CADIZ XPLR (ISSUE 002, FALL 2020)

CREATIVITY

|

F O R W A R D

INNOVATION

F A L L

|

DESIGN SCIENCE

FALL 2020 ISSUE 002

A R C H I T E C T U R E

|

I N T E R I O R S

|

L A N D S C A P E

Š 2020 by Cadiz Collaboration All rights reserved. Reproduction or use of the whole or any part of the contents of this publication without written permission of the copyright holder is prohibited.

CONTENTS

04

26

70

2020 FALLING FORWARD

HOW OUR WORK ENVIRONMENT EVOLVES

FEATURE PROJECT: CAMBRIA HOTEL SANTA CLARA

06

38

76

SILENCE IN HOSPITALITY DESIGN LANGUAGE

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

PEOPLE WE LOVE!

16

58

80

THE FUTURE OF OUTDOOR DINING SPACES

INTERVIEW WITH TERRAPIN: BRIGHT GREEN ON BIOPHILIA

RHA FEATURE PROJECT: BALBOA YACHT CLUB

2020

FALLING FOWARD Six months into our “New Normal” with all the uncertainty it brings - I marvel about the innovation, collaboration and pivoting it has created.

I am inspired by how COVID-19 has allowed us a new luxury of SILENCE to make some sense of the unknown and find peace and solace within ourselves to Fall Forward.

In this issue we celebrated the spirit of collaboration with our office building partners - Robinson Hill Architecture and LandCreative Inc. to share a wider perspective of interiors, architecture, and landscape design in the current times.

We also had the opportunity to interview Bill & Caty with Terrapin Bright Green, some visionary thinkers about their new book “Nature Inside” - fresh off the press and hitting the stores this month. They share their practical knowledge on how to implement a biophilic lens into your design toolkit to enhance your process and create added benefits of wellness and health into your design.

We hope you enjoy our collaborative content, as much as we loved the process of researching, creating, and thinking.

c o l l a b o r a t i o n

Lorraine Francis, AIA, LEED BD+C Design Principal lorraine_francis@cadizcollaboration.com www.cadizcollaboration.com

4

Where we were, are, and are presumably headed, in the work environment. A brief observation of how the workplace has changed, and continues to evolve. Whether trying to encourage a more productive atmosphere, or combatting health concerns, the office environment and protocol remains in a fluid state.

By John Hill, Principal Architect https://www.rhainc.net/about-rha/ our-people/john-steven-hill Robinson Hill Architecture, inc. www.rhainc.net

The last half year has made us all look back longingly to different, previously more carefree times, when our social interaction, and social gathering spaces were unfettered by the restrictions of this new world, that we find ourselves living in today. Humans by nature are social beings, and have the innate instinctual need and desire to congregate, interact and coalesce. Something this current pandemic has literally put a near stop to (‌at least in any form that we had known prior!), and we as it’s herd, are left to navigate new, safe and inventive ways, to yet still satisfy that social need, that we as humans long for.

As design professionals, we are now not only tasked with conceiving of circumventing solutions to avoid complete isolation in the short term, but also the real challenge of applying built-in, parametric thinking for future design solutions of social public spaces. This will be an interesting and exciting discussion to observe and participate in, as it plays out in the global health dept. community, academia, public safety/planning agencies, and the development industry’s private sectors. Who all have yet to learn and discover within themselves, how much they will be able to step forward, to demand or provide, the required land/value sacrifices, to meet the undoubtedly forthcoming, new public planning standards and codes, of the healthy and safe new world of tomorrow.

One thing is clear: this will be a unique, paradigm-shifting time of learning, educating, dissemination of new ideas, fresh perspectives, and revaluation of existing principles and ideals that we as a global population, are sure to meet the challenge thereof head-on, in our striving to reconnect within our social environments and fabric. As creative designers, we welcome these opportunities to grow, be problem solvers, and look forward to the challenge.

By David Salkowitz, Director of Design LandCreative Inc. https://www.landcreativeinc.com 5

"Silence is an empty space. Space is the home of the awakened mind."

-Buddha Given our busy and often hectic current lifestyles, our ability to quiet the mind has become increasingly challenged over the years. The digitalization of our communication forms has accelerated our tendency to fill nearly every waking moment with some type of stimulus. From beeping alarms to flashing text alerts, from incoming emails to a deluge of types of entertainment at our fingertips, it can be challenging to find stillness and calm in the center of this modern maelstrom.

Many of us are so unused to true quiet that we even utilize white noise machines in order to lull ourselves to sleep. This kind of constant visual or auditory input can lead to undue stress on our emotional and physical health. It's no surprise that humanity is beginning to examine ways to combat the clutter and chaos of continual sound and digital chatter.

With the advent of COVID-19, we have all been spending more time indoors, and as a result, more time focusing inward. We feel this trend will increase on a macro level and will continue to be extremely influential on the world of design. In this essay, we"ll concentrate on history, health impacts, practices, and materials to utilize in the design field to create and augment the design aesthetic of silence.

