workplace where
people feel as calm and engaged as they do walking down a lovely nature trail and you‘ll get
improved health, morale, performance (Miller, 2013).
2.2.5 Biophilic Design in Landscaping Design
Much of the discussion around Biophilic Design has been in the context of interior design. So
how is it implemented in landscape architecture? The outdoor, expansive quality of landscape
projects provides greater opportunities for implementing Biophilic Design patterns than in
interior design environments due to three factors: real (vs. representational) nature;
perceptual fluency and complex adaptive systems.
A common question for indoor applications of Biophilia is whether representational or fake
nature is an effective alternative to real, living nature. Such limitations of the indoor
environment (daylight, maintenance, etc.) thankfully fade away with the outdoor landscape.
Gardens or landscapes which are designed for stress relief have four primary considerations
embedded in the design: social support for garden users; provision of privacy and control;
opportunity for physical activity and movement; and provision of nature elements. Universal
design, which provides accessibility to the greatest possible range of garden users, should
also be a consideration of any restorative garden space.
Gardens can be healing and restorative via a number of mechanisms. The most obvious is the
aesthetics of nature that is, creating a beautiful verdant place that will be a powerful
11
enticement to go outdoors. Being outdoors in a natural or quasi-natural setting, experiencing
sunlight, viewing trees and flowers, listening to the sounds of water or birdsong- the
combination of these and other elements that make up a garden can have measurable stressreducing benefits but the healing effects of a garden will be powerfully enhanced by how it is
detailed to support other sought-after activities beyond the basics of being in a plan-filled
space. These include elements that encourage people to socialize, to spend desired time alone,
to stroll, and to engage in more vigorous exercise, to choose being in the sun or shade, and so
on. Without attention to these and other details, a garden will not fully fulfil its fullest
potential as a healing place (Marcus & Barnes, 1999).
Implementing Patterns in Landscape Architecture
According to Cancy and Ryan the following patterns draw from 14 Patterns of Biophilic
Designare key opportunities for landscape architecture, as they have broad applications and
can be applied to any site project to help improve health and well-being.
Prospect and Refuge
Prospect, as an unimpeded view over a distance for surveillance and planning, is easier to
achieve in landscape projects that allow for long distance views within the site or external
views to focal points in the landscape. This form of prospect, with the focal point/ view being
external to the site is a key principle of traditional Chinese garden design. Known as jiejing
or the ‗‘borrowed view‘‘, it creates the illusion that the space is bigger and more informationrich than it actually is.
Figure 2-1 Traditional Chinese Garden
Image source: Jennings and gates.blogspot.co.ke
12
Connection with Natural Systems
This pattern aims to make users aware of the seasonality of a place, the importance of
environmental stewardship and natural processes. Temporality is a key component, such as
expressed through weathering process, animal predation, seasonal migration patterns,
hydrological cycles and seasonal patterns of vegetation. Methods of implementing this in
landscaping include the use of exposed urban drainage systems, the specification or
protection of seasonal planting and streambeds, and the provision of wildlife and pollinator
habitat; embracing the unique and complex characteristics and relationships a landscape and
its local climate, ecosystem and visitor usage trends, as well as the natural tendency for a
landscape to evolve and adapt over time. A Biophilic landscape capable of establishing these
types of connections will help create a perceptual shift among visitors in what they are seeing
and experiencing, which may also enhance their health responses to other Biophilic
experiences.
Presence of Water
Water has a powerful capacity to engender a positive emotional connection to a place.
Current evidence indicates preferences are for views to landscapes with water features,
particularly ones that occupy approximately two thirds of the scene. Greater Biophilic
responses are also generated by complex fluctuations in water flow, such as achieved by
babbling brooks and waterfalls, and when visitors have the options to touch or interact with
the water. Water features in the landscape have shown to reduce stress, increase feelings of
tranquillity, lower heart rate and blood pressure, and even improve concentration and
memory. As focal points and destinations in the landscape, they can also serve to mitigate the
negative effects of noisy street traffic.
Complexity and Order
This pattern aims to incorporate symmetries and fractals found in nature that adhere to spatial
hierarchies and natural geometries, which are coherent yet sufficiently complex. At the
surface, this can be achieved by replicating natural symmetries and fractals in
representational artwork, paving materials, etc. More comprehensively this can be achieved
by mimicking (or supporting) the complex and evolving structures and arrangements of
ecosystems and planting communities found in nature, including pedestrian flows, and the
nodes and networks of social virility. The implementation of this pattern helps establish the
13
spatial configuration of a designed scene, making the landscape and way finding throughout
it seem natural and hence, easily processed by visitors, allowing for a low-stress experience
and opportunity for mental restoration to take place.
Climate change, natural disasters, and energy dependency have each been drivers of
resiliency policy and design, but the built environment evolves in response, it adds a layer of
complexity to the discussion of how we are to maintain an effective Biophilic landscape
experience for enhanced public health and well-being. The more integral Biophilic strategies
are to the functionality of designed landscapes the more likely the intended health responses
are to withstand the ebb and flow of a dynamic urban landscape.
Embracing seasonal variation of outdoor environments is one method of ensuring Biophilic
Design patterns maintain efficacy. Capitalizing on the variability of landscape allows
designers to develop strategies that maintain the efficacy of Biophilic Design patterns
throughout the year and beyond. Essentially, when one element of Biophilic Design response
deactivates due to seasonal cycles (for example, species goes dormant), another response
becomes activated (Cancy& Ryan, 2015).
Social Support
Social support is the first major component in the theory of restorative garden design model.
Generally, social support refers to perceived emotional support or caring, and material or
physical aid that a person receives from others (Brannon & Feist, 1997). A large body of
research has shown that people who receive higher levels of social support are usually less
stressed and have better health status than persons who are more socially isolated (Cohen &
Syme, 1985; Shumaker & Czajkowski, 1994) In fact, low social support maybe as great a risk
factor in mortality as is cigarette smoking (Berkman & Syme, 1979).
2.2.6Biophilic Design in Furniture Design
The links between furniture design with living organisms and Biophilic Design have seldom
been explored on a rational basis especially as to why designers use living organisms in their
designs, or how consumers of such furniture react to such furniture designs from pragmatic,
semantic or emotional points of view. It is not generally known if these furniture designs are
influenced by a variety of criteria including those based on emotional responses, although
these are clearly important design criteria (Norman, 2004). A rational framework of these
criteria needs to be developed so as to better inform and understand the design of such
14
furniture. In addition, the range of these furniture types, published in the literature, does not
appear to have been classified into logical groups.
After reviewing several studies related to Biophilic design and emotional design, it is found
that there is few research studies regarding Biophilic Design or emotional design conducted
in the context of furniture design. An example of a study relevant to this investigation was
conducted by Windhager et al in 2010, who studied the effects of an aquarium with fish
placed in an exhibition in a Mall (a European shopping mall in Austria). This study used a
direct behavioural observation method (by using a hidden video camera) to observe
respondent reactions, with a view to understanding human behaviour when confronted by
living organisms in non-natural surroundings. Although admittedly not necessarily
conclusive, they suggested that living organisms influenced passers-by emotionally as well as
attracting people‘s attention.
The Saturnia Bench
The Satunia Bench is an example of a creative piece of furniture that combines seating with
nature. Made of natural stone, a central island of lush green grass flows down its length. It is
also bordered by squares and rectangles of differing sizes which serve as seats. It‘s a great
example of Biophilic Design. The design has been deliberately kept simple so as to highlight
the grass centrepiece. Interest is added by the irregular geometric shape which mimics nature
and makes it look like a lawn creating a feeling of relaxation.
This bench was designed by Philippe Nigro for Piba Marmi. It was conceived as a place
where passers-by could sit down for a break while enjoying nature – albeit on a small scale.
It‘s the perfect way to add public seating, while introducing some greenery to an urban
environment but it would also work just as well for the interior of public spaces by bringing
nature indoors. In addition to enhancing the decor, it would improve the air quality and bring
a sense of calm to the interior.
On a smaller scale it would be ideal for the home, especially one that has little or no outdoor
space. Furniture can be a great way to bring Biophilic Design into interiors. Not only does
this bench bring the outside in – but also provides such a lovely place to take a seat
(Freshome.com,2013).
15
Figure 2-2: Saturnia Bench
Image Source: Freshome.com:http://freshome.com/2013/10/27/urban-seating-unit-adornedisland-grass-saturnia-bench/)
2.2.6 Exemplars
Juvet Landscape Hotel
This stunning hotel in rural Norway has been designed by Jensen & Skodvin to maximise the
guest‘s experience of the surrounding natural landscape from the comfort of the interior.
Seven pine and glass buildings with panoramic views promote the connection with the
mountains, rivers and woodlands in what can only be described as a Biophilic retreat. Interior
spaces are designed to ensure they do not detract from the views with features like floor to
ceiling windows, minimalist dark decor and viewing areas which immerse guests in the
natural environment. Inside guests can hear the sounds of the river flowing whilst outside the
cabins there are hiking trails to immerse guests further into the landscape (Heath, 2015).
