BIOPHILIA IN ARCHITECTURAL SPACE
Posted: August 26th, 2021
BIOPHILIA IN ARCHITECTURAL SPACE
Student’s Name
Class
Date
Abstract
The
focal point of urban design is to create well-functioning environments, which
meet the needs of people in human settlements while also addressing the
implications of nature. However, the attitudes of urban designers may vary from
one context to another depending on culture, design philosophy, and time among
other factors. This research examines some of the influential views expressed
by researchers and analysts on how to build onto an urban site to create a more
reliable link between the inside and outside through the concept of blurring
boundaries. We live in a time that continues to strive for clearness and
definition, while blurring boundaries strives for un-sharpness and vagueness,
restoring consciousness and experience. It is a guide for developing space and
time amid questioning the established understanding of vagueness in design
depending upon visual impression. So how can we build this blurred space in
architecture by methods for its own characteristically unchanging and steady
material parts? Therefore through this research I will explore and identify a
set of blurring strategies, ways in which a boundary can develop into many,
blurred or less particular, building another condition characterized by its
spread out physical boundaries and free programming, a state in which
blurriness is viewed as a condition of its maximum ability. With knowledge of
design principles and a sense of responsibility, it is possible to create urban
environments that are ecologically sound, aesthetically pleasing, and economically
rewarding.
Story of Interest
My interest in organic architecture began last semester during my arc 4 projects. For my arc 4 project, we defined and built on an edge condition at the Boston side of the Charles River near an important bridge that links the cities of Boston and Cambridge. The programmatic vehicle for this intervention was a ‘College of Urban Agriculture.’ I started researching different techniques in which I can incorporate the urban agricultural aspect of the building in a non-traditional way. One of the precedents I looked at and that highly influenced my design is the Bosco Verticale (Vertical Forest), which consists of two residential towers in Milan, Italy. “The concept behind the Vertical Forest, that of being a “home for trees that also houses humans and birds,” defines not only the urban and technological characteristics of the project but also the architectural language and its expressive qualities.”
For my project, I used the same concept of the vertical gardens. Each floor had its terrace that would accommodate the vegetation, and since the building program entailed dormitories for students, each door room had its terrace where students would grow their crops. One of the things I discovered about incorporating these plants into my building is the many problems it would help resolve. For instance, those plants growing vertically would protect the building from direct radiation, allows light to go through, protects from wind, releases humidity, captures small dust particles, produces oxygen, and reduces noise pollution.
I believe that the interaction between man and nature is absent in today’s world; this absence has created a void. Through organic architecture, this void can be filled by enhancing the city aesthetically. In addition to being visually appealing, organic architecture produces economically friendly buildings that provide improved indoor air quality, ideal comfort, proper ventilation, and health. For me I am happiest in spaces that have an indoor/outdoor experience, I especially enjoy having a lot of transparency in a space where a lot of light can penetrate through, and I can enjoy the outdoor surroundings.
Some of the challenges I believe I would face with this type of architecture is mostly with the site. The site is critical here as the building should be off the site and not on the site; therefore, the outdoor environment is invited into the building. The natural life that exists in the space should flow into and peacefully live and benefit from what is built there. This type of architecture rarely exists where I am from, Saudi Arabia. However, with the new 2030 vision of the country, I believe it should be introduced and implemented into the new rising architecture.
Definitions
Etymological Analysis
Blurring
Verb: “make or become unclear or less distinct; obscure.”
noun: “a thing that cannot be seen or heard clearly.”
Boundary
noun: a line that marks the limits of an area, a dividing line.
Organic
Dictionary definition:
“not using artificial chemicals in the growing of plants and animals for food and other products.”
Thesaurus Definition:
“being a part of an integrated whole that cannot be removed.”
Origin
late Middle English: via Latin from Greek organikos ‘relating to an organ or instrument.’