6

SILENCE IN

H O S P I TA L I T Y

D E S I G N L A N G UA G E

by Lorraine Francis from Cadiz Collaboration

7

8

1

For as long as humans have cohabitated, there has been a need for personal quiet and seclusion. Whether observing spiritual rituals in the retreat of a separate shelter, retreating to the study at the end of the day, or creating a separate space for meditation and reflection, we have always had an innate need to find ways in which to disconnect from our more social daily practices.

HISTORY AND HEALTH to be falling out of fashion as industries and consumers alike are pursuing simpler and more natural visual landscapes.

As noise pollution has increased, so have the detrimental effects on all life forms, human beings included. National Geographic reported that in addition to hearing loss, exposure to loud noises can cause “high blood pressure, heart disease, sleep disturbances, and stress.” It can also lead to hypertension, memory and concentration disturbances, anxiety, depression, and dementia. As decibel levels continue to rise globally, our need to retreat rises commensurably.

Quiet has become a rare commodity as the psychological need to stay connected via email, social media, and other digital platforms creates a fear of missing out on critical information if we “unplug” for even a moment. It follows that a certain segment of people are now actively trying to cultivate silence both internally and externally.

Whether through private meditation or yoga practice or in seeking out silent retreats, spas, and other businesses, the desire for stillness has never been stronger.

Allowing oneself to “power down” the mind enables them to later emerge refreshed and ready for new input. It allows us to process data and focus on our own thought, and improves memory function and creativity.

And silence has evolved beyond just an auditory state in terms of the design world.

Visual “noise” can be just as invasive as we navigate a world filled with flashing digital screens, high contrast patterns, loud colors and other forms of optical chaos.

Prolonged focus on computer screens with continuous incoming data can contribute to mental overload and fatigue. Studies have suggested that visual noise can even exacerbate migraines. Previous design styles that tended towards maximalist aesthetics like layered colors and busy art collages seem

As a contrast with the effects of noise on our health, the effects of silence are quite remarkable, leading to reduced stress, better memory, improved sleep, and even the production of more brain cells in the hippocampus and recovery of cognitive ability. Quieting the mind also increases focus, creativity, and productivity. So how do we best achieve auditory and visual silence in the context of hotel design? Much like with any design process, we can begin with a blank canvas and first focus on planning the physical space itself.

SILENCE AS HOSPITALITY DESIGN LANGUAGE

9

2

SILENCE IN SPACE

As we first approach a space, we must evaluate the desired functions. A lobby has a very different set of functions than that of a guestroom. Within each space, we must ensure that the need for silence is actively met, often by carving out areas of refuge or retreat by providing a sense of seclusion.

In either case, we can achieve this through a variety of methods, such as minimalism and biophilic forms.

Minimalism has been recognized as an aesthetic in American design since the 1960’s, although it has been around for much longer in many cultures and is rooted in Zen philosophy. Minimalism has been trending over the past decade as a key component of creating a soothing design.

But many misunderstand the language of minimalism, equating it with emptiness or monasticism. What it truly seeks is to encompass that which is necessary and useful in order to express true form. In the world of design, it can embrace concepts like geometric deconstructions, a reduction of superfluous ornamentation, and the use of ethereal hues and organic textures.

Just as some travelers gravitate towards open communal seating areas, others may prefer a partially encased privacy nook where they can experience a sense of calm.

Providing that kind of functional flexibility in public spaces will be key moving forward.

We expect to see more creative carving out of spaces, perhaps first as a temporary measure. Gone are the days of simply trying to maximize seating in public spaces.

Utilizing the idea of organic pathways defined by flooring patterns is one way to help gently lead guests to deliberately designed zones of visual and auditory quiet.

In guestrooms, reducing hard surfaces, and eliminating jarring color combinations can

10

aid in a sense of calm, as can creating quiet reading corners and spa like experiences in the bathrooms. As we embrace travelers’ more individualistic needs, we continue to find new ways to curate simple, tranquil spaces to be more compelling and nurturing to all.

Biophilia is a powerful tool to aid in creating quiet, Zen-like areas. By incorporating nature-driven patterns, materials, and shapes, we are able to reduce the impersonal feeling of hard lines and boxy architecture. By making a commitment to using greener materials, we see benefits in both the resulting aesthetics and lowered environmental impact. Biophilia also enables us to utilize locally sourced materials that not only have a smaller carbon footprint; they can root travelers’ experiences to the nearby surroundings and create more meaning.

We talk more about biophilic principles in our interview with Bill Browning and Catherine Ryan Balagtas of Terrapin Bright Green on page 58. It can be used in creative path finding throughout public spaces, offering organic routes of discovery, allowing individuals to curate their own experience with the space. With this method, guests can naturally gravitate to areas of refuge, like a well-positioned reading corner or a meditation garden.

