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- Here is the game of rock, paper, scissors. The player presses one of the three hands are at the bottom of the screen are buttons. - When you press a button mobile puts a picture in the picture above, as are the drawings of mobile and player, so will be the result .
- Well, these are programs of learning, initiation, in this case you can improve by putting sounds, bookmarks, other drawings, even instead of pressing a button the user issues a voice message: rock, paper, scissors.
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Biophilia in Context looks at the evolution of biophilic design in architecture and planning and presents a framework for relating the human biological science and nature. Design Considerations explores a sampling of factors (e.g., scale, climate, user demographics) that may influence biophilic design decisions to bring greater clarity to why some interventions are replicable and why others may not be. The Patterns lays out a series of tools for understanding design opportunities, including the roots of the science behind each pattern, then metrics, strategies and considerations for how to use each pattern. This paper moves from research on biophilic responses to design application as a way to effectively enhance health and well-being for individuals and society.
This paper was supported by Terrapin Bright Green, LLC. We thank Alice Hartley for editorial assistance, Allison Bernett and Cas Smith for production assistance, the Review Committee and Contributors for their technical guidance and expertise, Georgy Olivieri for her relentless energy and dedication to spreading the word, Stefano Serafini and the International Society of Biourbanism for providing guidance and encouragement.
New research supports measureable, positive impacts of biophilic design on health, strengthening the empirical evidence for the human-nature connection and raising its priority level within both design research and design practice; however, little guidance for implementation exists. This paper is intended to help close the gap between current research and implementation. The intended audiences of this publication are interior designers, architects, landscape architects, urban designers, planners, health professionals, employers and developers, as well as anyone wanting to better understand the patterns of biophilia.
This paper puts biophilic design in context with architectural history, health sciences and current architectural practices, and briefly touches on key implementation considerations, then presents biophilic design patterns. The patterns have been developed through extensive interdisciplinary research and are supported by empirical evidence and the work of Christopher Alexander, Judith Heerwagen, Rachel and Stephen Kaplan, Stephen Kellert, Roger Ulrich, and many others. Over 500 publications on biophilic responses have been mined to uncover patterns useful to designers of the built environment. These 14 patterns have a wide range of applications for both interior and exterior environments, and are meant to be flexible and adaptive, allowing for project-appropriate implementation:
Finally, this paper discusses these patterns in a general sense for the purpose of addressing universal issues of human health and well-being (e.g., stress, visual acuity, hormone balance, creativity) within the built environment, rather than program-based or sector-specific space types (e.g., health care facility waiting rooms, elementary school classrooms, or storefront pedestrian promenades). As such, the focus is on patterns in nature known, suggested or theorized to mitigate common stressors or enhance desirable qualities that can be applied across various sectors and scales.
We hope this paper presents the foundation necessary for thinking more critically about the human connection with nature and how biophilic design patterns can be used as a tool for improving health and well-being in the built environment.
Alternatively, it could be argued that everything, including all that humans design and make, is natural and a part of nature because they are each extensions of our phenotype. This perspective inevitably includes everything from paperback books and plastic chairs, to chlorinated swimming pools and asphalt roadways.
Periodically throughout this paper, these patterns will be referred to in shorthand by their number 1 to 14 for quick reference. For instance, Presence of Water will appear as [P5] and Prospect will appear as [P11].
Cognitive functioning encompasses our mental agility and memory, and our ability to think, learn and output either logically or creatively. For instance, directed attention is required for many repetitive tasks, such as routine paperwork, reading and performing calculations or analysis, as well as for operating in highly stimulating environments, as when crossing busy streets. Directed attention is energy intensive, and over time can result in mental fatigue and depleted cognitive resources (e.g.,19. Kellert et al., 2008 ; 20. van den Berg et al., 2007 ).
At either end of the spectrum, both non-fractal artwork and high-dimensional fractal artwork have been shown to induce stress (Hägerhäll et al., 2008; Taylor, 2006). Overly complex designs and environments may result in psychological stress and even nausea. According to Judith Heerwagen and Roger Ulrich, occupants in a US Navy office in Mississippi reported nausea, headaches and dizziness, symptoms frequently associated with poor indoor air quality or poor ventilation. It was determined that the interaction of multiple wall paper patterns, complex patterns in carpets and moiré patterns in seating fabrics caused surfaces to appear to move as occupants walked through the space and therefore caused extreme visual perception problems (Heerwagen, personal communication, March 2014).
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