To me, the word organic always meant a natural product. It is something I would usually see labeled on food. The word automatically refers to nature or the idea of being natural. When it comes to food, the word, organic always means better to people. Since it is healthier and more sustainable, it becomes worth the money. What I found interesting about the thesaurus definition is how they used the word integrated into it, as I was trying to connect those words in my mind map.
Integrate
Dictionary definition:
“to form, coordinate, or blend into a functioning or unified whole.”
Thesaurus Definition:
“to make a part of a body or system.”
“to turn into a single mass or entity that is more or less the same throughout.”
Origin
mid-17th century: from Latin integrate- ‘made whole,’ from the verb integrate, from integer ‘whole’ (see integer). Compare with integral and integrity
For me, the word integration means connecting. For me, the item that integrates behaves in a way that allows them to be a part of the group or to become accepted. This could apply to everything, including architecture, having the building belong to its site.
Exterior
Dictionary definition:
“being on an outside surface:situated on the outside.”
Thesaurus Definition:
“situated on the outside or farther out.”
Origin
early 16th century: from Latin, comparative of exter ‘outer’.
Everything related to the outside. It is identified as the outdoor form in architecture. For me, this word relates significantly to the word material since everything outside is made of essential elements.
Material
Dictionary definition:
“relating to, derived from, or consisting of matter.”
Thesaurus Definition:
“The basic elements from which something can be developed.”
Origin
late Middle English (in a sense ‘relating to matter’): from late Latin materials, an adjective from Latin materia ‘matter.’
Materials refer to almost everything that surrounds you. Everything that surrounds us is made of distinct materials that create a form. We can shape and manipulate this form/matter, especially when trying to make something. I think the thesaurus definition is what makes more sense to me as I always thought of the word sort of like ingredients, therefore essential elements from which something can be developed.
First Mind Map:
Architecture in Saudi Arabia
Being both born and raised in Saudi Arabia, I have come to understand the typical way in which a Saudi Arabian home is designed. Saudi Arabian architectural design is based highly on culture and traditions. Since Saudi Arabia is a Muslim country, the Islamic religion focuses a lot on the bond of the family; therefore, in residential design, it is a must to have more significant and shared areas where family members can interact. Therefore, when it comes to urban planning in villas in upper- and middle-class neighborhoods, 60% of the land is used for the building structure while the remaining 40% is utilized for green space.
One of the things I noticed about Saudi Arabia’s architectural design is that green space and landscaping act as a barrier between the interior and exterior. Privacy is a crucial factor when building a residence in Saudi. Traditionally Saudi homes are enclosed by an outer fence; this fence is made up of a wall that runs along the perimeter of the plan. The wall acts as a form of protection, as well as to block the outside views into the home for the family’s privacy; therefore, it is made up of solid materials, usually brick masonry, and is around 8 feet in height.
Biophilic Design Strategies
Biophilic and Man-Made Forms – Studying the Site
Biophilic is the act of wrapping around the inherently emotional affiliation of human beings towards their natural environment; in other words, the architectural space[1]. Indeed, biophilic is useful in studying sites in a bid to understand the encompassed human-made forms in the following three possible strategies.
Nature in the Space
It entails the addition of natural elements inside the built environment, such as in the workplace and living space. This technique offers individuals instant access to all the feel-good effects of biophilia[2]. Indeed, the application of potted plants and animals like fish tanks, office dogs, and pets have offered humans direct links to nature, and thus impacted them strongly.
Natural Analogues
The concept involves the use of human-made elements that imitate nature, such as artificial plants, preserved moss walls, representational artwork, and patterns[3]. Also, there is the use of furniture ascribing to organic instead of geometric shapes. Therefore, the application of the natural analogues into architectural space helps reduce stress, and thus increasing the well-being of humans.