When choosing a location, it is important to consider ambient noise in adjoining areas, as well as proximity to more heavily trafficked areas. Quiet areas may be better placed at the perimeter of an active social zone, or within designated recesses away from the main lobby lounge. In guestrooms, a window seat can be a wonderful opportunity to create a space for relaxation and rejuvenation.

SILENCE IN HOSPITALITY DESIGN LANGUAGE

11

3

Once the location is determined and the associated spaces have been planned, what attributes combine to make a space feel calm and inviting? A number of methods come into play, such as using muted color, soothing lighting, tactile surfaces, relaxing scents, and auditory solutions. Design silence can be attained most effectively by considering as many of the five human senses as possible.

On a visual level, the utilization of a quiet color palette in the framework of the space helps to soothe the eye and relax the mind. A muted color palette that avoids high contrast juxtapositions and pops of louder colors can add a sense of centered sophistication to a design. The basis of this lies first in the finishes of the walls, ceilings, flooring, and millwork. Focusing on colors found in nature and natural stone, wood, and other organic materials creates the quiet canvas on which furnishings and accessories can play.

Lighting design in a space is extremely important to help create silence. Whenever it is possible to take advantage of natural light, large windows should be incorporated.

This also can maximize a view to the natural surroundings, which strengthens biophilic connections. Of course, not every room is one with a view, natural light is not always sufficient for all needed tasks, and evening light levels must be effectively addressed.

Happily, there have been many recent innovations in the field of lighting that have resulted in more natural appearing LED options. More and more of these are becoming dimmable for added flexibility and a wider range of color temperatures and lumens is available now than ever before.

The closer we get to the tones and qualities

12

of natural light, the better for our circadian rhythm and wellness.

Human Centric Lighting takes this a step further, as a holistic approach to examining and reacting to how each aspect of a lighting system can affect the user, including mood, productivity and well being. By incorporating tunable white lighting, it is possible to adjust lighting to be more blue-white during daytime hours and more amber closer to the evening, which mimics the setting of the sun. This practice is believed to help regulate our natural rhythms and encourage proper production of melatonin, leading to better sleep.

The sense of touch is essential in the hospitality environment as well. While it comes into play more actively in furnishings and fabrics, it is also a part of the atmosphere created with textured millwork, flooring, countertops and other built components that create the overall atmosphere of a space’s framework. The feeling of cold concrete on a hot summer day can create a lasting sense memory for the user, as can the warm textured tile of a pool deck underfoot. By adding tactile stimuli, we increase the chance for moments of connection and memory building, which helps root guests’ experience and recollection of the space.

Hospitality brands have been using scent for many years as part of their overall branding efforts.

By creating signature scents that travelers can associate with their hotels, they strengthen the emotional experience of their guests. The science of aromachology has shown there is a relationship between scents and human brain reactions, and the activation of particular emotions.

acoustic paneling and sound baffling is less possible.

When baffling is possible, there are many emerging acoustic panel solutions that are far more aesthetic than standard partitioning.

And incorporating natural materials into the architecture creates opportunities to have sound baffling as part of the designed environment rather than as an afterthought.

Some of the organic materials that can be utilized in panels or architecture are wood pulp, bark, felt, wool, cork, moss, and even PET felt, made with recycled plastic. Panels can be placed on ceilings as sculptural formations, used on walls, and as creative room dividers. These types of elements can go a long way towards creating frameworks for spaces that feel private, calming, and pleasantly silent.

Scents can also be designed to augment particular activities or times of day, utilizing more stimulating scents in the morning like grapefruit, eucalyptus, rosemary, lemon, and peppermint. As silence in design increases, hotels may do well to include stress reducing scents as components in their signature, including clarysage, frankincense, chamomile, and lavender.

Given that the sense of taste is more connected to cuisine, the last human sense we’ll address in the hospitality design sector is sound itself- the most obvious component of silence as a design aesthetic. Utilizing biophilic sounds of running water or crackling fires is a popular method of bringing a biophilic alternative to white noise into public spaces. These types of features can also help mask tertiary noises, especially where

SILENCE IN ATMOSPHERE SILENCE IN HOSPITALITY DESIGN LANGUAGE

13

SILENCE IN MATERIALITY

4

Once the space is designed and the environment is created, the final and perhaps most easily tangible stage of a silent interior design can take place through the use of functional and decorative items and materials. These can include softly shaped furnishings, natural fabric textures and layering, biophilic carpeting, thoughtful lighting fixtures, organic artwork, and abundant greenery.

When it comes to furnishings, form and fabric can both help create soothing pieces. We might place wingback reading chairs in corners, serving to cocoon the user in a zone of reduced auditory input. Or we may include organic wood formations in table tops and furniture frames, sweeping lines that tie in with formations found in nature.

Forced uniformity of furnishings yields to the desire to create individual zones for more specialized use. And employing

14

fabrics that have a calming tactile feel and understated hues augments the overall silence of a space.

What’s underfoot carries great importance as well. Carpeting and area rugs can go a long way towards fashioning a space that feels quiet, both in a visual sense with understated, elemental patterning and in an auditory sense by adding to sound dampening in the overall environment. Busy patterns and louder color combinations that were popular in years past are being replaced by carpeting that mimics wood grain, flowing waters, and amoebic formations.

