Introduction
What does biophilic design mean to you, and how do you apply it within graphic design?
“To me, it means experiencing connection to nature in the spaces we [people] occupy, whether that being a literal connection or merely a perceived one. Biophilic design considerations in a space means there isn’t a separation of ‘entities’; there is a cohesive integration of people, place, and ‘thing’ that maintains consistency of mental and physical wellbeing.
Implementing biophilic concepts is an approach to experimental image-making I use in my own graphic design process. In my creative projects I consider user-experience. This is usually related to ease of use and engagement, creating tactility through texture or creating texture through visuals, generating intrigue with authenticity, and giving a sense of quality with high-standard material choices.
I wouldn’t necessarily claim that my work is strictly biophilic – my own research into this subject matter has led me to understand that merging these two disciplines is a continual work in progress, somewhat exploratory you might say.”
What sparked your interest in biophilic design in graphic design?
“I was assigned a project titled ‘Biophilia’ as part of an art and design course in 2020. It was basically an open brief. I explored as many experimental methods as I could to produce creative work – both analogue and digital. Back then, I wasn’t focused on biophilic design and I didn’t realise it was an emerging discipline. I was gripped by the process of merging the natural world with my own creative projects to produce visual output. I would have to say it was probably that 3 month period in which I was immersed in that project that ignited the initial spark of interest in this subject matter, unbeknownst to me.”
In your opinion, what’s the difference between ‘natural aesthetic’ and true biophilic design?
“Well, in the case of all true design including biophilic, deliberate choices regarding positioning and/or the organisation of elements including form, content and context is what differentiates a natural aesthetic from a designed piece. Biophilic design considers the space and the users of that space, which will presumably be researched and perhaps tested in what could be deemed a true design. A natural aesthetic is untouched, unrefined, and isn’t considered – it simply is. It is not tested or made ‘better’, it is not researched and we do not need to find a way to make it appear natural. That is to say again, a natural aesthetic it is as it is.”
Biophilic Principles in Graphic Design
Which biophilic design principles do you think are applicable in graphic design, and which ones are less relevant?
“I think that all biophilic design principles can actually apply in graphic design. I think various graphic design skill sets can be used to execute all of the major 3 principles. I don’t think any of the principles are less relevant, however, I think that having a direct experience with nature i.e., ‘nature in the space’ is the most tricky one to realise from a graphic design point of view. However, observing and analysing work done by artist and designer Diana Scherer, I sense that this could be the exemplary encompassing of the
merging of graphic design principles with biophilic ones using the ‘nature in the space’ principle.”
Are there specific shapes, colors, textures, or rhythms you often use to evoke a biophilic experience?
“In terms of form, I think scale and texture are impactful means to evoke a biophilic experience. In my own art practice, I have used a large base (not immensely large) to create a very tactile canvas board. This seems to invite engagement with the piece. When I think of natural landscapes I think of expansion, awe and connection; this can be translated in our designs via scale and texture.
Relative to colour, shapes, and rhythms I find it beneficial to conduct an evaluative investigation of a specific natural feature or a natural landscape first before creating a piece of work that evokes a biophilic experience. For my own work I find that line, more so than shape, is most suitable to visually communicate the region I am currently investigating.”
How can sensory experiences be translated into graphic design?
“I immediately link sight to a sensory experience relative to graphic design. So, a research-based solution to what could be engaging visually is important.
Touch is also a way in which we can create engagement and enhance user experience. This may be as simple as having an item or product to hand, something the user can investigate in the 3D. Considerations of tactile qualities adds another layer to this, even the fibres of quality paper can impact the user’s perspective.
What we hear, alongside what we see, can be translated into graphic design. Having an appropriately contextual auditory accompaniment for what we are seeing or using a graphic design holds the potential to alter perspectives and become a multi-sensory experience.
How about edible paper to engage the sense of taste? Or creating a decomposition piece that communicates a story of the life cycle? I think I’m giving myself ideas here as I respond to this question. It’s very exciting and inspiring to know that we can come up with these concepts and work towards incorporating multi-sensory experiences into graphic design.”
What effect does biophilic design have on the perception of printed matter?
“I can’t say for sure on this one; the evidence I have come across for this suggests that prolonged exposure to the presence of natural imagery in a space i.e., indirect experiences of nature (one of the 3 major biophilic principles), rated the highest in promoting sustained physical and mental wellbeing. The experiment by Hung and Chang (2021) categorised indirect experiences and generated quantitative results relative to attention restoration, generating intrigue and positive emotive responses, positively impacting attitudes, increasing productivity, lowering depression, lowering stress and creating a sense of safety.
I also believe that through eco-sensitive production considerations ‘biophilic’ intentions permeate through the design process, ‘fostering’ that connection with nature which is often spoken about in biophilic design theories.”
Materials
What role do materials play in your design practice?