Nature of the Space
The concept entails the physiological way where space planning, as well as architectural design, has affected the human responses coupled with feelings. Specifically, humans have undergone successive evolution due to the constant interaction with nature[4]. Indeed, humans are intuitively drawn to the natural surrounding from where they seek to explore and thrive meretriciously. In this sense, humans regard the savannah landscape coupled with broad vistas of rolling pastures and a source of water as the gorgeous view[5]. Therefore, gaining sufficient knowledge and insight into the biophilic analysis is helpful when making workplace management in a bid to impact the happier and healthier welfare of the people.
How Biophilic Differ from Conventional Site Analysis
The theory of biophilic differs significantly from the conventional site analysis in the sense that it creates a feeling and experience of the natural environment among the users of the architectural space[6]. Precisely, it compels individuals to interpret divergent circumstances for themselves, thus resulting in ambiguity, which is associated with the grappling of both the conceptual and contextual systems.
How Biophilic is More Through
Biophilic is more through since it enables humans to establish a more profound and more personal and relational feel with the meanings which arise from the architectural space.
Biophilic Emphasizes Different Things
Biophilic stresses different things, aside from what conventional site analysis focuses on. In particular, biophilic site analysis offers an implicitly interpretative relationship that exists between the artifact and observer[7]. In other words, an observe needs to make an individual determination of the observed object and its inherent meaning. Therefore, the analysis of biophilic offers varied interpretations.
Blurring Boundaries
Blurring boundaries is a strategy associated with creating ambiguity in spatial architecture. It is indeed true that a blurred condition occasions people to experience a new space coupled with a feeling of reading[8]. Therefore, blurring boundaries helps to envision the way a strategy brings about less defined limits. Such limits help humans to rethink about the interpreted meanings of ambiguity in architecture. In this regard, the blurring boundary creates new and more profound thoughts of what one regards as the creation of in-between and quality of ambiguity[9]. Further, blurring establishes the way a person would incorporate the issues of perception and experience in a space.
With visual predominance being advanced by the Modern Movement, ambiguity is therefore regarded as an architectural tool that creates visual as well as functional implications. In the contemporary world, however, one could spot the way the programmatic seems loose or rather aims at looseness[10]. Instead, the substantial part of architecture has remained attached to the iconic impression. As a way of advancing human comprehension of architectural space based on relationships at the expense of objects, it is essential to regard indeterminacy not just as visual ambiguity[11]. Instead, it is supposed that indeterminacy implies the existence of a fundamental feature that intrinsically takes two forms. Accurately, indeterminacy is categorized as either exclusive (neither-nor) or inclusive (both-and)[12]. Therefore, indeterminacy revolves around the existence ‘in-between’ and ascribes to various suggestions such as ambiguity of phenomena. Consequently, the need to establish an endless shift between two realities would imply that one clearly defines the separated boundaries.
Integration of Biophilic Elements
Environmental Features
Direct proximity with the vegetation, either inside or outside the built surrounding, is considered one of the most fruitful tactics of adopting a connection between humans and nature in design architecture[13]. Notably, the reinforcement of plants is intended to lessen the stress, enhance comfort, motivate mood, and further brings about rapid healing to the occupants. With the inclusion of outdoor gardens, both families, patients, and the staff of a given hospital secure opportunity to walk across green spaces, they are thus amplifying the feeling of association, thinking, and respite.
Figure. 1
Natural Shapes and Forms
Natural surroundings have always depicted complexity attached to varying scales, ranging from the immense ingenuousness of the sky to the opaque complexity of single-leaf patterns. Notably, such a variance in nature creates a feeling of acceptability of diverse forms among humans[14]. For example, the biophilic features associated with natural shapes and forms seem epitomized in many library spaces. The use of large-scale forms of ornamentation and pattern is purposely crafted in detail to fit the sculptural ceiling plane. Moreover, the small-scale ornamentation establishes a feeling of the richness of detail attached to the metal stair railing v. In the figure, there is a depiction of clarity and variance of the pattern being depicted in large mural artwork by attractive hanging lighting, thus highlighting the two levels of design within the sunlit space. The resultant spirit of the architectural space creates a richness of detail and vast variance where a human body obtains delight as well as comfort.