Decorative lighting fixtures augment the sense of calm in a space through their physical shape and through the quality and level of light that they emit. They can also serve as a way to carve out and delineate spaces for certain types of activities. Boxy lamps can be replaced with more sculptural, dimmable sconces. Reading lights can be

subtly incorporated into guestroom pieces.

Lower Kelvin temperatures can create a more relaxed, residential feel throughout spaces.

Artwork has often been used to enliven a space, but it does not need to do so through use of bright color or frenetic collage. By using vintage black and white area photos, recycled objects, and biophilic forms, artwork and decorative accessories can provide an area of focus without being a strong visual disruption. Fractal patterns, landscapes, florals and other natural imagery can help to relax and rejuvenate, adding to a feeling of quietude.

Biophilic use of greenery can be as simple as adding a few potted plants in a lounge area to large scale plant installations that help create a visceral connection between outdoors and indoors. Green walls and vertical gardens are a great way to bring nature inside without taking up much

real estate. Adding any sort of planting helps quiet a space by bringing a sense of relaxation and calm to the observer.

Plants also improve focus and mood and have been also shown to clean the air of toxins and help regulate humidity.

From the planning stage through installation of a design, silence is clearly becoming a crucial consideration in our changing field. As travel continues to be impacted by COVID-19, introducing and strengthening methodologies that promote quiet on multiple sensory levels will only increase. The need for refuge, stillness, and opportunities for inner reflection will drive many travelers to seek out those experiences in hotels that make them feel safe, healthy, and valued.

SILENCE IN HOSPITALITY DESIGN LANGUAGE

15

THE FUTURE OF OUTDOOR DINING SPACES

by David Salkowitz from LandCreative Inc.

16

Going out on the town for a meal has long been a way to socialize, celebrate, and feel a sense of community and connection. More recently, dining out has been somewhat replaced by delivery and take out options, but the human need to be amongst others is helping to drive major industry innovations and adjustments. In many ways, these changes require quite literally “thinking outside of the box� as indoor operations prove particularly challenging.

Since the emergence of COVID-19, restaurateurs, architects, and custom manufacturers have been hard at work developing models for the future of dining. These modifications can be as simple as employing paperless menus or adding special receptacles for temporary mask storage, or as complex as upgrading HVAC systems and increasing natural ventilation.

17

PUSHING PAST THE BUILDING ENVELOPE

Across the board, devising ways to create six feet of separation between indoor diners while maintaining a feasible profit margin has been tricky at best. As a result, many in the restaurant industry are finding ways to increase their outdoor dining areas. This can be accomplished through permitted expansion into existing parking lots or “streeteries” where city-sanctioned street closures foster dining area expansions and pedestrian-friendly areas.

These types of adjustments are certainly a quicker remedy than costly interior renovations, which create both architectural and HVAC impacts. However, simply moving tables outdoors is not sufficient. In fact, it typically removes the carefully curated design and resulting ambience of the restaurant interior. Some European restaurants have opted to create transparent “greenhouses” to help isolate outdoor diners, but these have a somewhat clinical feel and are cumbersome to clean between guests.

EXISTING AND FUTURE ROLES OF PARTITIONING

According to the NCCEH, “Partitions are proposed to serve three critical functions: 1) intercepting the respiratory droplets that are thought to transmit the virus, 2) re-enforcing physical distancing requirements, even when users are unwilling or forgetful; and 3) reducing reliance on masks, both due to the shortage of these items and user comfort. However, if staff and/or clients will be unmasked on opposing sides of these partitions, it is essential that the partition has been designed, installed, and maintained such that it effectively prevents the co-mingling of droplets (and aerosols) produced by both parties… Because partitions are intercepting respiratory droplets, they must be treated as contaminated surfaces and should be cleaned regularly according to a set protocol. “ Given that every square foot of outdoor space translates to profit margins, the need for creative partitioning becomes obvious. In considering both the aesthetic and practical challenges to outdoor dining, it seems clear that six feet of separation diminishes both profitability and a sense of social togetherness. As we think about the balance of intimacy with aesthetics, we believe that new ideas in landscape elements can be a key component in the dining experience.

We have been developing some models for movable landscape partitions to strike a balance between privacy and community, safety and a sense of normalcy. One such model involves a slim rolling planter with a removable and cleanable plexiglass core and exterior trellises for ivy and other greenery. These mobile components can be quickly shifted to accommodate different dining group sizes. They can also be rolled into discrete areas for thorough cleaning between diners.

18

24 seats, without green barriers

32 seats, with green barriers

lobby/bar elevation THE FUTURE OF OUTDOOR DINING SPACES

19

20

Metal panels with open patterns can also offer a thin design solution. Plexiglass would be installed in between the metal panels for safety. *panels made by DM Braun & Company.

