Biophilic Design: between design awareness and sensorial change: an interview with Bettina Bolten.

At a time when design is called upon to answer increasingly complex environmental, social and cultural challenges, Biophilic Design is a concrete and scientifically based approach to regenerating the way we experience our living spaces.

 

For this reason, we decided to dialogue with Bettina Bolten, one of Italy’s leading experts on biophilia and biophilic design, as well as a MeM trainer and international reference point. Her vision – profound, expert, and always attentive to the human impact of spaces – helps us understand what it truly means to design with nature and why, today, it is a choice that can no longer be postponed.

MeM: ‘In the last few years, there has been a lot of talk about Biophilic Design: what risks do you see in its growing popularity today? Are there any misunderstandings or trivializations that need to be clarified?’

B.B.:”In recent years, there has been increasing talk of biophilia and Biophilic Design, but my personal experience in architecture and engineering firms in Italy, during consulting and training activities, reveals a reality that is still fragmented. These concepts are not yet part of the cultural and operational background of many professionals, although there is an encouraging initial interest on the part of designers, companies and, increasingly, a wider audience.

This new interest is a positive indication, showing that there is a growing awareness of the urgent need to reestablish an authentic and emotional connection between human beings and Nature, especially in the artificial spaces we inhabit every day. However, this growing attention risks leading to misunderstandings and oversimplifications.

The first is the danger of banalising Biophilic Design, which is often reduced to simply introducing plant elements: potted plants, green walls, and roof gardens. Although these actions can be part of a biophilic project, they do not represent its essence. Biophilic Design is, in fact, a complex and interdisciplinary design approach, based on decades of research in psychology and evolutionary biology, environmental psychology, geography, anthropology, architecture and, more recently, neuroscience. Its goal is not (only) aesthetic, but to foster physical wellbeing, mental health and emotional connections with space through integrated and measurable strategies.

A second misconception concerns the perception that Biophilic Design is an “add-on option”, to be considered only if time and budget allow. Often treated as a luxury or an elective addition, it is pushed to the end of the process, following a bottom-up logic. Instead, it should be a guiding principle from the early stages of the project, integrating with energy, regulatory, technical, environmental, social, and economic aspects. If carefully planned, it doesn’t necessarily mean higher costs. In fact, it can help reduce waste, improve project efficiency, and increase its durability and quality over time.

Another often overlooked issue concerns the universal, cultural, social and inclusive dimension of biophilia. The urge to connect with nature is deeply rooted in human evolution and, despite cultural, generational, or personal diversity, it is a shared need, not a privilege for the few. Reducing biophilic design to an aesthetic trend reserved for luxury contexts completely misrepresents its meaning: it is a cross-cutting design tool capable of responding to deep and common needs.

If we want Biophilic Design to truly become a tool for contemporary architecture, we need to move beyond oversimplification and clichés and recognise its complexity. It is not a trend, but a paradigm shift that requires us designers to rethink our role, step outside our comfort zone and adopt a broader, scientific vision focused on the wellbeing of humans and the environment.

MeM: ‘How can Biophilic Design make a measurable contribution to issues such as office productivity, time spent in a retail space or comfort in the hospitality sector?’

B.B.: ” Over the last few years, Biophilic Design has emerged as one of the most effective design approaches for enhancing the actual and perceived quality of built environments. This development has been supported by a solid body of observations, experiments and multidisciplinary research that systematically investigates the impact of biophilic design on people’s behaviour, perceptions and performance in different contexts of use.

In the office industry, interest is focused on the benefits in terms of stress reduction, increased psychological and physical well-being, and improved productivity, with potential knock-on effects on strategic business parameters such as absenteeism, concentration quality, team spirit, and talent attraction and retention. More and more companies are experimenting with Nature-inspired environments to optimise comfort and functionality in everyday work.

In the retail world, Biophilic Design is applied to enhance the customer experience, facilitating their stay in the space, reinforcing a positive brand perception, and creating a deeper connection with the product and brand values. The Benefits are not just for customers; employees also take advantage of more natural and welcoming environments, which reduce stress and improve the quality of work and relationships. Features such as natural light, natural materials, vegetation, and symbolic references to nature are proven to influence the shopping experience and, indirectly, relevant economic indicators.

