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Biophilic Design


Biophilic Design

Biophilic Design


Biophilic design is a new approach to sustainable development that incorporates the positive experience of nature into the design of the built environment. The definitive guide to this emerging practice of biophilic design, this book contains original and timely contributions from world-renowned scientists, designers, and practitioners on the theory, science, and practice of biophilic design.


Human psychology clearly benefits from contact with nature, and inviting nature into our buildings is the ideal way to insure the both the continuation of our modern lifestyle and assuagement our more primitive needs. Positive effects can especially be seen in the realm of healthcare. Its typically stressful atmosphere holds tremendous room for improvement, and numerous studies evidence nature’s role in healing. In sum, the built environment need not interfere with biological human needs to commune with nature nor with existing ecological systems. Ancient architects built for their cultures, which were almost always more in touch with the earth than western society of the present (Biophilic Design, 2011). They mimicked nature’s forms, producing magnificent structures with which we are still awed—though biophilic design is a novel concept, they certainly employed some of its recommendations. Today, we can add another layer to this tradition and ensure maximal benefit for our planet and ourselves.

This new concept aims to generate a social reaction and especially the human perceptual versus nature, the creators of these concepts, they claim that the development of physical, intellectual and emotional human being requires the diversity of stimuli that gives the natural environment . Based on this, the defending biophilic integration of natural elements in human spaces using different strategies, such as maximum use of natural light, the possibility of frequent access to the outside, using natural ventilation, etc. There has been a revival of interest in the concept of biophilic design as evidence mounts regarding its benefits. Recently, there have been over 50 rigorous studies devoted to understanding the influence of biophilic design on patients, staff, and families (Joye, 2007).


Biophilic design principles can be applied in a variety of contexts allowing growth of both people and environment. There are six basic dimensions to biophilic design that encompasses more than 70 specific attributes that can be incorporated into a building. The basic dimensions are:

Environmental Features

Natural Shapes and Forms

Natural Patterns and Processes

Light and Space

Place-based relationships

Evolved human-nature relationship

Architectural attributes of biophilic design include attention to basic design elements, such as proximity to daylight, to natural ventilation, and to other living things. Using these principles, architects are designing with a kind of psychological GPS, anchoring a building's inhabitants safely and comfortably within protected spaces while allowing them a far-reaching perspective onto changing events (Pollack, 2006). When low lighting levels or security requirements preclude the introduction of life-enhancing plants, designers sometimes construct biophilic analogues, such as treelike forms that produce similar feelings for their users. Biophilic design acknowledges our human roots and responds to our needs.

Future Considerations

The sustainable building movement is part of a new paradigm referred to as ‘restorative environmental ...

How Graphic Design Communicates With Society: Flowers As Inspirations And Aesthetics Of Visual Design

How Graphic Design Communicates With Society: Flowers as inspirations and aesthetics of Visual design



Communication plays a vital role in our society. It is considered to be a mean of communicating the information. Graphics allow people to communicate information graphically; therefore, graphic communication is considered to be an important and relevant skill. Graphic communication permeates in all spheres of life including commerce, education, and industry. In the global markets, graphic communication is considered to be a medium which is vital in all aspects of life. Graphic communication has influenced our society through several ways. Every day, individuals are bombarded with information which contains graphic content for instance, marketing messages, paintings, and others. The purpose of this research is to determine how graphic design communicates with the society. This research has also determined the aesthetics and aspirations of visual messages.  This study will be helpful in determining how graphic design has changed our society.