THE FUTURE OF OUTDOOR DINING SPACES

21

FURTHER INNOVATIONS IN SEPARATION An additional component of lighting in the structure of these planters and partition framing can serve several purposes. It can provide much needed illumination for diners and servers, create ambiance, and even provide sanitation, in the form of UVB lighting wands. Such wands are currently being implemented to create selfcleaning partition shields for casinos.

Considering the common recent use of plexiglass and the resulting scarcity and rising costs, it may also be beneficial to explore alternate transparent materials. Transparent sheets that are thinner could be stored in tightly rolled formations and be more easily replaced between dining groups.

The planter partition framework can provide entry channels to slide these materials in and out, which could be accomplished while the planters themselves remain in place. If the material is able to be recycled, it could be disposed of between guests, reducing the costs involved in labor and cleaning.

22

THE FUTURE OF OUTDOOR DINING SPACES

Green Barrier 23

LANDSCAPING AS EXTERIOR ARCHITECTURE From a landscaping perspective, the addition of greenery helps to disguise the safety barrier and assists in creating a sense of harmony with nature and a biophilic sense of well-being. The plantings also provide soft surfaces that can assist with sound dampening in outdoor areas surrounded by asphalt and other solid building materials.

As fully customizable units, there are also opportunities for branding and creating striking multi-functional elements.

Looking at a wide range of weather conditions, it may also be feasible to incorporate top mounted directional fans or radiant heat into the bases of these units as dictated by seasonal conditions.

Below you can see some studies of the seat counts in various design configurations and ways in which table spacing can be optimized with the use of these partition units.

24 seats, without green barriers

24

To restaurateurs, of course, what is especially attractive about these mobile partitions is the potential for safely adding an increased level of outdoor seating. Due to interior HVAC concerns and the higher level of disease transmission without proper ventilation, interior partitions would still need to be used in conjunction with six foot distancing.

But in open air environments, closer spacing may be able to be implemented, increasing revenues considerably. We expect that outdoor dining will continue to be desirable beyond the limits of the current pandemic, which will certainly drive the need for creative landscape solutions as a way to carve out safe communal spaces.

32 seats, with green barriers THE FUTURE OF OUTDOOR DINING SPACES

25

HOW OUR WORK ENVIRONMENT EVOLVES

by John Hill from Robinson Hill Architecture, Inc.

Adaptations and innovations in our physical and cultural work environments have been increasing at an almost exponential rate. Over the last 100 years, we have advanced from the majority of the workforce having singular task based functions to a more diverse multi-tasking platform. Not only has this increased the skillset of today’s worker, it also invigorated the work environment.

26

27

In this time, even though automation and technology have phased out certain types of jobs, technology has provided new types of jobs to replace those it has displaced. Service-based jobs have increased dramatically while goodsproducing jobs have been declining steadily.

Living standards, life expectancy, education, healthcare, and incomes have been on the rise for many.

In a symbiotic relationship, businesses have developed their own internal practices and corporate cultures in an attempt to create mutually beneficial partnerships with their employees.

There are certainly more changes to come, which run substantially deeper that the recent social distancing restriction of COVID-19. As the pace of technology and globalization continues ever upward, so must healthy workplace practices and philosophies.

28

CHANGE AS A CONSTANT

01

Looking back to the idealized American work culture of 1950’s and 60’s, it was common for most men and some women to commute to an office and work from 8 AM to 5 PM Monday through Friday. You might have expected to retire after 20 years of service at the same firm. In this context, there was a clear divide between our private homes and work spaces. For better or worse, it is clear that that physical separation has faded quickly, particularly over the last several years.

CULTURAL SHIFTS

02

With the advent of telecommuting, added flexibility in working hours, and the rise of temporary contracts and the gig economy, the lines between home and office have often become blurred, and at times erased. The days of a single breadwinner per family along with a single caretaker of the family are largely past. Workers are expected to be increasingly available and often to correspond in real time with clients and vendors on the other side of the globe.

Resultantly, the attempt to disconnect from the “Big-TechTether”; dubbed the “always on” work culture has become more and more vital.

HOW OUR WORK ENVIRONMENT EVOLVES

29

03

COLLABORATION AND ACCOUNTABILITY IS CLIMBING A positive side effect of globalization and the flexibility it provides seems to be a shift from workplace competition to environments of more collaboration. With the refined workforce being sourced down to the proactive driven individuals, there is more opportunity for collective collaboration. Now it is possible to interview, hire and integrate team members from around the globe. This engenders more collaborative teams that truly represent the best the world has to offer, rather than just the best talent available within a particular geographical market.

These types of teams have many tools at hand that make their communication and workflow much easier and more consistent, like Microsoft Teams, Skype, Slack, and Zoom.

30

HOW OUR WORK ENVIRONMENT EVOLVES

31

32

04

CREATIVITY = PRODUCTIVITY

In the last 10 years, workers have been focusing more on company culture and growth opportunities rather than solely on monetary compensation. Prospective employees are more likely to research companies they are considering before accepting a position, or even submitting an application. Forbes reported that Mercer’s 2018 Talent Trend indicated that the three most important factors that candidates are looking for include workplace flexibility, working with a sense of purpose, and the company’s commitment to health and wellbeing.