Figure. 2
Restorative Patterns and Processes
For many years, the evolution of humans and its survival have regularly necessitated the need to manage highly intense as well as adaptable natural environments, especially those of sound, smell, sight, touch, and many other sensory systems[15]. Most importantly, one finds it useful to get associated with the richness of his or her sensory system, inside and around a built environment. Therefore, such an outdoor relief space via the incorporation of natural sensory inconsistency has offered restoration for cancer patients in hospitals, thus facilitating their possible treatment[16]. Therefore, the chief focus of this strategy is meditation, stillness, and a perfect opportunity for a patient to experience the relaxing tones of the wind breeze.
Figure. 3
Light and Space
Lighting and space are biophilic features that centrally revolve around numerous patterns of quality relationships. For example, light is used to reshape the LEED Platinum library as a reading environment[17]. Therefore, the combination of plentiful natural lighting in many cultural public spaces helps establish new, lively, and sculptural forms, which would automatically invoke design reactions like imagination, exploration, and movement.
Figure. 4
Place-Based Relationships
This biophilic feature encompasses a place as a way of bringing about caring as an ecological connection arising from a person’s proximity to bulging bio-geographical features like estuaries, rivers, mountains, deserts, or plants. Such places offer space for meditation, uniquely when situated within the precincts of a healthcare facility[18]. For instance, the local Sonoran-desert is insightful based on the appearances exhibited in the colors and ornamentation forms of the natural Ocotillo tree. In the figure, the use of the attractive art glass encompasses the space, hence reflecting the light to dark-green form coupled with intonations of red blossoms as well as sprawling blue skies[19] (Bochart 1). From the picture, the biophilic feature was envisioned to inaudibly and subtly verbose sunlight, hence providing a local desert color and unique form to establish both reflective and meditative space[20]. Indeed, such a design would spark an attribute of hope and healing for humans in many ways.
Figure. 5
Evolved Human-Nature Relationships
The fundamental attribute of refuge regions is to offer a haven place for retreat since they are considered critical places for promoting restoration and relaxation. As depicted in the picture, the occupant of the house finds the housing space a remarkable ecological connector in terms of enhanced attention, concentration, as well as perceived safety.
Figure. 6
Passages from the Influencers
- Aldo Rossi – “In fact, architecture presents itself as a vast cultural movement …. It needs to be realized, to become part of the city…”.[21]
Denotative Description:
The author of the masterpiece is Aldo Rossi, an Italian architect, and designer of international reputation in architectural theory. Rossi is renowned for criticizing the lack of coherent city architecture and for championing the influential idea of a city as an ecosystem.
Connotative Response:
The passage was selected because it justifies the notion that design affects all components of the human ecosystem, thus the need to incorporate ecosystem principles like biotic, social, physical, and the built environment. By presenting cities as ecosystems, this perspective reflects the subject matter – building into an urban site to create strong linkages between the outside and the inside. Other reactions that are relevant to this passage are the city as dynamic heterogeneous environments.
- Ian Thomson – “The term I chose to use was ‘delight’ because it was broad enough to encompass a variety of satisfactions, not just our innate responses to many aspects of our environment, but also our responses to designed objects and works of art based on cultural associations, symbolism and shared meanings. The second broad category was concerned with human well-being and notions of the good society. The third included a concern for the full environment, either for its own sake or because ultimately it sustains human existence”.[22](Thomson, 82).
Denotative Description:
The author is Ian Thomson, a literary critic with a focus on landscape architecture. The critical background information is the trivalent approach to landscape architecture advocated by Vitruvius.
Connotative Response:
The selection of this passage is justified because it provides a modernist perspective of the critical principles of Vitruvius on modern landscape architecture. The Vitruvius perspective provides a sound framework via which an architect or a designer can view design work. Vitruvius’ trivalent approach relates to the subject matter through its definition of strength, beauty, and functionality, which are the universal laws according to the school of thought.