Background of the Study1

Problem Statement3

Purpose Statement4


Flowers as Aspirations and Aesthetics for Visual Design5

Graphic Design6

Technology In Graphics9

Providing Information11



Flowers as inspirations and aesthetics of Visual design12

Graphic Design’s Practical Possibilities14

The Utility of Communication17


Research Purpose20

Research Method20







Background of the Study

Communication plays a vital role in our society. It is considered to be a mean of communicating the information. Graphics allow people to communicate information graphically; therefore, graphic communication is considered to be an important and relevant skill. Graphic communication permeates in all spheres of life including commerce, education, and industry. In the global markets, graphic communication is considered to be a medium which is vital in all aspects of life. The development of graphic skills and interpretation is of broad educational value (Aldrich & Sheppard, 2000, pp. 8). Graphic Design products do not have the stability of other institutionalized ties. Arise and have a limited time of life that sometimes does not exceed a week. The constant uncertainty, the complexity of competition, the temporary symbolic value of their products, result in the need for a constant demand for variety. Graphic Design shares the culture of the ephemeral media, which is opposed to the consistency of the more traditional forms. However, ephermal media does not have the same sign for all products. There are productions such as the design of alphabets or a printed image that arise in the long term, while the illustration, advertising, propaganda share a wide transience in ephermal media. There are media whose products are much more ephemeral. Therefore, the impermanence of Graphic Design seems more solid than the rest.

Graphic designers develop the overall layout and production design of magazines, newspapers, journals, corporate reports, and other publications. They also produce promotional displays, packaging, and marketing brochures for products and services, design distinctive logos for products and businesses, and develop signs and signage systems, called environmental graphics, for business and government. An increasing number of graphic designers also are developing material for Internet Web pages, interactive media, and ...

Interior Design


Interior Design


Interior design evolves through ages. From embellished ornamental designs to simplistic designs, the expedition of interior designing is still continued with innovative styles and aspiring designs according to the relevant time period. This paper seeks to analyze the historical and contextual background of Interior Designing. Different eras that are quite significant in the history of evolution of Interior Designing are elucidated in this research paper. The major periods that are discussed include Georgian/Colonial, Arts & Crafts/Art Nouveau, Era of 1930’s and 1950’s and the current Sustainable/Green Design.

Table of Contents


Body: Discussion and Analysis4

Georgian/Colonial Interior Design4

Arts & Crafts/Art Nouveau5

Interior Design in the Era of 1930’s6

Modern Movement in 1930’s7

Interior Design in the Era of 1950’s7

Sustainable/ Green Design8


Interior Design


Interior design can be defined as decoration, design, planning and furnishing of man-made spaces. It is strongly relevant to architecture. The field of interior design is comparatively new, even though the wish for creating pleasing surroundings is as old as the human civilization. Since around the second half of the twentieth century, the word interior decorator has been so droopily lent oneself as to be virtually insignificant, ensuing more descriptive terms came in it usage. A broader area of activity is indicated by the term interior design and simultaneously proposes its standing as a profession appealing to the mind. The trend, in recent times, has been towards an ornate to a lesser extent and more functional style nurtured by the interface of architects and designers working in lineups, whether it is the modernizing of existing interiors, such as Hugh Casson and Misha Black, or in new buildings, like in Milan, Pirelli building of Gio Ponti, capital city of Brasília by Oscar Niemeyer, and the countless pieces of work by Eero Saarinen, Le Corbusier, and Owings & Merrill, Skidmore. For complementing modern architecture, architects often design furniture of international-style that is both simple and functional and geometric and light.

The artifacts of Egyptian tomb give the indication of ancient interior design. Ancient design is also depicted in the sophisticated murals and mosaicking on the floor created in the conserved cities of Rome- Pompeii and Herculaneum Roman. Furniture was simple, in medieval Europe, with wall tapestries pertained to be meant for adornment and insulation. More elaborate decoration with painted ceilings, wall paintings, and complicated patterns was seen by the Renaissance in palaces and villas. Very intricate embellishment and carving was developed by the later styles of baroque and rococo. Adam brothers were the foremost English architects to innovate a building as an incorporated intact as Syon House, Middlesex. In England, Grinling Gibbons and Inigo Jones were some of the early names associated with interior design. Wall paper, carpets, and furniture were designed in Victorian times by Charles Rennie Mackintosh, William Morris and Adolph Loos.

Body: Discussion and Analysis

Georgian/Colonial Interior Design

The period from 1714-1830 was ruling period of all of the ruling King Georges of England and Ireland and the term Georgian pertains to that historic period. Though, the style per se was not influenced by Georges, but a ...