Figure 2-3 Exterior 1
Figure 2-4 Interior Space 1
Images Source:Juvet.com
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Bayerischer Hof Hotel
By way of complete contrast this lounge in Munich has been designed by the Jouin Manku
Studio. Its sophisticated style incorporates natural materials, textures, forms and colours to
create a calming retreat from the city. Furniture is made from wood and leather whilst soft
green tones are used for the wall colour. The flooring is a mixture of textures too as areas of
carpet are broken up with stone and wooden flooring. A large curvaceous fireplace makes a
feature of the natural element of fire and large floor to ceiling windows allow natural light to
flood in. A terrace extends the lounge outside with views across the city to the mountains.
Within the restaurant area booths with backlit carved panels have been designed to emulate a
mountainous landscape (Heath, 2015).
Figure 2-5 Bayerischer Hof Hotel 1
Image source: patrickjouin.com
I-Resort, NhaTrang
I-Resort, NhaTrangin Vietnam is a setting constructed entirely out of natural materials from
locally found wood, rock, and coconut leaf through local architectural techniques. The result
is a resort over 3,200 square feet which is rich in natural textures with plenty of connection
with the surrounding landscape lotus ponds, gourd and flower gardens that have been weaved
throughout the plan, easing the strength of the tropical sun. There is a main circular thatchedroof a courtyard and circulatory space is formed by an easy to assemble mortise and tenon
structure, serving to modify the microclimate. The courtyard circles around a large pool of
water and provides natural ventilation, shade in the humid weather and landscaped gardens
with lotus ponds weave between this, the spa, restaurant and guest‘s rooms. Flexible and
adaptable spaces accommodate the need for changing functions, encouraging activity to occur
17
in quiet and peaceful places. The open design allows opportunities for solar gain and
ventilation whereas internal gardens are integrated to minimize excessive temperatures.
Vernacular yet contemporary these interesting forms and materiality: bamboo, stone, wood,
banana leaves, create indoor and outdoor sensibility (Heath, 2015)
Figure 2-6 & 2-7: iresort, NhaTrang
Image Source :A21 Studio
Frank Lloyd Wright's Falling Water
Falling Water is famous example of Biophilia for its integration into the landscape and
interiors. Wright adapted the vocabulary of International Modernism, a usually stark and
ordered variety used in public buildings for this organically designed private residence
intended to be a nature retreat. The house is well-known for its connection to the site: it is
built on top of an active waterfall which flows beneath the house. The stone floors are waxed,
while the hearth is left plain, giving the impression of dry rocks protruding from a stream.
The active stream, immediate surroundings and cantilevered design of the house are meant to
be in unison, in line with Wright's interest in making buildings that were more "organic" and
which thus seemed to be more engaged with their surroundings. The design incorporates
broad expanses of windows and the balconies are off main rooms giving a sense of the
closeness of the surroundings. There is also an interior staircase down from the living room
allowing direct access to the stream beneath the house. On the hillside above the main house
is a garage, servants' quarters, and a guest bedroom (usahomeandgarden.com, N.D).
18
Figure 2-8 Interior Space
Figure 2-9 Exterior
Image Source: fallingwater.org
2.3Dogon Aesthetics
2.3.1 Background of the Dogon
The Dogon are an ethnic group located mainly in the administrative districts of Bandiagara
and Douentza in Mali, West Africa. They are famous for their astronomical knowledge taught
through
oral
tradition,
dating
back
thousands
of
years,
referencing
the
star
system, Sirius linked with the Egyptian goddess Isis. They are best known for their religious
traditions, their mask dances, wooden sculpture and their architecture. Dogon art is
emblematic of African art in general such that rather than art for art‘s sake, it consists in
essence, of works of undeniable aesthetic quality and beauty but primarily invested in
religious significance and often means to serve as ritual objects. Dogon art is the very
language of their religion. Every sculpture, mask and decorated object such as their famous
door locks is a symbol expressing some aspect of Dogon cosmology (Irele & Jeyifo, 2010).
Their art deals with the myths whose complex ensemble regulates the life of the individual.
This research will focus on Dogon art forms mainly sculptures and carvings, masks, textiles
and jewellery to form a base for Dogon inspired aesthetics. Below is a brief outlook on the
mentioned art forms.
2.3.2 Sculptures and Carvings
For centuries the Dogon have created beautiful abstract wooden sculptures. Which are among
the oldest surviving wooden sculptures in the world as some have been dated to well over
1500 years old. Just as mentioned above, their sculptures are created primarily for religious
purposes and have spiritual meanings. They are rarely created for public view and are
commonly hidden and are preserved from the public eye in innumerable sites of worship with
the Hogon (spiritual leader of the village), personal or family altars, altars for rain, altars to
19
protect hunters, in market. The importance of secrecy is due to the symbolic meaning behind
the pieces and the process by which they are made.
Dogon art is extremely versatile, although common stylistic characteristics – such as a
tendency towards stylization – are apparent on the statues. Their statuettes are characterised
by elongated figures with raised arms believed to represent departed ancestors (wagem) and
to provide tangible support for their life force. Sometimes only one arm is raised, but vertical
accentuation is obviously an important feature of the Dogon art. As a general characterization
of Dogon statues, one could say that they render the human body in a simplified way,
reducing it to its essentials. Other themes found throughout Dogon sculpture consist of
superimposed bearded figures, horsemen, stools with caryatids, women with children, figures
covering their faces, women grinding pearl millet, women bearing vessels on their
heads, donkeys bearing cups, musicians, dogs, quadruped-shaped troughs or benches, figures
bending from the waist, mirror-images, aproned figures, and standing figures .
Carvings in the Dogon community are commonly found in 'Togu Na' - 'House of Words' –
which stands in every Dogon village and marks the male social center. The carvings in the
Togu Na are usually on pillars that are carved out of Kile wood and often express themes of
fertility and procreation. Many of the carvings are of women's breasts, for as a Dogon
proverb says, "The breast is second only to God."(See Figure 2-10)
Figure 2-10: 'Togu Na' carvings
Image Source: travelswithsheila.com
A striking design feature of Dogon architecture are the carved shutters, doors and doorways
which portray ancestral figures to protect the people and property inside. The granary doors
are constructed of one or two pieces of wood, are square in shape, and typically no larger
20
than two by two feet (See Figure 2-11). Every family has at least one granary that serves as a
storage unit for food and other objects of importance. The surfaces of these doors are usually
covered in intricate carvings. Door locks found on granary doors give a wonderful insight
into the abstract and symbolic use of animal and figural imagery. The representational
carvings of ancestors serve to keep spirits at bay and offer protection from worldly and
unworldly sources of harm. Every door has a sculpted iron lock, which also depicts many
different themes. The symbolism depicted on granary doors relates to the knowledge of the
origins of life as well as a source of new knowledge (Patterson, 2009).
Figure 2-11: Granary door from the Dogon people of Mali
Image Source: pinterest.com
Lastly, door locks sculpted of wood in a rich variety of forms also feature in Dogon carvings.
They depict mythological and historical figures, social events, and representational figures-crocodiles, lizards, tortoises, owls, bats, butterflies, and humans. Known as konbarabara,
these exquisite locks were once presented to young women at the time of their marriage and
affixed to the doors of their new homes. The beauty of the carvings and the ingenuity of the
locking systems present a fascinating study of this unusual art form.
2.3.3 Masks
Dogon masks hold a position of ritual significance unlike any other form of art in Dogon
society. They play the same role of physical sign and support for the invisible as played by
sculptural forms. This is especially the case during sacred ceremonies, such as funerals
(dawa), when the male circumcised members from the village forming a mask society (awa)
perform ritual dances wearing on their heads the totems that contain and redistribute the
spiritual force of the ancestors.
21
Kananga masks, in particular are very famous elements of Dogon ritual performances. They
are made by the performers who wear them instead of the blacksmiths. In the highly
symbolism of the kanaga structure, the face mask representing an animal is topped by a
wooden sculpture consisting of a cross with two bars: the two ends of the first bar point
towards the sky while those of the second bar towards the earth (Kananga mask, Figure 10).
The Kananga masks represent the first human beings. The Walumasks are used in the ritual
dance performances to commemorate the origin of death (Walu Mask, Figures 9) and dances
that are believed to create a bridge into the supernatural world
There are nearly eighty styles of masks, but their basic characteristic is great boldness in the
use of geometric shapes, independent of the various animals they are supposed to represent.
The structure of a large number of masks is based on the interplay of vertical and horizontal
lines and shapes. Another large group has triangular, conic shapes. All masks have large
geometric eyes and stylized features. The masks are often polychrome, but on many the
colour is lost.
Figure 2-12 Dogon Walu Mask
Figure 2-13: Dogon Kananga Mask
Images Source: pinterest.com
2.3.4 Textiles
In the Dogon region of Mali the most popular traditional indigo wrappers are plain and/or
decorated wrappers that are known as gara. (See Figure 2-14). It may display colourful
embroidery or can reveal successions of discrete white geometric patterns that rise up from a
plain indigo base. The gara wrappers are fashionable among the Dogon people and are
mainly worn by women during ceremonial functions.
22
Wild silk indigo cloth also found in the Dogon community is considered a luxury cloth
praised for its durability and its sheen. Its high price stems from the rarity of wild silks and
the complex techniques required in manufacturing it. Women wear it to display their wealth
and social status and to enhance their personal worth and well-being (Douny, 2013).