- Sattarzadeh and Isl– “Human, born at any time and place, establishes an interactive relationship with its surroundings to the level that, on the one hand, he is attached to the environment and on the other hand the environment also affects his behavior. Human’s relationship with the architectural space is a daily relationship… As such, one of the aims of designers and architects should be to create a proportional relationship between the human body and its surroundings. To achieve this end, space creators should have a good understanding of human behavior in different environments so that they can establish a stronger bond between people and places”.[23]
Denotative Description:
The author is Sattarzadeh and Isl, writers with experience in using architecture to create place identity. The relevant contextual information is the need to provoke the notion of place and identity meaning in the design of urban architecture.
Connotative Response:
The passage was selected because it directly addresses the concept of place identity in urban regeneration. The perspective of place identity is based on the need to integrate the social and emotional meanings of an urban environment because they are part of the psychological dimension of urban settings. The notion of place identity relates to the topic because the selection of an urban site must reflect the material form and cultural interpretation of placemaking.
- Horatio Greenough – “If there be any principle of structure more plainly inculcated in the works of the Creator than all others, it is the principle of unflinching adaptation of forms to functions.”[24]
Denotative Response:
The author is Horatio Greenough, a renowned writer on art, a theorist, and a critic of contemporary American architecture. Greenough provides a critical perspective of Luis Sullivan’s concept of “form follows function.” The relevant contextual information is the need to embrace urban form and function as the critical morphological characteristics when designing the urban space.
Connotative Response:
The aim of selecting this passage was to emphasize the importance of integrating urban form and characteristics, including the spatial configuration of the city’s physical characteristics in the design of the urban site. The notion of “form follows function” relates to the topic being discussed because the design of the urban site must reflect the target functions of the urban site. The overall consideration is the need to conceptualize urban function as a function of a city and its reflection of society. That is, urban functions influence the physical and morphological characteristics of urban space.
- Mustafa – “The results show the appearance of another pattern in the school, namely natural daylight. The skylights and large windows make the interior of the school pleasant because of the natural sunlight (Figures 6 and 7). When the sun moves during daylight hours, its incident angle changes, which produces different shadows and diffuses light in the interior of the school”.[25]
Denotative Description:
The authors, Mustafa and Radhwan, were talking about biophilic design parameters that connect people inside buildings with nature on the outside. The contextual information is the biophilic design paradigm, which incorporates aspects such as natural landscape features, ventilation, and daylighting.
Connotative Response:
The passage is justified because it addresses an essential approach to urban design and planning – biophilic design. The biophilic design approach is a relevant concept in this work because it justifies the incorporation of natural landscape features and design elements for the creation of healthy and productive environments.
Bibliography
Beals, Alejandro. “Blurring Boundaries.” Strategies for the Creation of Ambiguity in Architecture. Royal College of Art, London, 2012. https://researchonline.rca.ac.uk/1641/1/FINAL%20REVISED%20THESIS%20BLURRING%20BOUNDARIES_THESIS%20A%20BEALS_MAY%202014_FINAL.pdf
Bochart, Sonja. “Evolving Our Connection with Nature: Six Biophilic Design Applications.”https://www.shepleybulfinch.com/evolving-our-connection-with-nature-six-biophilic-design-applications/
Colea, J. Raymond, & Pearl, Daniel. “Blurring Boundaries in the Theory and Practice of Sustainable Building Design.” International Conference on Whole Life Urban Sustainability and its Assessment M. Horner, C. Hardcastle, A. Price, J. Bebbington (Eds) Glasgow (2007): 1-12.
Greenough, Horatio. Form and Function: Remarks on Art, Design, and Architecture. California: University of California Press, 1969.
Mustafa, A. Faris, & Radhwan, Fatin. “Towards the Application of Biophilic Parameters in Local Buildings: A Case Study of Bilkent School, Erbil City – Iraq”. International Journal of Technology 10, no. 2 (2019): 363-375.