In the hospitality sector, Biophilic Design is increasingly being integrated into design to enhance perceptual comfort, create regenerative and welcoming atmospheres with a good level of privacy, and strengthen the value and emotional identity of the establishment. The use of natural elements, whether real or evocative, has a positive impact on customer satisfaction, loyalty and the overall image of the accommodation facility.

Although this is a field in constant evolution, the data collected so far provides a solid basis for designers, developers and investors interested in integrating nature, well-being and environmental quality into their projects.

Biophilic Design is now a strategic tool that can contribute across the board to achieving functional, commercial and cultural objectives. And this is just the beginning: in the coming years, evidence will grow, along with the number of projects that choose to regenerate the built environment based on the relationship between humans and Nature.

MeM: ‘How important is the sensorial component (tactility, smell, acoustics) in an effective biophilic project?’

B.B.: ‘Our relationship with space is dominated by sight, the sense by which we perceive most of the environmental information around us. It is therefore not surprising that biophilic design is often associated with easily recognisable visual elements: natural light, views, vegetation and natural materials. However, this approach, while effective, is only part of the sensory potential that Biophilic Design can provide.

In order to generate a truly authentic impact on wellbeing, it is essential to embrace a broader perspective, actively engaging all the senses. Biophilic design is not just what we see: it is also what we touch, hear, smell and, in some cases, even taste.

Touch is a profound and immediate form of perception that plays a role in every physical interaction with space: it connects us physically to space. Natural materials such as wood, stone, plant fibres or textured fabrics create rich tactile experiences, evoking feelings of authenticity, intimacy and comfort. Warm, irregular, living surfaces reinforce the qualitative perception of a place and our connection with nature.

Often overlooked, smell is one of the most powerful senses, able to trigger deep memories and influence our emotional state. The scent of raw wood, wet earth, aromatic herbs, resin: these are stimuli that transmit well-being and rootedness. In the hospitality and retail sectors, smell is a key element in constructing the sensory identity of a space.

Sound also plays a decisive role. Natural tones, such as the rustling of leaves or the slow flow of water, have a calming effect, reducing stress and improving concentration. However, it is likewise important to design for the absence of disruptive noise: natural sound-absorbing materials, acoustic screens, and geometries that do not increase noise enhance the sound balance and liveability of the space.

In the hospitality sector, taste can also come into play: dishes made with natural, local and seasonal ingredients, served in spaces consistent with the principles of Biophilic Design, complete an immersive experience that involves the body, senses and emotions, strengthening the connection with the territory and its identity.

The strength of Biophilic Design lies in its ability to provide complete sensory experiences that are not limited to sight. It requires conscious design that integrates sensory perception, emotions and physicality to give depth to the experience, making it memorable and, above all, human.

The sensory dimension is not a detail, but a structural element of the project.”

MeM: ‘Can you tell us about a concrete example where a biophilic choice has transformed the perception or use of a space?’

B.B.: ‘Sometimes you don’t need architectural revolutions or huge investments to transform the way we experience an environment. This is proven by the concrete experience of those who, like me, work from home. I chose to apply the principles of Biophilic Design to my everyday space. With targeted, simple and conscious actions, it is possible to achieve significant improvements in well-being, concentration and quality of working life.

The first step was to replace an old white desk with one made of solid pine wood. A living, warm material with visible grain that tells a story. The perception of work changes radically: the desk is no longer a mere object, but becomes an active part of the atmosphere of the space. Scientific literature has long confirmed the positive effect of wood on our mental and physical state. In this case, there is also an emotional and circular economy value: the desk has had previous lives, and its patina of time becomes an element of identity and narrative.

A second action concerned visual and physical order. Removing the unnecessary, opening up empty spaces, simplifying. The result is greater concentration, greater ease of movement and a feeling of open-mindedness. It is a simple but deeply regenerative action.