Figure 2-14: Dogongara indigo fabric
Image Source:sisitatu.com
2.3.5 Jewellery
The metal workers of the Dogon people are famed for their extraordinary construction of
distinctive jewellery items. Dogon motifs used on the jewellery include: bearded figures, the
sun and stars, snakes, rabbits and monkeys. Large metal pendants representing the famed
Dogon door, decorated hair pins, and iron and stone necklaces are among the Dogon
jewellery collection. The Dogon treasure amber and use it in their necklace, bracelets and
pendants. They also use beads made of stone and terracotta incised with geometrical patterns.
Older Dogon men wear large bronze rings as a sign of status. Cowrie shells are after used to
decorate jewellery.
2.3.6 Dogon Inspired Aesthetics in Relation to Interior Design
Here is very little representation of Dogon designs in interior and landscape design with the
only relevant most practised representation being the use of their sculptures and masks as
decorative elements. (See figure 12 & 13)
23
Figure 2-15 & 2-16: Use of Dogon elements as decorative features
Images Source: pinterest.com
2.4 Fusion of African Aesthetics and Biophilic Design
If watching the African sun set over a pride of lions sounds like a trip of a lifetime, you‘re not
alone. Singita Sabi Sand game reserve boasts two separate lodges with distinctive interiors by
emerging African designers. Boulders sit on the edge of the Sand River and evokes the raw,
untouched nature of the landscape with organic materials and tribal artefacts, while Ebony
puts on a vintage safari spin with Colonial-era furniture and décor. Both offer guests
everything from private plunge pools to well-stocked wine cellars. Embrace your adventurous
side with a mountain-bike ride through the bush or a photography-focused safari. For oncein-a-lifetime views of elephants bathing in the Sand River, book Ebony Lodge‘s Suit.
2.5 Conclusion
From the literature review it was evident that Biophilic design principles can be applied in a
variety of contexts allowing growth of both people and environment. Human psychology
clearly benefits from contact with nature, and inviting nature into our buildings is the ideal
way to insure it. While the idea of Biophilia is an attractive one, as with any theory, culture
must not be overlooked in the creation of Biophilic Designs. Every year new discoveries in
the fields of neuroscience and endocrinology add to our knowledge of the role nature plays in
human physiology and well-being.
The literature review also brought to light the fact that the drawing of design inspiration from
Dogon art forms has not been extensively explored despite their beautiful tapestry and artistic
force. There is however a lot of potential a pertaining to this area.
24
CHAPTER 3
3.0 RESEARCH DESIGN AND METHODOLOGY
3.1Introduction
This chapter of this project paper will provide a detailed explanation of the proposed
methodology to meet the objectives of this paper which are listed below:
To investigate how Biophilic Design has been used to incorporate natural
elements in the built environment to fill the gap between people and nature.
To determine how the calming properties observed in nature have been, and can
be used to inform the production of human friendly and tranquil interior and
exterior spaces.
To investigate how Dogon inspired aesthetics have been used in the designing of
interior and exterior spaces.
To determine the elements and properties of nature that the middle aged Kenyan
adults consider tranquil and relaxing.
To propose an appropriate integration of Dogon inspired aesthetics with Biophilic
Design in the designing of tranquil interior and exterior spaces for the clients of
Le-Voyage resort.
This research used a qualitative case study design where there was an in depth study
of the research problem. It involved the understanding of the issue through detailed
analysis of facts gathered. The population was gathered from the young adults of
Nairobi where samples were drawn from based on certain characteristics of interest.
The data was gathered, analysed and presented using quantitative methods.
3.2 Research Design/ Research Methodology
A research design provides a framework for collection and analysis of data. The researcher
employed qualitative research design which according to Marczyk, et la: Essentials of
Research Design and Methodology (2005, pg. 32) qualitative research involves studies that
do not attempt to quantify their results through statistical summary or analysis and that
qualitative studies typically involve interviews and observations without formal
measurement. It‗s expounded that qualitative research is often used as a source of hypotheses
for later testing in quantitative research (Geoffrey Marczyk, 2005). Qualitative inquiry
employs different knowledge claims, strategies of inquiry, and methods of data collection and
25
analysis. Qualitative methods are designed to explore the human factor and cause-and-effect
nuances. Although the processes are similar, qualitative procedures rely on text and image
data, have unique steps in data analysis, and draw on diverse strategies of inquiry (Creswell).
This project used a qualitative case study design. A case study is an in-depth study of a
particular research problem rather than a sweeping statistical survey or comprehensive
comparative inquiry. The case study research design is also useful for testing whether a
specific theory and model actually applies to phenomena in the real world. A variety of
methodologies can be applied to investigate the research problem.
3.3 Target Population and Sample
The population for this research is Kenyan citizens between the ages of 25-60. According to
Kenya Demographics Profile 2014, 25-54 age group in Kenya constitutes 32.8% of the
population with 7,302,534 being female and 7,458,665being male while the 55-64 age group
constitutes 3.7% of the population with 910,523 females and 751,296 males
(indexmundi.com, 2015). The 25-60 age group makes up for most of the working population
and hence are the target group because they are prone to high levels of stress due to the
constant involvement with stressful situations and responsibilities. The study population also
included professional architects and interior designer who were brought on to give
professional opinions about Biophilic design and its contribution to sustainable living and
human wellness.
Sampling method; The researcher used ;stratified sampling (random within the target groups)
,Quota sampling(allows to focus on people we think would be most likely to experience,
know about, or have insights into the research topic.
3.4 Data Collection Instruments
The researcher collected data from three main sources starting with Secondary sources:
research from: books, journals, newspaper research, videos and e-books and Tertiary
sources: internet research, then followed by Primary sources: interviews and questionnaires.
The primary data was derived from the answers the respondents gave in the questionnaire
prepared by the researcher. More so, the information that was obtained from the interviews
provided primary research data that supported the study. The secondary data on the other
hand, was derived from the findings that were stated in published documents and literatures
related to the research problem. The interviews were both structured and unstructured and
26
involved the target audience (citizens between age 25-60) and professional designers and
architects.
The limitation to this research topic is due to the lack of information available on Dogon
inspired aesthetics. This limitation had an effect on the approach of organizing how the
required data was collected for that particular sub topic.
To ensure that the most effective and appropriate research method was selected, a variety of
possible options were considered. The literature review was completed as forethought to
analyse the available secondary data. This analysis of literature outlined that the available
secondary data was not adequate to undertake this project paper. This meant that additional
research had to be completed and one research method would not be satisfactory.
Focusing on one research method for each objective enabled a variety of different
methodologies to be used, which simplified the goal for each research approach.
For
example the proposed questionnaire only aims to answer one of objective. This simplified the
questionnaire for speedier responses and ensured the collection of adequate information in
comparison to designing a questionnaire that aimed to answer all five objectives.
3.4.1 Interviews
Interviews yielded a great deal of useful information where the researcher asked questions
related to: Facts, people‗s beliefs and feelings. The interview was open ended and semi
structured. Data from a survey of architects and designers perception and implementation of
Biophilic design was gathered from interviews. The sample was purposefully selected to
include practising architects and interior designers in Kenya and people from the target age
group. The interviews were both unstructured and structured and addressed the following
topics: Biophilic Design in relation to sustainability, human well-being and Interior Design;
and Dogon inspired aesthetics. The researcher interviewed five practising interior designers
and architects.
3.4.2 Questionnaires
The researcher administered structured questionnaires to the sampled population which were
used to ask questions that elicit ideas and behaviours, preferences, traits, attitudes and facts
about Biophilic Design and nature in general. The questionnaires were administered in a faceto-face mode and through electronic media i.e. through email. The total number of people
that responded to the questionnaires was 35(21 males and 14 females).
27
3.4.3 Observation
This involved taking notes from viewing the status of the interior and exterior of existing
buildings that applied Biophilic Design.
3.4.4 Photography
This involved capturing images with a camera of the features of the selected site for the
research.
3.5 Data Analysis
This is the process of interpreting the data collected in order to develop answers to the
research questions. Qualitative and quantitative analysis methods were used in order to
achieve an understanding of the findings. The process involved identifying information from
the data collected, and making the decision on the appropriate methods for calculation and
applying the methods for evaluation. This step was essential in the interpretation of results
which may provide information for other activities. Before presenting the data collected, the
researcher analysed the data to understand it better and explain it further.
3.6 Data Presentation Methods
The quantitative data was gathered and tabulated for further analysis. The results were then
presented using graphical pie charts and graphs to provide a clear visual understanding of the
findings.
3.7 Conclusion
This chapter identified the research design, the research method the population and sampling
procedures and the data collection and analysis that will be in use. The project was a
qualitative research and involved a case study design. The research applied a random
selection of participants for the population where the samples were drawn from. The data was
gathered, analysed and presented where conclusions were drawn from.
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CHAPTER FOUR
4.0 SITE ANALYSIS AND INTERPRETION OF FINDINGS
4.1 Introduction
This chapter of the research paper is an analysis of the primary and secondary data obtained
from the data collection methods in chapter three. The qualitative analysis starts off with the
site context, which highlights the details with the site in use in this research. It talks about its
location, what is within the compound of the site, the surrounding area in relation to the site
like facilities and other buildings. The qualitative analysis also included pictorial descriptions
of the sites. The figures show the landscape of the site, interior design, exhibition & display
and furniture of the house, while describing what the figures show. The figures show of the
whole landscape and its features, while the other three areas, are focussed in the living &
dining room area, the veranda and the store room. The qualitative analysis included data
gathered from questionnaires and interviews where young adults were randomly selected and
information was also retrieved from observations made from residential homes, both houses
and apartments. In the final section, the data collected and presented were used to answer the
objectives of the research raised in the beginning.
