How the province of British Columbia is leading in biophilic design with wood
Biophilic design with wood in British Columbia, by Bill Browning (external link) of Terrapin Bright Green, is an exploration of buildings in British Columbia (B.C.) that make effective use of wood to connect their occupants to experiences of nature.
The publication discusses B.C.’s cultural history and tradition of wood as a building material. It defines the 15 patterns of biophilic design and provides building case study examples of the eight patterns wood best expresses. Finally, it provides key considerations when using wood in biophilic buildings.
What is biophilia?
Humans have an innate affinity for nature—a phenomenon known as biophilia. This connection has become the subject of many research initiatives exploring how different experiences of nature affect humans both physiologically and psychologically. In our built environment, leveraging biophilic strategies has been known to reduce stress, improve cognitive performance, enhance moods and increase preference for spaces.
Early biophilia research focused on the responses to viewing and experiencing natural environments. One of the best-known studies found that having a view to nature led to better healing outcomes among hospital patients.
Research also suggests that humans prefer views to savannah habitats with trees and, specifically, shade trees. Through guided walks in forests in Japan and Korea, researchers have been exploring Shinrin-yoku, or “forest bathing,” in conjunction with impacts on stress reduction and immune system function.
Biophilic design brings the benefits of nature indoors, enhancing well-being and productivity in interior spaces. By incorporating natural elements such as wood, plants and water features, these designs create environments that promote mental and physical health.
Biophilic design through wood
Wood has been used in construction and artifacts for thousands of years across various cultures around the world. While wooden objects and buildings are crafted by humans, the wood itself is still considered natural, which may explain why we prefer it in our surroundings. Connection to nature through wood in the built environment is not only a preference, but there is growing evidence of health benefits from bringing nature indoors through wood.
Indeed, in and around B.C., wood has been used for building homes and other structures for thousands of years. First Nations in the interior often built conical pit houses supported by four large angled posts and a square of four large beams. Along the coast, longhouses were constructed using large western red cedar posts and beams for the core structure. These traditional designs continue to inspire modern architecture.
Using wood and exposing wood in mass timber buildings can set the foundation for a more holistic or multisensory biophilic experience.
The benefits of biophilic design and wood observed in various building types
- Offices: Improved measures of workplace performance, including increased productivity and reduced absenteeism.
- Schools: Improved academic achievement and, among younger students, cognitive development.
- Hospitals: Helped patients heal faster while mitigating occupational stress among hospital staff.
- Retail: Increased shoppers’ perceived willingness to pay, improving gaze attention and increasing dwell time, all contributing to improved sales.
Eight patterns of biophilic design best expressed in wood
Experiences of nature in the built environment can be thought of as design patterns, of which there are 15 with scientific evidence.
Visual connection with nature
Positive outcomes from having a quality visual connection with nature include reduced stress, more positive emotional functioning, and improved concentration and recovery rates. The most common design strategies using this pattern include prioritizing window placement to emphasize views out to nature. Indoor strategies include bringing living nature into spaces with exposed wood, green walls, indoor gardens, multi-species planters, terrariums and aquariums.
Project examples: Yaletown office, Tall Tree Integrated Health Centre, Bayview Elementary School
Yaletown office | Photo courtesy of Leckie Studio Architecture + Design
Dynamic and diffused light
Lighting design has long been used to set the mood for a space, and different lighting conditions elicit a range of psychological responses. There is also a direct relationship between wood, light and perception. Daylight across wood in a building can change our perception of colour and warmth over time. Wood can also look different depending on the viewing angle. Light both reflects off the surface of wood and penetrates into the outer cells of the wood, where it is scattered in ways that create variable reflectance. This can make both the grain pattern and surface colour appear to change.
Project examples: Tseshaht Tribal Multiplex and Health Centre, Kelowna Downtown Marina, Pacific Autism Family Centre
Tseshaht Tribal Multiplex & Health Centre | Photo courtesy of Lubor Trubka Associates Architects
Biomorphic forms and patterns
British Columbia has a number of buildings that are inspired by biomorphic and natural forms found in nature, like wings, feathers, seashells and waves. Building these complex forms in wood can be more cost effective than with concrete or steel.
Project examples: VanDusen Botanical Garden and Visitor Centre, Tsleil-Waututh Administrative Centre, The Hive
VanDusen Botanical Garden and Visitor Centre | Photo credit: KK Law
Material connection with nature
Our brain has a strong preference for natural materials. Wood and other natural materials are experiencing a surge in interest from designers looking to incorporate biophilic design into their projects. In many wood buildings in British Columbia, exposed structure and finishes are also experiential features with health benefits.
Project examples: Nita Lake Lodge, MEC Flagship Store, B.C. Passive House Factory
Nita Lake Lodge | Photo credit: KK Law
Complexity and order
Nested fractal designs are repetitions of the same pattern at different scales. Designs that are characterized by at least three iterative scales of a pattern are more likely to achieve a level of complexity that conveys a sense of order and intrigue, which subsequently reduces stress. This quality is lost in much of modern architecture. In wood construction, the repeating of small elements to assemble larger pieces can create fractal patterns. Actions like hand adzing the surface of wood in traditional First Nations structures creates a repeating pattern with variations in scale and detail.
Project examples: Audain Art Museum, Kwakiutl Wagalus School
Audain Art Museum | Photo credit: Derek Lepper Photography
Prospect and refuge
The objective of the Prospect pattern is to provide users with a condition suitable for visually surveying and contemplating the surrounding environment for both opportunity and hazard. For interior spaces or dense urban spaces, prospect is the ability to see from one space to another and is strengthened when there is an opportunity to see through multiple spaces. The primary objective of the Refuge pattern is to provide users with an easily accessible and protective environment—a smaller portion of a larger space that supports restoration and stress reduction. The traditional lean-to is a great example of basic refuge, as are an egg chair, a high-backed booth, a cozy bay window seat or an inglenook.
Project examples: UBC Forest Sciences Centre, Ts’kw’aylaxw Cultural and Community Health Centre
UBC Forest Sciences Centre | Photo credit: Don Erhardt
Mystery and risk
A strong Mystery condition has a palpable sense of anticipation—a teasing of the senses in a duel of denial and reward that compels one to further investigate the space. Mystery can be expressed through the obscuring of the boundaries and a portion of the focal subject. The objective of the Risk/Peril pattern is to arouse attention and curiosity, and refresh memory and problem-solving skills. There are different degrees of risk that can be incorporated into a design depending on the intended experience or the space available. Crossing cantilevered walkways and wood-slatted bridges, walking on glass-railing stairs or balconies and rock-hopping through a shallow water feature are examples.
Project examples: First Nations Health Authority Metro Vancouver Office, Squamish Lil’wat Cultural Centre
Squamish Lil’Wat Cultural Centre | Photo credit: Michael Bednar
Awe
Awe is a sensory overload that triggers a pause in the body, reflected in the muscles in the face going slack. An Awe experience can change our perception of the world around us and lead to outward focus and prosocial behaviour. The original definition of Awe was related to a fear, but the framing shifted to include the sublime—beauty with a tinge of fear. In nature, a sense of Awe can occur when walking among ancient Douglas-fir and cedar trees. Awe experiences can be induced by a transition to a grand space, like walking up the rim of the Grand Canyon, entering the nave of Notre Dame or encountering the Kamakura Buddha.
Project example: Richmond Olympic Oval
Richmond Olympic Oval | Photo credit: KK Law