A small group of carefully chosen, well-placed plants contributed to creating a continuous connection with living nature. The presence of nature, visible from the workstation, introduces a dynamic and changing dimension. Plants communicate their state, demand our attention and restore our well-being. Not as decoration, but as a relationship and care.

Finally, a careful review of the artificial lighting completed the transformation. In the presence of abundant natural light, the illumination was calibrated to follow the circadian rhythm: warm, diffused lights for the evening, cooler, directional lights for the day, in harmony with the levels of external light.

The result? A welcoming, tidy, sensory-stimulating work environment, where working has become less of a duty and more of a natural action. This experience demonstrates that Biophilic Design is not just a matter of aesthetics, but a concrete strategy for improving quality of life – even in small, domestic, family spaces.

It is through attention to detail, listening to one’s needs and working in harmony with nature that a genuine balance between functionality and well-being can be found.”

MeM: ‘In your consulting work, what kind of resistance or misunderstanding do you most often meet from designers or companies?’

B.B.: “In my work as a consultant, I often meet with a recurring resistance: the idea that Biophilic Design is something secondary. It is perceived as a finishing touch – perhaps with a few plants or natural materials – more related to aesthetics than to a concrete and cross-cutting design strategy.

This simplistic view is far from reality. Biophilic Design is an applied science that concerns the entire process of designing, planning, constructing and maintaining a space and the preservation of biophilic strategies over time. It is a discipline capable of generating real impacts on well-being, health and the quality of the human experience within built environments.

1. Economic misperception: it is feared that integrating biophilic elements entails unjustified additional costs, especially if the impact indicators (productivity, perceived comfort, length of stay, loyalty, etc.) are unknown. In reality, with good analysis and clear objectives, it is demonstrated that even small, well-designed interventions can produce great benefits.
2. Lack of scientific knowledge: there is often a lack of familiarity with the neuropsychological and environmental basis that supports this approach. The gap between technical skills and scientific concepts can generate mistrust, confusion or fear of not being up to the task.
3. Cultural resistance: It is very common to hear people say, “We’ve always done it this way”. This defensive attitude reflects a lack of willingness to accept the paradigm shift that Biophilic Design proposes: switching the focus from the built object to the lived experience, accepting to study new disciplines and questioning established certainties.
4. Distrust of science: for some professionals, the term ‘science’ evokes a distant world that is too abstract or technical. This creates a cultural gap that can hamper the integration of valuable tools into the design process.

In all these cases, the consultant’s task is not to force, but to support. It requires listening, patience, the ability to explain clearly, provide examples, and translate scientific principles into concrete and tangible solutions linked to the specific objectives of the project.”

MeM: ‘In your opinion, which is the first step a designer should take to truly integrate Biophilic Design into their method?’ 

B.B.: ‘The first essential step for any designer who wants to integrate Biophilic Design authentically – avoiding superficial measures or, worse, greenwashing practices – is to explore their personal relationship with Nature.

This is not a theoretical abstraction, but a concrete exercise in awareness: asking yourself questions, looking back on past experiences in contact with natural environments, exploring your own sensory and emotional experiences. A useful tool in this regard is Schultz’s Inclusion of Nature in Self (INS) Scale (2002), a psychological test that measures the level of one’s identification with the natural world. Having this personal awareness is crucial to developing deep and lasting motivation that is not based solely on trends or design convenience.

This leads to the second indispensable step: seriously studying biophilia. Understanding its evolutionary roots, psychological and biological foundations, and the interdisciplinary documentation that has proven its value and effects. Only with a solid theoretical foundation will it be possible to transform biophilia into a coherent design language, avoiding superficiality or straining.

The advice is to approach this study with curiosity and an open mind: observe existing projects, discuss with other experts, examine case studies, and learn from both the successes and limitations of approaches that have already been trialled. It is equally important to be aware of and engage with assessment protocols and tools – both empirical and data-based – in order to validate design choices in a measurable way.

Only through this integrated approach, which starts with oneself but extends to continuous training and conscious experimentation, can Biophilic Design become a structural part of one’s design method. Not an addition, but a vision.