4.2 Qualitative Analysis
4.2.1 Site Analysis
Le-Voyage Resort is a cool and quite destination for vacations and recreation based in Kitale.
It‘s located 7 kilometres from Kitale town on Kapenguria road. It has an average of 15
workers and offers accommodation and recreational facilities i.e. en-suite rooms, bar,
restaurant, conference facilities, swimming pool and a large open ground for various
recreational activities.
Apart from the staff, a majority of the clients that visit Le-Voyage are adults. Teenagers also
frequent the place based on the fact that it neighbours a tertiary education institution.
The basic designs of most interior spaces in Le-Voyage are quite basic with the use of the
basic black, white and cream palette. The furniture used varies from space to space with the
furniture in the en-suite rooms being a collection of mismatched pieces while those in the
dining, bar and conference spaces being
pretty basic, mismatched and serve a more
functional than aesthetic purpose. Natural and artificial lighting are both incorporated in the
29
spaces. The artificial lighting also serves a functional rather than an aesthetical purpose and is
mostly used in the night time.
Exhibition and display is mostly limited to the bar counter area with not so much attention
put into the detail or the designing as it also serves more of a functional purpose than an
aesthetical one.
The landscape is dominated by well-maintained green grass and hedges that are strategically
positioned to create walkways and fence the grass areas (See Figure 4-1 & 4-2).
4.2.2 Landscape
Figure 4-1Walkway
Figure 4-2Hedges
Source: Author
4.2.3Recreational Activities
Figure 4-3Swimming Area
Figure 4-4 Swings
Source: Author
There is an inadequate application of design suited to create a more relaxing and experiential
ambience for the clients of Le-Voyage. Generally the facilities of Le-Voyage have a lot of
potential to create a tranquil environment.
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4.2.4Interior & Furniture Design
Figure 4-5&
Figure 4-6 En suite rooms
Source: Author
Figure 4-7&
Figure 4-8Dinning Area
Source: Author
Figure 4-9Conference Room
Figure 4-10Lounge Area
Source: Author
The figures above show different interior spaces in Le-Voyage and the furniture designs
presently there as well.
31
4.2.3 Figure Exhibition & Display
Figure 4-11 Bar Area Exhibition & Display
Source: Author
Exhibition and display in Le-Voyage has not been thoroughly explored as the main area it‘s
been applied is the bar counter area as shown above. The shelves are used to store drinks on
sale.
SWOT ANALYSIS
Strength: Ample natural greenery, space for expansion, good climate for greenery
Weakness: Mismatched furniture especially in the en suite rooms
Opportunity: Good climate that will facilitate the growth and sustainability of more
greenery. Ample rain that can be recycled and used for other purposes.
Threat: Noise pollution due to the tertiary school nearby.
4.2.4 Interview
The researcher interviewed 5 practising professional designers and architects in the field so as
to get a professional outlook on Biophilic Design. Out of the 5 3 were architects and 2
designers. From the interview questions (See Appendix) all the professional respondents
thought that more people are embracing the idea of incorporating natural elements into their
spaces. They however thought that fewer clients were still considering the concept of
Biophilia because most don‘t acknowledge the benefits and some think the cost is high. Some
also thought that increased willingness can only be promoted best through government
subsidies for green construction techniques.
32
On what resorts and hotels should do more to get people to connect to nature they suggested;
more incorporation of natural lighting, natural ventilation, creation of a strong linkage
between the internal and external environment and incorporation of more authentic natural
furnishings. They all also thought that not enough emphasis has been made to Biophilic
Design but that its future is promising.
4.3 Quantitative Analysis
From the middle aged adult population a group of 35 individuals were randomly chosen to
participate in the questionnaires, this also included 3 architects and 2 interior designers. Their
answers were gathered, calculated and arranged in tables and charts. The information
gathered from the males and females were combined in most cases to showcase the general
data. Participants were asked questions formulated to understand their views on nature as a
healing experience and on what aspects of nature (if any) they consider calming and relaxing.
Based on the outcomes of the questions, the following depicts the respondents view nature as
an aspect contributing to human wellness.
Figure 4-12: Target Population 1
6
5
5
4
4
3
2
1
0
Figure 4-13 Professionals 1
3
Male
Female
Male
2
Female
1
0
Architects
Interior
Designers
Source: Author
The methodology stated that individuals were randomly selected. The table shows that many
male respondents chosen were between the ages 25 and 29 while the number of female
respondents equalled among the 25-29, 30-34 and 40-44 age groups.
33
Figure 4-14 Outdoor Exploration Preferences
20
15
10
5
Male
0
Female
Source: Author
As shown above 90% of the respondents(30 respondents) said they loved exploring and
discovering natural environments while the rest (5 respondents) preferred indoor settings.
Figure 4-15 Preferences to Outdoor during Stressful Times
20
19
18
17
Male
16
Female
15
14
Prefer Outdoor
Source: Author
As shown in the table above, all of the respondents preferred outdoor spaces during stressful
times they would prefer to go to an outdoor location to unwind.
For those who choose outdoor spaces as their preferred location, they mentioned the
following natural elements as elements that elevated their level of tranquillity and relaxation:
Natural views, trees and greenery, water features like waterfalls, oceans and lakes, the smell
of natural environments like natural wild flowers and animals in the wild. The table below
shows preference by the respondents to the natural elements mentioned above.
34
Figure 4-16: Preference to Natural Elements
20
15
10
5
Male
0
Female
Source: Author
The respondents who preferred outdoor settings mentioned the followings as things that
prevent them from visiting natural environments as much as they‘d like to: Insecurity,
harbouring of pests, time, lack of ideas, inaccessibility due to bad roads, laziness, cost of
visiting and transport logistics. The table below shows the specific numbers attached to every
reason.
Figure 4-17: Reasons for that Prevent Respondents from Visiting Natural Environment
20
18
16
14
12
10
8
6
4
2
0
Male
Female
Source: Author
When asked what natural elements wished existed in the built environment that they currently
occupy they mentioned the following natural elements; water features, more natural lighting,
natural building materials, landscaped areas with ponds, trees, variety of flowers and green
35
roofs which help in air conditioning of the buildings. The table below depicts the separate
preferences.
Figure 4-18 Natural Elements Respondents Wished Existed in the Spaces they currently
Occupy
20
15
10
Male
5
Female
0
Water
Features
Natural
Lighting
Natural
Interior
Furnishings
Trees
Flowers Green Roof
Tops
Source: Author
Based on the response, 97% agreed that if more local resorts and vacation spots incorporated
natural elements in their interiors and exterior spaces they‘d be more willing to visit more
frequently regardless of the distance.
Figure 4-19 Willingness to Travel if there’s more Incorporation of Natural Elements
Wllingness to Travel if There's
more Incorporation of Natural…
3%
Willing
Not Willing
97%
Source: Author
36
4.4 Presentation of Findings/ Answers to Research Questions
4.4.1: How have Biophilic Design principles been used to incorporate natural elements
in the built environment with the aim of filling the gap between people and nature?
Natural replacements
Natural replacements are elements used to evoke vicarious experiences of natural
environments within predominately built settings. This includes the use of natural sound
scapes, digital landscape simulations and other ‗virtual‘ landscape elements that allow
patients to have vicarious experiences of the natural world. The selection of local biological
and geologic forms and materials as well as abstract representations of these forms are design
strategies also included in this category.
Passive interaction with nature
Passive interaction with nature includes the use of windows, skylights, viewing platforms and
other structures that allow people to view and sense in other ways nearby natural
environments. The ability to directly experience natural environments while patients are
sitting, lying or circulating through a healthcare facility building is central to this principle. It
relates to natural elements and landscapes as an extension of the built environment made
possible through capitalising on the ‗borrowed landscape‘. It is very important that the
landscape-window interface be considered in terms of how it can facilitate views of
surrounding natural landscapes while still providing a sense of privacy, as the aim is to be
able to ‗remove‘ patients psychologically from the hospital setting.14 Planting trees and other
forms of vegetation to provide a green outlook for people in upper-storey rooms is also
important. This means considering how people looking down on the landscape from above
will see the two-dimensional patterns created from this vantage point. Incorporating elements
from the surrounding environment into the building design to create a sense of place identity
is also important to bridge the transition from the general community and surrounding
landscape settings with the medical facility. Positive health outcomes related to these types of
interventions include improved post-operative conditions of patients, shortened hospital
stays, reduced blood pressure and self-reported measures of wellbeing. In one seminal
study,15 patients who had undergone gall bladder surgery who had views of a natural
landscape from their hospital rooms had significantly shorter hospital stays, fewer complaints
and a decreased need for pain killers post-operatively compared to those patients who only
had views of brick walls from their rooms. An overarching objective underpinning the
architectural design for the Children‘s Hospital was to bring the park into the building and the
37
building into the park. In doing this, the designers considered the views from various vantage
points. One novel technique for allowing this passive experience of the landscape is found in
how the tops of the window frames in the patient rooms were designed to reflect the park
below, thereby allowing the children confined to beds to still be able to experience the park
and its landscape
Nature as facilitator of social interaction
Nature as the facilitator for social interaction refers to situations in which animals and/or
plants are used within the context of constructed environments to foster people‘s contact with
one another. Horticultural therapy has been used extensively to provide settings for
increasing social contacts and fostering social support. Constructed environments can be
designed to incorporate natural features that serve as focus points, such as water features,
which have the ability to draw people together and thus facilitate person-to-person
interaction. Areas for both group and solitary occupancy should be provided and user-group
‗territories‘ should be carefully considered with areas designed to meet the specific
requirements of different user groups.16 Documented benefits associated with this principle
include measures of increased social interaction and associated psychological wellbeing.