Major players like Google, Microsoft and Apple have changed workplace culture to embrace the idea of “Creative Atmospheres”, in which work is becoming more of a complete way of life.

Microsoft has embraced the idea that creativity and productivity are synonymous. Within these newly fashioned creative environments, the intent is to make work as comfortable as possible, encouraging: dedication, immersion, and concentrated effort.

HOW OUR WORK ENVIRONMENT EVOLVES

33

05 WORK AND HOME HAVE MERGED Believing that “a healthy mind is a productive mind� leads to accommodations like flexible work hours, working from home, or blending work into daily life.

Rather than separating work from our daily lives, companies have been steadily enhancing the work environment, so it can be integrated into everyday life. This practice is ultimately healthier for both the mind and the product. When the mind suffers, the end product suffers as well.

With emails, DM, texting, and other informal 24/7 platforms, the line between work and home has all but vanished. This raises the question of what, if any, areas of personal life and work should be kept separate. Recent social distancing impacts have exposed some challenges in this arena. Some people work more effectively at home while isolated from coworkers and some do not. Therefore, having clear goals and objectives is critical for a healthy balance.

Setting schedules and allowing for breaks within the work day can also lead to better focus and productivity and reduced stress.

34

HOW OUR WORK ENVIRONMENT EVOLVES

35

06

APPROACHING ADJUSTMENTS

COVID-19 has further affected the working landscape, allowing for far more remote work than previously thought possible. Companies have had to make quick adaptations to survive and thrive in a changing environment. Given these impacts and the uncertainty of when many businesses would be safe to reopen, physical changes within office environments are imminent.

Initially, we are likely to see a reduction in how many employees are onsite at a time, with flexible shifts of worker cohorts. Changes to the built environment may include workspace partitions, more open air areas for meetings, the removal of communal break rooms, and cleaning and HVAC modifications.

Ultimately, we may also see an overall reduction in large workspaces, as it has become clear that remote work is not just feasible, but creates less overhead and stimulates flexibility.

When daily commutes have been eliminated, overhead costs have been reduced, employer trust has been established, and creativity, communication and productivity are all on the rise, returning to previous work practices may seem less palatable to both companies and workers. It remains to be seen what lessons and adjustments will be incorporated long term once the pandemic has cooled. But we can say with certainty that the modern working environment will continue to shift and adapt with the times, as it has from its inception.

36

HOW OUR WORK ENVIRONMENT EVOLVES

37

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

by David Salkowitz from LandCreative Inc.

The effects of COVID-19 on our world at large are still being accounted for and may have ramifications and untold ripple effects for years to come. This farreaching pandemic marks the first time in recent history that all countries and their citizens are experiencing a challenge together on a global scale.

Although reactions and policies have varied widely, one shared result has been a renewed focus on the importance of communal green spaces and outdoor activities.

Current innovations and future urban planning seek to address a variety of emerging human needs. Whether a quick fix like taping off selected benches in a public park or advanced solutions engineering new multi-functional civic areas, city planners and landscape architects are hard at work adapting to our changing environment. From the desire to experience culture, the drive to maintain mental and physical health, and the yearning to connect with nature, now is an unprecedented time to devise new ways of connecting safely.

In this five part essay we’ll examine emerging trends in outdoor performance events, pedestrianization initiatives, landscaping trends, civic considerations and permanent vs. temporary changes in our exterior public environments.

38

39

EVOLVING OUTDOOR EVENTS

40

Live performance has been particularly hard-hit by the novel coronavirus. The prospect of large indoor gatherings reconvening will remain uncertain for some time. Theater, dance, cinema, and concerts have been shuttered around the globe and artists and promoters have been working to find safer outdoor alternatives. The LA Times recently reported on Berkshire Theatre Group’s mounting of an outdoor musical replete with safeguards like digital tickets and programs, masked audience members, mobile plexiglass shields, socially distanced seating and touch-less performance between the artists.

Advance ticket sales for the show have been impressive, indicating that audiences are eager to return to live performance provided that the viewing conditions are safe. Actors’ Equity Association approved the production only after BTG could show that the production met both state and Equity guidelines and protocols. As the first live show to be granted permission by the AEA union in the country, this benchmark production may provide a road map for other companies to follow to produce safe live performances well before a vaccine is available.

Looking towards the cinema, a typical night at the movies has taken a turn to a bygone era, as drive-in theatres experience resurgence across the U.S. Wal-Mart announced a partnership with the Tribeca Film Festival where they will screen

outdoor movies at 160 of their store locations.

The drive-in concept has also extended to music concerts, with many acts adapting stadium shows to fit into existing parking lots nationwide.

We may see these existing lots be adapted into more aesthetic spaces with surrounding greenery as time goes on.