“I use materials as a means to explore analogue methods. Currently, I am in the process of developing a typeface with organic materials. I love the raw, authentic aesthetic that organic material brings to a visual design. The result is never too polished, or ‘perfect’ looking, and I think this lends itself to creating something closer to the realness or connection to life that’s linked with a biophilic design. Tactility is something I think about in design. I am interested in making what can be touched by the hands and investigated in the 3D i.e., book making and design. The user can generate another level of perspective by using more of their senses.”
How do you balance aesthetics, sustainability, and practical usability?
“The clue is in the question for this one I think. ‘Balance’ is the keyword here and every element that’s implemented in a design carries weight. My observation of great design is that it is refined. This is what I aim to do in my work. Regardless of whether I am trying to implement nature related elements or not – I see this ongoing practice of refinement essential for elevated progression in my work. Refinement in design lends itself to a finer, more pleasing aesthetic in my opinion.
Relative to my experimental image-making, practical usability lies dormant to what is active, and what is active is functionality. The purpose of my exploratory work is to inspire and help develop or establish a curiosity within the ‘end-user’ or audience.
From my research I think that ‘sustainability’ is merely a green label that could elevate the perceived evolution of a largely consumer society. Actual sustainability would mean a complete overhaul of systems as we know it and I try not to use this term if I can – when you consider supply chains and all the elements of it, nothing is truly sustainable when we talk about practicality of items.”
Design Proces
When starting a project centered around biophilic design, where do you begin — with a concept, material, or feeling?
“The chicken or the egg? For me, I’m not entirely sure which comes first. Ideas spawn when I least expect it and I enjoy linking ideas to create something ‘new’. It would seem that I really do love developing strong concepts for my self-driven creative projects, so I will say concepts first.”
Where do you draw your inspiration from?
“I get so inspired from seeing other people’s work and how they approach creating visual work. Not just graphic design pieces, but illustrations, product design, package design, contemporary art and sculptural work. I suppose it’s the enthusiasm and ingenuity for the thing that I witness in other people’s work that makes me think about what I could do too. I see these examples online through social media, in the wider local community, and in creative workshop groups that I participate in. As well as this, I live in an area that’s surrounded by simple natural features. This environment generates a curiosity in me to investigate and create based on these natural features and, actually, nature-based investigations are the basis of the majority of my own creative practice to date. I have a mentality of using what I already have to create – whatever is already there and accessible to me I tend to see as resources and inspiration to create something from.”
Impact
How do users respond to designs that incorporate biophilic elements?
“I’m not sure I can say exactly for this one. I have not carried out any exclusive experiments that could indicate either a definitive or varied answer. However, I will say that I think it would be a worthwhile venture to carry out tests regarding visual designs that implement biophilic elements to help develop and establish biophilic graphic design practices.”
Do you believe biophilic design truly impacts mental well-being or emotional health in visual communication?
“In general, I believe layouts in visual communication impact individual perception and the content displayed could mimic a nature-related scenario. The problem to solve is really how do we sustain continual user engagement with those designs in visual communication. If this problem can be solved, I do believe that this type of visual communication holds the potential to regulate intense mental and/or emotional states and positively impact overall wellbeing. So, yes, I absolutely do believe it.”
Future and Advice
What opportunities do you see for young designers working with biobased or biophilic design?
“Design is everywhere. Graphic design is everywhere. Relative to young graphic designers I see a lot of opportunity for people working to develop algae inks and bare packaging solutions. Working with print a lot in my full-time graphic design role, alongside my own practice, I would love for bio-based printing solutions to be more accessible. The industry seems small and exclusive so far regarding algae inks, but the potential is massive. There are already businesses that work with algae inks used on their front
facing product and it looks no different to regular black toner or ink.
There is opportunity to collaborate with biologists to develop some very much needed solid research to put frameworks in place relative to trying to merge graphic design with biophilic design i.e., using organic live material in visual output, etc. Academic research funding would be an excellent way to move forward on this. I see much funding is provided for STEM groups and this would fit right in, in accordance with the ‘right’ [correct] proposals. Similarly with arts funding, with the ‘right’ proposals creatives can investigate more into this subject.
Also, there are many customer facing biophilic design firms, as well as solo practitioners. Look them up on social media to find them. I can only imagine that traineeships, graduate positions, consultations or mentorships could be on offer for enthusiastic young designers either wanting to be part of an established force, or willing and able to start their own. Look and you will find.”
What advice would you give to graphic designers who want to explore this field
further?
“I would highly recommend going to visit design exhibitions, and select contemporary art shows no matter what the subject matter. Floating through these events always leaves space for inspired thoughts in creative individuals (my experience). If you can, see exhibitions of some practitioners investigating ways of implementing sustained live matter in visual displays. Experiencing this will expose you to how imagination with invention can be realised in practical ways, diminishing perceived limitations. Elements of it will feed into your own work eventually if it resonates.”
How do you see the future of biophilic design?
“Currently, I see biophilic design as being the natural progression toward building a more human-centered society where the people’s wellbeing and health is a top priority. I really couldn’t give you a good answer to this question. However, I do see that it will be up to the people as individuals to make conscious choices regarding consumerism…and I think this will determine the future of biophilic design.”