Nature as facilitator for physical movement
This involves the integration of natural elements that can facilitate patient ambulation and
exercise. This includes location and design of pathways, provision of views of alluring
destinations and use of multi-sensory stimuli such as natural sounds and tactile devices to
encourage patient activity in, and movement through, spaces. Opportunities should be
provided for different kinds of physical movement, ranging from physical exertion to gentle
physical rehabilitation activities. Corridor sequences and strategically placed windows with
views of nature can be used to let users take indoor walks – especially beneficial for patients
who cannot physically go outside. Ease of access and way finding, both to and within
designed spaces, are important and, here, design of inviting entrances to natural landscaped
areas and clearly defined paths can be used. Enticing acoustical landscape stimuli, such as
wind chimes and moving water, can also be used to help draw users‘ attention and lead them
into the landscaped space. Fostering a sense of independence for users also needs to be
considered and can be achieved through attention to ‗barrier-free design‘ strategies (both
physical and psychological/emotional). Encouraging a sense of confidence in terms of user
mobility is also important, which can be achieved through providing an appropriate range of
38
ramps, steps, paths and ground surface treatments to accommodate wheelchairs, IV stands,
etc.
Interiors should be designed with humans in mind, who understand space at an intrinsic level
as a savannah. The ground should be darkest, like a path, whereas the mid-range, eye-level
colours should be neutral, and the ceiling should be light, like the sky. ―Humans feel most
comfortable in spaces that follow nature, instead of monochromatic bubbles.‖ She showed a
photo of a hospital room well-lit, with windows, and hardwood floors, a pleasing
environment. She said there‘s a reason everyone wants hardwood floors — it replicates the
forest floor. As an example of what not to do, she pointed to a icky hospital ward where floor
to ceiling there‘s just one shade of yellow, which is highly stress-inducing. Monochromatic
bubbles are not only displeasing, but also dangerous for older people. ―A 75-year old sees
just 1/2 the contrast of a 25-year old. A 95-year old sees just 1/5 the contrast.‖ These singlecolor hallways actually ―increase stress for older people.‖
Stewart said all humans want a window view. Pointing to well-known studies by Ulrich in the
mid-80s, she said views of landscapes out of hospital windows significantly reduced the
amount of pain medication needed and sped up recovery times. Then, studies conducted in
the late 90s showed that even images of real or simulated nature can improve recovery times,
although photos of real nature scenes work better.
One interesting study from a mental health journal found that Jackson Pollock prints
―actually increased stress in everyone,‖ while a National Geographic-like nature photos
dramatically reduced anxiety. A landscape painting by Van Gogh ―had no demonstrable
effect.‖ Within the realm of natural scenes, there are particular types of landscape images that
are more restorative. Long-distance views with sun and sky are relaxing because instinctively
they mean ―good weather for hunting and gathering and no predators.‖ Theories about
prospect and refuge have been batted around by Biophilic designers for some time but
Stewart argues that ancient environmental designers had this down a long time ago:
FengShui‘s ―command position‖ is all about finding a safe point and clear vista. She said in
contemporary film, Mafia dons know to find the spot in the corner with views of all doors.
Even dogs will sit with their back to a wall if they can.
Spring, summer, early autumn photos with lots of green are effective, while winter scenes
won‘t have much effect. Photos with signs of humans in the foreground are important, as they
show ―this is a safe place.‖ She said Ansel Adams-like photos of massive landscapes or shots
39
of ―uncomfortable viewpoints‖ don‘t help. ―Restorative images are not exciting — but that‘s
the point.‖
Incorporating Biophilic design elements into interiors also soothes. Roofs can become green,
or where that‘s not feasible, simply covered with Astroturf or painted a more pleasing natural
colour. In windowless offices, imitation windows and clerestories can be painted with fake
views. Woods can be used throughout, and where that isn‘t possible, like in a hospital setting,
wood-laminates. (She didn‘t mention the incredible value of daylight alone).
Beyond colours, forms can also induce stress or relax. Angled walls and ceilings or visually
unsupported forms ―increase energy and tension.‖ She wondered whether these were
appropriate in a school or office, or Alzheimer‘s clinic? In some places, though, like a
conference center or stadium, perhaps these bolder forms are worthwhile because they induce
excitement. A crucial form often neglected is interior way finding. Explaining what Frederick
Law Olmsted always knew, she said, people like to take the meandering path, which feels
like a ―path through nature.‖ Also, for any building, people seek a clear doorway. ―As a
default, the center of the building should be the location of the door.‖ An entry way is defined
by a visible doorway, a different colour or material, and higher volume.‖ In addition, the
entry way should be clear of distracting patterns, at least 10 feet within the doorway, as
people, especially older visitors, will find them confusing and become tentative about
entering (Green, 2012).
4.4.2: What calming properties observed in nature have been used to inform the
production of human friendly and tranquil interior and exterior spaces?
Natural Light
Day lighting offers a sense of spirituality, openness and freedom. Humans are affected both
psychologically by the difference spectrums provided by the various types of light. These
effects are less quantifiable and easily overlooked benefits of day lighting which has been
associated with improved mood, enhanced morale, lower fatigue, and reduced eyestrain. One
of the important psychological aspects from day lighting is meeting a need for contact with
the outside living environment. According to Dr. Ott (Ott Biolight Systems, Inc 1997a), the
body uses light as a nutrient for metabolic processes similar to water or food. Natural light
stimulates essential biological functions in the brain and is divided into colours that are vital
to our health. On a cloudy day or under poor lighting conditions, the inability to perceive the
colours from light can affect our mood and energy level. The most significant difference
40
between our experiences of natural light and artificial light is that natural light is constantly
changing in direction and intensity, and healing environments can incorporate this cycle of
nature. Changing patterns of brightness and shadow, sparkle, and reflection capture and
redirect our attention, helping to relieve stress and mental fatigue (Stewark-Pollack, 2006).
Therefore, the correct placement and orientation of windows and skylights in buildings is
critical to capturing dynamic natural light.
Natural colours
Colour is a form of non-verbal communication and an important part of our daily lives. The
underlying emotions that colours evoke have been cultivated since birth and vary depending
on age, geographic location, and gender (e.g. blue for boys, pink for girls). Colour affects our
moods and feelings, and research suggests that it has a physical effect as well, influencing the
hormones that control our emotions. Applying colour theory is one of the most powerful
methods of creating customer appeal.
Psychology of Calming Natural Colours
Blue: Much of the world is blue (skies, seas). Seeing the colour blue actually causes the body
to produce chemicals that are calming; but that isn't true of all shades of blue. Some shades
(or too much blue) can send a cold and uncaring message. In the interior design, you can use
blue to create an atmosphere of work and meditation. The colour blue has been shown to
lower blood pressure and heart rate.
Green: The colour of growth, nature, and money. A calming colour also that's very pleasing
to the senses. Dark forest green is associated with terms like conservative, masculine and
wealth. Hospitals use light green rooms because they are found to be calming to patients. It is
also the colour associated with envy, good luck, generosity and fertility. It is the traditional
colour of peace, harmony, comfortable nurturing, support and well-paced energy.
Brown: This colour is most associated with reliability, stability, and friendship. More are
likely to select this as their favourite colour. It's the colour of the earth itself "terra firma" and
what could represent stability better. It too is associated with things being natural or organic.
With the brown colour, you can induce a feeling of naturalness and comfort to your space. In
interior arrangements, brown can add depth and warmth. The neutral colour schemes you can
add a bit of brown to make them more welcoming. Furniture finishes and a beautiful parquet
41
floor or natural colours can be very fine and good taste. Or, if you use unpolished wood or
wool textiles in natural shades of brown create a pleasant rustic effect.
Yellow: Cheerful yellow the colour of the sun, associated with laughter, happiness and good
times. A person surrounded by yellow feels optimistic because the brain actually releases
more serotonin (feel good chemical in the brain) when around this colour. It is the colour
associated with optimism but be careful with yellow, when intense, it is the colour of flames
and studies show babies cry more in (bright) yellow rooms and tempers flare more around
that colour too.
White: White is the colour of purity, virginity, innocence and peace. It is used to create an
airy appearance, quiet and pure. If in a room is used on walls, furniture or floor, white may
give the impression that it is much higher than it is and can give an invigorating freshness
(Papachristos, Tselios &Avouris, 2005).
Natural scents
Scientists in Tokyo are building a case that smelling nature — the bracing scent of forest pine
or cypress, for instance — lowers our blood pressure dramatically and increases anti-cancer
molecules in our bloodstreams. Phytoncide: a substance emitted by plants and trees and
generally means the aroma of the forest which mainly occurs in the leaves. They are produces
to help plants and tress protect themselves from harmful insects and germs. Inhaling
phytoncides slows down breathing and reduces anxiety; this effect is enhanced if it is
combined with the sights and sounds of the forest. The scientists‘ early work showed that
walks in the woods boosted natural killer immune cells that helped fight infection and cancer;
eventually, they came to suspect that it was the natural scents of evergreens and other trees
that did the bulk of the work (Tsui, 2013).An example is the old English custom of covering
brick walls with sprigs of rosemary for cooling has been supported by modern research.