The concert industry is finding other ways to adapt and finding ways to hold properlydistanced and safe events outside. In the UK, The Virgin Money Unity Arena bills itself as the world’s first socially distanced outdoor concert venue and recently had their debut performance.

Thousands of attendees enjoyed the show from individual pods placed with ample open green space surrounding each enclosure.

It remains to be seen how smaller performance venues will find ways to move outdoors, but the human desire for community and artistic expression is clear. Providing public spaces like parks and civic centers for performance may well become inherent in city planning, which could bolster our flagging performance industries and provide access to segments of the community not previously able to participate. Reinvigorating small amphitheatres and converting unused lots into flexible performance spaces for more modestly sized audiences could also expand opportunities for artistic engagement.

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

41

CITIES RESPOND IN THE STREETS

42

Examining trends in civic responses to the pandemic, it’s clear that cities across the globe are enacting policies to foster physical and mental health through increased access to outdoor spaces. Exact responses vary depending on cultural expectations and infection rates, but the creation of “slow streets” has been increasing in large metropolitan areas.

Prompted by their comparatively low viral case count, officials in Vilnius, Lithuania are promoting tourism through the pedestrianization of eighteen streets. Four streets in Old Town will be permanently car free, with the exception of a few hours for necessary deliveries. Other cities across Europe have been looking to Lithuania’s model as they work to reinvigorate tourism in their flagging markets.

Brussels, Belgium has shifted their city center to become an interaction zone in addition to increased bike lanes.

Berlin is converting parking spaces into cycling lanes and shifting transit hours to correspond with various workplace shifts with a 50% capacity reduction. Paris, Milan, and other major European centers are also expanding their cycling paths significantly. The Mayor’s Streetspace Plan in London anticipates a five-fold increase in walking and a ten-fold increase in biking once lockdown restrictions are eased.

The slow streets initiatives are actively reducing traffic, one of the most positive adaptations we’ve seen as a result of the pandemic. As we see fewer cars on the roads, we have gained wider views, better air quality, and more room for healthier physical activities. Redesigning public transit with flexible commuting times and reduced traveler capacity will make transit safer on every level. Companies that continue to allow remote work and stagger shift times will aid in these trends.

The opportunity to rethink the ways in which we travel and their frequency will have far reaching if not permanent impacts.

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

43

Here in the US, the movement to increase pedestrian and cycling space is rapidly growing in our larger cities.

In New York, the Transportation Department will reconfigure 40 miles of streets to increase pedestrian access, which will total 100 miles of increased access for as long as the health crisis endures. San Francisco has implemented a Slow Streets program, and nearby Oakland is closing 75 miles of streets to cars temporarily. Oakland is also permanently converting 10% of its streets for biking and walking.

Los Angeles has implemented slow streets programs in several neighborhoods, but the current distribution raises equity concerns as they are not yet located in lower income communities. Addressing this will require more concerted efforts by community groups and city leadership. Nearby Huntington Beach is working to close several blocks of Main Street to traffic and expanding outdoor dining, retail, and pedestrian areas.

44

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

45

46

In many of these cities, parklets are cropping up as a way to expand dining and socializing areas on city streets. Incorporating platforms with lightweight seating and surrounding greenery and bollards helps to maintain social distances and provides safety and flexibility.

The use of high-impact polyethylene and low-density polyethylene and other similar sanitary furnishings allows for easy power washing and routine disinfection.

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

47

FLEXIBILITY AND ORGANIC LANDSCAPING TRENDS

48

Outdoor spaces are proving more essential than ever as people seek a refuge from their largely interior-based lives, especially those confined to small apartments without exterior areas.

Urban assets like plazas and parks are no longer being viewed as extraneous spaces, but as vital elements for mental and physical health. From the beginning of the pandemic, landscape architecture has been emerging as an area for hope and progress within the larger design, engineering, and construction sector. The focus on public spaces has gained worldwide momentum as cities around the globe work to create additional recreational space and foster safe social distancing in the process.

Flexible, expansive spaces are being planned that can accommodate a variety of activities simultaneously or easily shift to host larger events when feasible. Designing spaces that

consider gatherings and configurations of all sizes is key. Multi-tier linear pathways that can serve different activities may come into play, such as separate paths for different recreation modes and activities. Devising and engineering different width paths for activities like walking, running, and biking can allow for both safer social distancing and less opportunities for inadvertent collisions or slow-downs.

Another trend in landscape architecture is the concept of “rewilding� our shared urban spaces, allowing nature to take its course. This serves dual purposes of helping to lower maintenance costs and personnel needs while also contributing to a more organic and environmentally-friendly aesthetic. In letting go of the highly manicured and segmented greenery practices of the past, we encourage a more genuine biophilic connection to the natural world.

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

49

Eighteen Main, Irvine, CA, Architect: Robinson Hill Architecture, Inc., Landscape Architect: LandCreative Inc., Contractor: 50

Less regimented forms in landscaping also create opportunities for incorporating areas of relative seclusion within larger green spaces. Given that people currently feel safer in smaller groupings, we may see more shaded alcoves with limited seating, distanced table arrangements, and other areas that promote a sense of refuge and security.

