56 Dominika Kumorek, Przemysław Kiełb
social ecology. In his subsequent publications, he tried to
translate theory into the foundations for the practical appli-
cation of biophilia (Kellert, Wilson 1993; Kellert 1997;
2008; 2018; Kellert et al. 2008). To this end, he dened the
principles of biophilic design as having two fundamental
dimensions. The rst is the organic or naturalistic dimen-
sion, dened as shapes and forms within the built environ-
ment that reect the innate human anity for nature in the
following ways:
– direct – unstructured contact with elements of the nat-
ural environment, such as daylight, plants, animals, natural
habitats, and ecosystems;
– indirect – contact with nature that requires ongoing
human intervention to survive, e.g., a potted plant, a foun-
tain, or an aquarium;
– symbolical – not requiring actual contact with nature,
e.g., a painting, photograph, etc.
The second dimension concerns buildings and land-
scapes
that connect with the culture and ecology of a given
place or geographic area. It encompasses what has been
termed the “spirit of place” (genius loci), that is, the way in
which […] buildings and landscapes of meaning to people
become integral to their individual and collective identities,
metaphorically transforming inanimate matter into some-
thing that feels lifelike and often sustains life (Kellert et al.
2008, 6). Based on these fundamental dimensions, Kellert
further identied six elements of biophilic design: environ-
mental features, natural shapes and forms, natural patterns
and processes, light and space, place-based relationships,
and evolved human–nature relationships. These were sub-
sequently elaborated into more than 70 attributes of bio-
philic design. However, the foundations outlined by Kellert
for designers were largely intuitive. He did not dene spe-
cic measurments, characteristics, or other parameters that
would clearly indicate guidelines for implementation in
design. Nor did he present empirical evidence justifying the
validity of his assumptions. Nevertheless, the health-pro-
moting eects of contact with nature had already been
conrmed at that time, among others through the ground-
breaking study by Roger Ulrich, which compared recovery
indicators among patients with access to a view of nature
and those without such access (Ulrich 1983).
Over time, biophilic design – albeit still largely intuitive-
ly – began to be implemented dynamically in new projects.
We weren’t trying to ride the green wave, we were driving
that wave […] (mcdonoughpartners.com), stated Ed Nagel-
kirk from the American company Herman Miller, whose
manufacturing facility designed by William McDonough +
Partners in the 1990s was one of the rst projects conrming
the validity of these assumptions. The experiment conducted
there linked mechanisms of increased productivity with con-
necting building users to nature (Heerwagen, Hase 2001).
Since then, scientists and designers have continued to work
on dening those aspects that have the greatest impact on
our satisfaction with the built environment. In the last dec-
ade, there has been a steady increase in studies at the inter-
section of neuroscience and architecture, both in research
and in practice (Cama 2009; McCollough 2009; Bowler et
al. 2010; Annerstedt, Währborg 2011; Marcus, Sachs 2014;
Frumkin 2001; Ulrich et al. 2008; Gillis, Gatersleben 2015).
Design patterns – search criteria
One of the key contributions to the development of design
patterns is the report prepared by William Browning, Cathe-
rine Ryan, and Joseph Clancy (Browning et al. 2014). In this
work, the authors move from research on human respons-
es to biophilic factors toward practical design applications.
They present biophilic design in the context of the history
of architecture, health sciences, and contemporary architec-
tural practice, and also briey address key issues related to
its implementation. The report concludes with 14 patterns
of biophilic design, supported by empirical evidence and
theoretical studies derived from extensive interdisciplinary
research. The authors focus on the psychological, physiolog-
ical, and cognitive benets resulting from the application of
individual patterns. The use of the term “patterns” is justied
by the explanation oered by the architect and theorist Chris-
topher Alexander, who stated that patterns […] describes
a problem which occurs over and over again in our environ-
ment, and then describes the core of the solution to that prob-
lem, in such a way that you can use this solution a million
times over, without ever doing it the same way twice (Alex-
ander et al. 1977, 10). Browning, Ryan, and Clancy focus
on known, suggested, or theorized patterns of nature that
can be applied across dierent sectors and scales in order to
mitigate common stressors or enhance other selected charac-
teristics. They divide biophilic design into three categories:
Nature in the Space, Natural Analogues, and Nature of the
Space. These are further specied through 14 patterns (7 for
Nature in the Space, 3 for Natural Analogues, and 4 for
Nature of the Space), illustrating their usefulness in support-
ing three functions: stress reduction, enhancement of cogni-
tive performance, and improvement of emotions, mood, and
the overall condition of the human body. The authors outline
what may be described as degrees of proven eectiveness,
through which they scale the extent to which a given pattern
has been scientically conrmed by rigorous empirical data.
The better documented the health-promoting eects of a giv-
en attribute (in terms of the quantity and quality of availa-
ble peer-reviewed evidence), the more points it received on
a unit scale (0–3), and thus the greater its impact. Although
some of the presented patterns received a score of zero, the
researchers emphasize that […] the anecdotal information is
adequate for hypothesizing its potential impact and impor-
tance as a unique pattern (Browning et al. 2014, 22).
Moreover, Browning, Ryan, and Clancy provided de -
tailed descriptions of each pattern, emphasizing the relation-
ships between them, the ways in which they are experi-
enced, their origins, and approaches to working with them
in design. More importantly, from the perspective of the
research presented in this article, they also presented exam-
ples of built projects employing individual patterns, as well
as spatial or experiential elements – either occurring natu-
rally or simulated – that determine the identication of pat-
terns within a given space. These elements are particularly
useful in the context of analyzing the scale and locations of
biophilic components on the Central Campus of the Warsaw
University of Technology.
Nature in the Space refers to the presence of natural ele-
ments within a given environment, both in physical form