Rosemary has 74 times the cooling effect of fresh air (thyme has 68 times the cooling effect,
lavender 60 times).The best scents to help boost your memory, mood and energy. Our sense
of smell is closely linked to the parts of the brain responsible for processing emotion. The
scents we inhale have an immediate and profound impact. The best scents that can be used to
help boost relaxation are:
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Lavender, which is extracted from the small blue-violet flowers of lavender, is used for
aromatherapy to slow down the activity of the sympathetic nervous system, the body system
that responds to stress, which allows improved quality of sleep and relaxation.
Bergamot: The fresh lemon, citrus or orange scent of the extracted oil, when blended with
other scents is useful in treating depression, as well as uplift and refresh the person during
anxiety states.
Sandalwood: From the ancient time up to today, the most important use of sandalwood is its
sedative effect on the nervous system. Researchers discovered that when a person is allowed
to smell the scent, the brain waves relaxes. Although only a little bit distinct from the smell
of other woods, sandalwood pacifies anxiety, anger and rage, and it induces sleep, which is
good for those with insomnia.
Tangerine; this fragrance is extracted from the outer peel of the small orange-like fruits.
Through extraction by cold expression, the smell gives off a balancing, uplifting and calming
effect. Psychological studies have shown that mandarin creates hypnotic effect that turns off
the minds of those who are anxious and nervous. Moreover, it has a strengthening effect for
those who are depressed and grieving.
Jasmine: The small white flowers of this shrub are the ones that produce the fragrance that
has captured poets‘ imagination and perfumers‘ fancy since ancient times. Its rich floral
fragrance with an undertone of fruity smell is used as an antidepressant, allowing those who
are sad to be uplifted as it induces warm calming emotions. Jasmine also provokes sensuous
qualities in people and is oftentimes used to bring out one‘s charismatic personality.
Vanilla: It has a calming, relaxing and comforting effect, especially when it is not paired
with scents that stimulate the nervous system.
Rose: The rose flower and petal by itself earned it the title ―Queen of the Garden‖. The
wonderfully intense, sweet and floral scent of the rose is useful in calming nervous tensions.
Lilac is popular as one of the plants that produce scents for relaxations .The scent produced
also brings serenity, pleasurable memories and peaceful slumber. Lilac induces calming
effect for those who are insomniacs (Mangano, 2011).
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Green plants
Concentration and Memory: Being around plants helps people concentrate better in the home
and workplace. Studies show that tasks performed while under the calming influence of
nature are performed better and with greater accuracy, yielding a higher quality result.
Moreover, being outside in a natural environment can improve memory performance and
attention span by twenty per cent.
Flowers Generate Happiness. Having flowers around the home and office greatly improves
people‘s moods and reduces the likelihood of stress-related depression. Flowers and
ornamental plants increase levels of positive energy and help people feel secure and relaxed.
Trees
Forests calm us down. Time amongst the trees has a proven positive impact on reducing
stress levels and lowering blood pressure. Research undertaken in Japan, a country of long
working days and high suicide rates, reveals that immersing yourself in the natural world
significantly reduces stress levels and wards off depression (Rose, 2015).
Water Features
New research has found that 'blue space' including sea, rivers, lakes and even urban water
features can have a positive impact on wellbeing. The sound of trickling and falling water,
endless range of sound as it flows over and around obstacles and obstructions as it sprays into
the air and then returns to the surface, as it falls over the rocks into the pools, as it pulls air
into its folds and combines with it to produce even greater nuances found in natural fountains
and waterfalls is said to create a calming effect. The waters rhythmic sound when taken in by
a person as their body begins to relax creates the effects that can be achieved from going to a
massage or spa resort. A psychological case can be that the very sound of water has a calming
effect and creates a sense of anticipation. This calming effect is proven to reduce stress
levels, blood pressure levels and the pulse rate. In addition to this, the sounds of running
water from a fountain or water fall helps minimize distracting sounds such as that of nearby
traffic , creating a quiet and serene ambience. It has also been scientifically proven that
falling water increases the body‘s level of serotonin which helps in energizing a person and
putting an individual in a better mood(stakerparson.com, 2012). Fountains also boost a
person‘s mental alertness as well as concentration levels. Just like in nature, water features
are even more beautiful when they have sunlight shining through their water streams. It gives
44
off the impression that you are bonding with nature, while being caressed by light. Birds,
frogs and insects are more likely to frequent gardens when there is always a source of water
available (Lifehack.org, N.D).
4.4.3: How have the calming properties observed in nature been used to inform the
production of human friendly and tranquil interior and exterior spaces?
For generations humans love the natural and organic appeal of elements that make them feel
calm, at peace and above all welcomed into a space. In recent years the growing awareness of
the dwindling of the Earth‘s resources have made it even more apparent that bringing nature
into our homes is essential as it is a design aesthetic we can‘t duplicate. Choosing natural
elements that make you feel at peace to incorporate into interiors and exterior spaces is the
ultimate goal. The following are ways through calming properties in nature have been used to
inform the production of human friendly and tranquil interior and exterior spaces:
Trees
The soft rhythmic movements of a trees or grass in a light breeze or the light and shade
created by cumulus clouds, called Heraclitean motion, are movement patterns that are
associated with safety and tranquillity, aiding the development of a calm, stable mental state;
lighting or space design that mimics Heraclitean motion could be incorporated into building
design to create calm, peaceful areas that aid patients‘ recovery or improve workers‘ or
students‘ productivity. Bright daylight supports circadian rhythms, enhances mood, promotes
neurological health, and affects alertness; increasing the use of natural light and reducing
dependence on electric lighting can also significantly improve mental health and function.
Natural Sunlight as a Design Element
One of the easiest, cheapest and most beautiful natural elements that many forget about is
sunlight. Natural day lighting can make any room come alive, it makes colours pop in your
furnishings and wall decor and it makes humans feel healthy and inspired. Whether you use
windows, borrowed light from solar tubes extended from your roof into closets or dark
bathrooms, natural light can have an effect like no other throughout your living interiors.
Calmness with Green Plants
Plants have a calming effect through their soothing green colours and by providing oxygen.
However, avoid flowers which need special maintenance or may emanate disturbing scents.
45
Bonsai trees or hanging terrariums, for example, make a good choice and are often included
in zen décor.
Happiness with Flowers and Ornamental plants
Having flowers around the home and office greatly improves people‘s moods and reduces
the likelihood of stress-related depression. Flowers and ornamental plants increase levels of
positive energy and help people feel secure and relaxed. The soothing effects of ornamental
flowers and plants are so great that simply having daily views of flowers and other
ornamental plants in landscaped areas outside patient recovery room significantly speed up
recovery time.
Enhance the Ambience with Natural Scents
A homemade linen spray, soy or beeswax candles, and essential oils are all natural ways to
enhance your room with fresh scents, which can not only be calming when it‘s time to sleep,
but also invigorating when it‘s time to wake.
Serenity with Beautiful Natural Views
Beautiful natural landscapes not only improve the aesthetics of the community, they also
affect resident‘s perceived quality of life. People associate living in areas with a great deal of
natural beauty with a higher quality of life.
Water Features
Water is often associated with meditation, contemplation, poetry and music.
4.4.4: How have Dogon inspired aesthetics been used in the designing of interior and
exterior spaces?
Just as seen through literature review, there is very little representation of Dogon designs in
interior and landscape design with the only relevant most practised representation being the
use of their sculptures and masks as decorative elements (See Figure 2-15 & 2-16).
46
4.4.5: Which elements and properties of nature do the middle aged Kenyan adults
consider tranquil and relaxing?
Based on my data collection, the following elements and properties of nature are considered
tranquil and relaxing by middle aged Kenyan adults:
Water Features
Trees
Natural Views
Natural Lighting
Natural Scents
4.4.6: How can the appropriate integration of Dogon inspired aesthetics with Biophilic
Design be used in the designing of tranquil interior and exterior spaces for the clients of
Le-Voyage resort?
Due to the fact that there are currently no existing facilities that have applied both Dogon
inspired aesthetics and Biophilic Design, the author opted to do a case study based on an
existing lodge; Nyungwe Forest Lodge, Ngorongoro Crater Lodge that has applied Biophilic
design and still maintained an African aesthetical appeal. The findings will be used to inform
the appropriate integration of Dogon inspired aesthetics with Biophilc Design in the creation
of tranquil interior and exterior spaces for the clients of Le-Voyage resort. The derived
elements and principles form the case studies will be supplemented by the author‘s
suggestions on how the same can be implemented.
Historically, there have always been three important contributions to creating healing
environments. These are:
i. The users themselves are seeking vitality and balance;
ii. Relationships and interactions between the users of the space are healing and regenerative;
iii. The space itself is alive, free of sources of negativity and toxins, and provides energy
qualities that support aliveness and balance (Chez et al, 2004).