Rossi, Aldo. The architecture of the city. Cambridge, MA: MIT Press, 1982. http://appliedmapping.fiu.edu/readings/rossi.pdf
Sattarzadeh, Dariush and Asl, B. Lida. “Identification of the Components of Sense of Place in Architecture of Houses in First Pahlavi in Iran (Case Study: Tabriz). European Online Journal of Natural and Social Sciences 3, no. 2 (2015): 436-450.
Thompson, H. Ian. Ecology. Community, and Delight: An Inquiry into Values in Landscape Architecture. New York: Routledge, 2003.
ls, Alejandro. “Blurring Boundaries.” Strategies for the Creation of Ambiguity in Architecture. Royal College of Art, London, 2012. https://researchonline.rca.ac.uk/1641/1/FINAL%20REVISED%20THESIS%20BLURRING%20BOUNDARIES_THESIS%20A%20BEALS_MAY%202014_FINAL.pdf
Colea, J. Raymond, & Pearl, Daniel. “Blurring Boundaries in the Theory and Practice of Sustainable Building Design.” International Conference on Whole Life Urban Sustainability and its Assessment M. Horner, C. Hardcastle, A. Price, J. Bebbington (Eds) Glasgow (2007): 1-12.
Greenough, Horatio. Form and Function: Remarks on Art, Design, and Architecture. California: University of California Press, 1969.
Mustafa, A. Faris, & Radhwan, Fatin. “Towards the Application of Biophilic Parameters in Local Buildings: A Case Study of Bilkent School, Erbil City – Iraq.”International Journal of Technology 10, no. 2 (2019): 363-375.
Rossi, Aldo. The architecture of the city. Cambridge, MA: MIT Press, 1982. http://appliedmapping.fiu.edu/readings/rossi.pdf
Sattarzadeh, Dariush, and Asl, B. Lida. “Identification of the Components of Sense of Place in Architecture of Houses in First Pahlavi in Iran (Case Study: Tabriz). European Online Journal of Natural and Social Sciences 3, no. 2 (2015): 436-450.
Thompson, H., Ian. Ecology. Community, and Delight: An Inquiry into Values in Landscape Architecture. New York: Routledge, 2003.
Bochart, Sonja. “Evolving Our Connection with Nature: Six Biophilic Design Applications.” https://www.shepleybulfinch.com/evolving-our-connection-with-nature-six-biophilic-design-applications/
[1]Beals 18
[2]Beals 18
[3]Beals 19
[4]Beals 19
[5]Beals 20
[6]Beals 21
[7]Beals 24
[8]Beals34
[9]Beals 34
[10]Beals 33
[11]Colea & Pearl 33
[12]Beals 35
[13]Bochart 1
[14]Bochart 1
[15]Bochart 1
[16]Bochart 1
[17]Bochart 1
[18]Bochart 1
[19]Bochart 1
[20]Bochart 1
[21] Aldo, Rossi, The architecture of the city, (Cambridge, MA: MIT Press, 1982), 113.
[22] Ian, Thompson, H, Ecology, Community, and Delight: An Inquiry into Values in Landscape Architecture (New York: Routledge, 2003), 82
[23]Dariush, Sattarzadeh and Lida, Asl, B, “Identification of the Components of Sense of Place in Architecture of Houses in First Pahlavi in Iran (Case Study: Tabriz)”, European Online Journal of Natural and Social Sciences 3, no. 2 (2015): 441.
[24] Horatio Greenough, Form and Function: Remarks on Art, Design, and Architecture (California: University of California Press, 1969), 167.
[25] Faris, Mustafa, A, & Fatin, Radhwan, “Towards the Application of Biophilic Parameters in Local Buildings: A Case Study of Bilkent School, Erbil City – Iraq”. International Journal of Technology 10, no. 2 (2019): 370.
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