Nyungwe Forest Lodge, Rwanda; Profile
Designed to fit harmoniously within its beautiful natural surroundings, Nyungwe Forest
Lodge offers guests exceptional 5-star comfort and ensures an experience rich in local
culture, fluently fused with quality service and African courtesy. The lodge is situated in
Gisakura, a working tea plantation, on the edge of the Nyungwe National Park. The Nyungwe
47
Forest is the largest mountain rainforest on the African continent with over 13 different
species of primates, representing 20% of all the apes in Africa.
The lodge has a heated rim-flow swimming pool with views into the rainforest. It also has a
socializing area at the poolside boma surrounded by the sights and sounds of the forest that is
ideal for sun downers. Other amenities also include a gift boutique store, fitness centre and a
conference center.
Biophilic Elements Incorporated in Nyungwe Forest Lodge:
Environmental features—This first biophilic design element which encourages natural
light, natural ventilation, natural materials and plants for the well-being of people has been
adequately applied in the creation of interior spaces for Nyungwe Forest Lodge by
incorporating; big windows to supply ample natural light, natural wood and stone finishes.
There is also a great connection between the interior and exterior spaces creating a natural
connection to nature.
Figure 4-20 Lounge Area
Figure 4-21 Dining Area 1
Images Source: mwarv.click.co.ke
Light and space— involves the function of lights and spaces in outdoors and indoors of built
environment. This feature element encourages maximum natural light and systems that
enhance reflective light. It has been implemented at Nyungwe Forest Lodge by the use of
large glass doors and windows.
48
Figure 4-22: Large Glass Windows 1 Figure 4-23 Ample Natural Lighting 1
Images Source: mwarv.click.co.ke
Place-based relationships— these involve the merging of ecology into culture, for example
the adaptation of Yin-Yang concepts into design, where the Chinese culture incorporates the
natural elements into daily life. The Nyungwe Forest Lodge incorporates this feature by
incorporating Rwandese inspired aesthetics like the tribal wall decorative prints. This feature
enables an individual to feel safe in an environment they are familiar with, as one can feel
intimidated in a new place.
Figure 4-24 African Wall Motifs
Image Source: mwarv.click.co.ke
Application of African Aesthetics in Nyungwe Forest Lodge
The application of African aesthetics has been achieved through the use of African inspired
wall motifs (See Figure 4-16), the use of the Nakara carpets (See Figure 4-16).The rest of the
African aesthetics include African wall hangings, African stools and African contemporary
sisal woven seats.
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4.5 Conclusion
The vast majority of respondents knew about the concept of Biophilic Design although not of
its technical term. They also acknowledged natures calming and relaxing qualities. The
majority of the architects and interior designers interviewed thought the greatest challenge of
Biophilic Design was client awareness and willingness to adopt the concept. All the architects
and designers thought was that future of Biophilic Design design is very promising as more
people are slowly learning about sustainable living.
It is also well known that Biophilic elements add value to the hospitality sector; guests will
pay a higher rate for a room with a picturesque view looking onto nature as opposed to the
view over the car park. However it seems that much of the industry is still too focussed on
intrinsic design principles, impressing others with extravagant design gestures, whilst missing
valuable opportunities to improve guest experience, unwind and relax.
There is overwhelming evidence that demonstrates the restorative benefits of contact with
nature, living elements and references to nature, that I believe that the leisure industry should
be doing more to incorporate these Biophilic aspects to help guests improve their mental and
physical health and wellbeing.
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CHAPTER FIVE
5.0 SUMMARY, FINDINGS AND RECOMMENDATIONS
5.1 Introduction
The purpose of this study was to explore the application, effects, awareness and perceptions
of Biophilic Design among the middle aged citizens in Kenya so that it can be used to inform
the creation of tranquil spaces in Le-Voyage. The research provided a better understanding of
Biophilic Design in relation to sustainability, human wellness, interior and landscape design,
and people‘s views of the Biophilia concept. All of the respondents interviewed during this
research project said that the integration of nature into the built environment is a very
important requirement for development. None felt that they had a "thorough understanding"
of Biophilic Design although they were all familiar with its concept. This chapter commences
with a recap of the findings of the data analysis and the recommendations that can be applied
to the site to create a tranquil ambience for the visitors of Le-Voyage Resort. The
recommendations are discussed in the four areas; interior, landscape design, furniture and
exhibition & display. Each area used the data from the figures from the qualitative data in
chapter four.
5.2 Summary of Data Analysis
The data shows that many individuals feel both relaxed around nature and by this Biophilic
Design can be used to inform the creation of tranquil spaces. This provides an opportunity to
explore the designing of interior and exterior spaces using natural elements. There is also a
lot to be done in terms of sensitizing people towards Biophilia but there is also a lot of
promise for its growth in the near future according to the professionals in the field.
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5.3 Recommendations
5.3.1 Interior Design
As the main aim of this report is to suggest ways through which a tranquil and relaxing
ambience can be created through incorporating natural elements and Dogon aesthetics into
the interior, the findings in chapter four will inform the recommendations to be made in the
Le-Voyage interiors. As seen in chapter four, the following calming elements can be used to
create a tranquil ambience at the Le-Voyage:
Natural Light
Just as mentioned before, day lighting offers a sense of spirituality, openness and freedom.
This can be achieved in Le-Voyage by incorporating larger windowswhich will open up the
space to more natural lighting (See Figure 5-1).This can also be done by using light coloured
and light weight fabrics for the blinds as they will help to keep natural light intact (See Figure
5-2). Using glass doors is also another way and for enhancement of privacy frosted of
laminated glass can be used (See Figure 5-3).
Figure 5-1
Figure 5-2
Figure 5-3
Source: Pinterest.com
Natural colours
Just as mentioned in chapter four, colour affects moods and feelings, and research suggests
that it has a physical effect as well, influencing the hormones that control our emotions.
Applying colour theory is one of the most powerful methods of creating customer appeal
hence the use of natural colour palettes is recommended. The following are some of the
colours that can be used to create the tranquil natural feel:
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Blue: Seeing the colour blue actually causes the body to produce chemicals that are calming;
but that isn't true of all shades of blue hence some subtle shades can be used to create this
meditative atmosphere.
Green: Shades of green can also be used as it is known to be a calming colour. Light shades
of green can be used to create calming rooms because they are found to be calming to
patients.
Brown: This colour is most associated with the natural and organic. With the brown colour,
you can induce a feeling of naturalness and comfort to your space. It can be used in interiors
add depth and warmth and create the welcoming ambience.
Yellow: Yellow is associated with laughter, happiness and good times. A person surrounded
by yellow feels optimistic because the brain actually releases more serotonin (feel good
chemical in the brain) when around this colour. Shades of yellow can be used in areas of
social gatherings to bring out the optimistic ambience.
White: White the colour of purity, innocence and peace is important especially in the creation
of airy spaces. It also gives a quiet and pure feeling hence will work for creating relaxing
spaces (Papachristos, Tselios &Avouris, 2005).
Natural scents
Natural scents can be used to inform the creation of a calming ambience at Le-Voyage. This
can be done using the use of natural scented fresh flowers, natural scented herbs, natural
decorative pine cones and natural oil scents diffusers. These can be put indoors to freshen the
rooms. The aim is to create an aromatic experience that reminds people of natural
environments. Our sense of smell is closely linked to the parts of the brain responsible for
processing emotion. The scents we inhale have an immediate and profound impact. Just as
mentioned in chapter four some of the scents that can be used are: Lavender, Bergamot,
Sandalwood, Tangerine, Jasmine, Vanilla, Rose and Lilac.
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Plants
The whole idea of Biophilic Design is to link up the interiors and the outdoor natural
environment. For this reason incorporating green plants in the interiors is important
especially since they help in cleaning the air, hence creating a fresh atmosphere and even
create a relax feel. This can be done by strategically positioning potted plants in the interiors
or using creative vertical gardens on the walls. Vertical gardens can work well with lounge
and dining areas.
Figure 5-4 Potted Plants, Figure 5-5 Interior Vertical Garden, Figure 5-6 Incorporating
Green Plants in Dinning settings
Image Sources: Pinterest.com
Flowers can also be used to spice up the plant collection and bring out a happy ambience. As
mentioned in chapter four flowers also help in improving people‘s moods and reduce the
likelihood of stress-related depression. These can be positioned on dining tables, counter tops
in bathrooms and tables, dressing tables in the en suite rooms.
Figure 5-7& 5-8 Ways of Incorporating Flowers into Interiors
Image Source: Pinterest.com
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Water Features
Incorporating water features are a great way to create a calming effect and can be done at the
Le-Voyage by incorporating interior fountains. Since the interior spaces at Le-Voyage are not
so big small interior fountains can be incorporated and placed at strategic areas. Wall water
features can also be created.
Figure 5-9& 5-10 Ways of Incorporating Water Features into the Interiors of LeVoyage
Image Sources: Pinterest.com
Natural Materials
Natural materials are recommended to inform the creation of the interiors of Le-Voyage.
These will mostly include natural stone and natural wood finishes. The aim is to create an
authentic natural ambience. The stone finishes can be used on wall, floors of counter tops
while wood can also be used for the same and the ceiling.
Figure 5-11 & 5-12 Incorporating Natural Stone and Wood Finishes
Image Sources: Pinterest.com
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The interior aesthetics can also be informed by Dogon designs. These can be incorporated
through the following ways:
Using the gara fabric for upholstery, drapery and as bed spread decoration:
Figure 5-13, 5-14 & 5-15 Ways through which the Dogon Gara Cloth can be used a
Decorative Element at Le-Voyage
Images Source: Pinterest.com
The carvings on the door locks can be used to inspire detailed carvings on selected door locks
while the carvings from the Dogon granary doors can be used to inspire sculptural details on
certain doors. The jewellery pieces can also be used to inspire certain decorative detail.
5.3.2 Landscape Design
The following are recommendations on how to create a more tranquil outdoor space for LeVoyage:
Trees
Seeing as there are very little trees at the Le-Voyage compound, more trees can be planted to
create a relaxing outdoor ambience and to create shade to allow for outdoor sitting.
Outdoor Water Features
These are important to create a tranquil and relaxing feel. Water features can be placed
strategically at certain areas like near an outdoor lounge area or at the driveway or walkway
paths as shown below:
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Figure 5-16, Figure 5-17, Figure 5-18: Incorporation of Outdoor Water Features
Images Source: Pinterest.com
Greenery on Walkways and Sitting Areas
To create a nature experience on the walkways for those who want to take walks, greenery of
more variety can be added to create a more natural experience. Gazebos can also be
incorporated to create a variety of outdoor sitting areas. These can also incorporate some
greenery. The carvings from the Dogon ‗Togu Na ‗can be incorporated on the stands of the
gazebos to create a Dogon aesthetic feel. The gazebos can also be African inspired so as to
blend well with the Dogon aesthetics theme.
Figure 5-19 African Inspired Gazebo
Image Source: Pinterest.com
Figure 5-20 ‘Togu Na’ Carvings
Image Source: travelswithsheila.com
Flowers and Ornamental plants
Just as mentioned in chapter four, flowers and ornamental plants increase levels of positive
energy and help people feel secure and relaxed. The soothing effects of ornamental flowers
and plants are so great that simply having daily views of flowers and other ornamental plants
in landscaped areas outside patient recovery room significantly speed up recovery time. The
incorporation of ornamental plants and flowers within the landscape of Le-Voyage will not
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only enhance the aesthetical value but also create a rejuvenating feeling for the visitors of eVoyage. Flowers and ornamental plants can be incorporated along the drive way and
walkways, around outdoor lounge and dining areas.
Figure 5-21, Figure 5-22, Figure 5-23 Incorporation of Flowers and Ornamental Plants
Images Source:pinterest.com,2015
5.3.4 Furniture Design
The current sofas used in Le-Voyage are pretty basic. A group of mismatched sets dominate
the lounge area and en suite rooms (See Figure 4-10 & 4-5). The conference room has basic
black office chairs while the dining area has two sets; indoor and outdoor (See Figure 4-9, 47 & 4-8). The furniture set for the en suite rooms can be custom made to create a uniform
feel. These can be made out of wood and the seats replaced by a contemporary African set or
an upholstered set of sofas with gara pillow cased throw pillows (See Figure 5-24& Figure 525). The furniture at the lounge area can be exchanged for an arrangement of low seat where
as for the dining areas the sets can be replaced with African contemporary sets with Dogon
sculptural details (See Figure 5-26).
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Figure 5-24 & Figure 5-25 En Suite Rooms Proposed Seats
Images Source: Pinterest.com, 2015
Figure 5-26 African Contemporary Dining Set
Image Source:afflante.com, 2012
5.3.5 Exhibition and Display
The bar counters area at Le-Voyage is the main exhibition and display area. It‘s made of
basic rectangular shelves stacked with drinks (see Figure 4-11). The basic shelves can be
replaced by thicker wooden shelves with special highlighting lights. In between the shelves a
feature wall section with Dogon inspired carvings can be placed. The counter top can be
made of natural leathered granite to create a beautiful natural finish.
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Figure 5-26 Bar Exhibition and Display
Image Source: restaurantandbardesignawards.com, 2015
5.4 Materials
The main materials for this project will be wood, stone and glass. Wood will be used
flooring, feature walls, furniture, bar exhibition and display area and some ceilings. Stone
tiles will be used for counter tops, walkways, bathroom flooring and wall finishing. Glass
will be mainly used on windows, doors and decorative mirrors. The reason for choosing
wood is because it is easier to manipulate as carving material and is also a natural material
that creates an elegant natural finish. Natural stone will be used because of its organic texture
and finish. Glass will be used because of transparency a feature that allows the letting in of
natural light into interiors hence creating an airy and open feel.
5.5 Conclusion
The summary of findings highlighted the answered questions to the objectives outlined in
chapter one. The qualitative data from chapter four provided basis for what changes and
modifications can be made the to the Riruta site, for example in terms of material. These area
of the recommendations also included pictorial figures (existing designs, for ideas) that
would assist in visualising the aim of the proposed design.
This research presents an interesting look at interior architecture in terms of using nature as a
source of inspiration. As discussed nature has always been something very intriguing to focus
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on and individuals have come up with interesting ideas. Interior designers in Nairobi can
learn to do so. Further research can be done to exploit more on how to create more interesting
interiors and embrace having inspiring landscapes that are not bound in residential areas so as
to be enjoyed with more people of different social classes.
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APPENDIX
Appendix 1: Questionnaire
SECTION 1
(Just Bolden or type the answer chosen. Type below the question)
Male_______
Age
__25-29
__45-49
Female________
__30-34
__35-39
__50-54
__55-59
__40-44
__60
1. Do you get excited when exploring and discovering natural environments (through
hiking, surfing, nature trails, mountain climbing etc.)?
2. Imagine a stressful time in your recent past, if you could escape anywhere in the
world to help reduce your anxiety where would you go? Is this place an indoor or
outdoor space?
3. Think about the elements of that environment, the features that contribute to your
calm and sense of wellbeing .What are some of the natural elements that come to
mind?
4. One of the worst things about overpopulation is that many natural areas are getting
destroyed for development. How do you feel about that?
5. What are some of the things that prevent you from visiting natural environments or
incorporating natural elements in your home?
6. What elements of nature do you wish existed in the built environment that are
currently not your area of resident/ work/ vacation?
7. If more local resorts and vacation spots increased natural elements through
professional help in their interior and exterior spaces would you consider visiting
them more often even though they are not so close to your area of residence?
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8. Think of any resort or vacation spot you have ever visited, whether locally or
internationally. Now think about which resort/ vacation spot was your best. What
features and elements make it your best?
9. Do you think more local interior spaces should incorporate natural elements?
SECTION 2
1. I do not feel that humans are dependent on nature to survive.
2. I can enjoy spending time in natural settings just for the sake of being out in nature.
3. Sometimes it makes me sad to see forests cleared for agriculture or for buildings and
constructions.
4. Sometimes when I am unhappy I findcomfort in nature.
5. Being out in nature is a great stressreducer for me.
6. We need to preserve resources tomaintain a high quality of life.
7. One of the most important reasons to keep lakes and rivers clean is so that people
have a place to enjoy water sports.
8. The most important reason forconservation is human survival.
9. Continued land development is a goodidea as long as a high quality of lifecan be
preserved.
10. I find it hard to get too concerned about environmental issues.
11. Too much emphasis has been placed on conservation and sustainable living?
12. Environmental threats such asdeforestation and ozone depletion have been
exaggerated.
13. I like the smell of plantsand animals in the wild.
14. All plants and animals are important in nature.
15. Plants and animals deserve our protection.
16. We should draw more inspiration from nature when building and constructing?
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Appendix 2: Interview Questions
1. Do you think Biophilic Design is innate, learned, or a combination of the two?
2. A common argument against green building is that it adds significant up-front costs. With
all the empirical data out there confirming that such costs can be recouped through
resource-efficient designs and materials, are you seeing increased willingness to proceed
with green building?
3. Can you talk about one building that really epitomizes what we‘re doing wrong, that cuts
people off from nature instead of connecting them to it and one that does vice
versa?(Could be local or international)
4. In your opinion what are two or three of the main things that resort and hotel buildings
need to be doing to get people connected to nature, and that work well…
5. According to your professional experience, why do you think very few clients consider
the Biophilia idea? Is it because of lack of information, lack of open-mindedness, cost or
inadequate pitching by professional designers/architects? (Any other reasons are also
welcomed)
6. Do you think too much emphasis has been made on sustainable living? (Support your
reasoning)
7. One author proposed a way to get architects and designers thinking more along the
Biophilic Design lines, and that is to have a biologist at the table. Architects already have
to deal with so many people at the table when they‘re building, what would one voice
add?
8. So the professionals in the industry are talking about the outlook for Biophilic Design for
the next five or 10 years, do you think they are being too cautiously optimistic?
9. Most green building efforts focus on important concerns related to energy, water,
materials and indoor-environmental quality. Biophilic design takes the next step to
address the wellbeing of the occupants. Do you think there is space for both concepts to
coexist without overbearing the functional elements and principles of the built
environment?
10. To what degree do you think that emotional problems that many people today,
particularly in cities, suffer from, like depression and anxiety, might be due to a lack of
contact with nature?
11. With the world's population exploding, is it still possible for most people to nurture a
sense of Biophilia? Or is it likely to be just crushed underfoot, particularly among poor
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people? Rich countries have the luxury to think about these things, but what in regions
where people are still trying to acquire basic needs?
12. Propose one hotel or resort that you think best applied Biophilic Design and still has a
rich tapestry of creative cultural element………..
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