These types of thoughtful considerations, along with amenities like additional hand washing stations and restrooms, easily cleanable surfaces, improved bike storage, and even solar charging stations can go a long way towards making people feel more comfortable gathering outside of their homes.

As landscape architects examine and implement strategies like those above, humanity will reap the benefits of increased access to outdoor spaces where they can feel connections to nature, physical and mental health, and their local communities. We believe the effects of these changes will be far-reaching, and that the renewed desire to be outdoors will endure far beyond the limits of our current global health challenges.

Driver SPG, Owner: EMMES

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

51

4

CIVIC CONSIDERATIONS

COVID-19 is not the first crisis cities have adapted to, and it certainly won’t be the last. Were it not for the Great Fire of London, civic planning to space out buildings may not have been implemented. Major earthquakes have taught cities like San Francisco how to rebuild and engineer structures to withstand such impacts. Modern sewage systems resulted from deadly cholera outbreaks. All of these cases required new ways of looking at architecture, infrastructure, and the growth of our communities.

There is increased understanding that our public spaces are essential infrastructure, but there is still a long road ahead for adequate support and adoption of methodologies that will properly bolster public health and reap social and environmental benefits. Having access to shared green spaces reduces social isolation and fosters a sense of belonging. This strengthens a sense of ownership within the community, leading to healthier neighborhoods on every level.

The slow streets initiatives we’ve previously discussed are actively reducing traffic, one of the most positive adaptations we’ve seen as a result of the pandemic. As we see fewer cars on the roads, we have gained wider views, better air quality, and more room for healthier physical activities. Redesigning public transit with flexible commuting times and reduced traveler capacity will make transit safer on every level. Companies that continue to allow remote work and stagger shift times will aid in these trends. The opportunity to rethink the ways in which we travel and their frequency will have far reaching if not permanent impacts.

The perception that high density cities have the potential to spread viruses more quickly naturally leads some people to relocate to lower density areas for increased safety.

However, this is a fallacy that creates concentrations of lowerincome inhabitants in urban areas and skews the diversity of communities both economically and socially. The denser neighborhoods and public spaces are, the more vibrant the community tends to become. Denser cites also are more energy efficient, assisting in lowering climate change. Striking the balance between safety and seclusion is paramount in the planning of our shared civic spaces.

Also important is the concept of creative placemaking, defined as the process in which “partners from public, private, non-profit, and community sectors strategically shape the physical and social character of a neighborhood, town, city, or region around arts and cultural activities.” Creative placemaking influences our public spaces in myriad ways, including fostering a celebration

52

of local history, including community feedback, and providing focus of the current culture.

Implementation of public art commissions like murals and sculpture can help make our parks and green spaces more vibrant and connected to artists and other community members.

Developing and hosting cultural activities in these public spaces is a way in which to bridge divides and provide opportunities for citizens to actively engage and to create new traditions that can have long term positive impacts, much like the community gardens we mentioned previously.

One of the most critical aspects to bringing people together in outdoor spaces as we move forward will be building a sense of trust.

In order to achieve the goals of community building and public safety through creative placemaking and improved public transit, we must first foster confidence through proper methodologies and the communication and civic outreach surrounding them.

Local artists will be more apt to contribute to a group mural if they are assured that there will be adequate hand washing stations and a schedule to allow for adequate physical distancing throughout each phase of the project. Commuters will be less wary of taking the subway if they have first been educated through the media about new protective measures that have been added. Citizens will be more likely to feel comfortable having a picnic at a park if they know that benches and tables have been replaced with more virusresistant materials and are being regularly disinfected.

As we incorporate these adaptations in our civic policies and procedures, we strengthen and expand our ability to respond more dynamically to future challenges. Designing to bring people together, to heal distrust, and to foster open communication creates an invigorated community that feels a sense of ownership in their neighborhoods and local initiatives.

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

53

5

INTERIM VS. PERMANENT CHANGES

Given how many adjustments we have made to the ways we function, move, exercise, and interact in the world since the beginning of the pandemic, much remains to be seen as to which adaptations will stick, and which will fall by the wayside. Will the slow street movement change the ways in which we commute and play to such a degree that they become ubiquitous? Will access to otherwise crowded trails be limited by a need to schedule in advance to reduce congestion?

It’s feasible that the changes in our current habits will create an even larger demand for public spaces, less reliance on car travel, and overall healthier lifestyles. We may see a significant reduction in fixed work schedules, allowing for more use of public transit.

Being exposed to cleaner air during our lockdowns may foster a greater appreciation for environmentalism and change the ways in which we travel and interact with nature.

Many studies have exemplified how too much screen-time and a lack of connection with the natural world can lead to depression, obesity, and other serious health concerns. By getting outdoors more for exercise, we improve both our physical and mental health in terms of

54

better digestion and cardiovascular conditions, reduced hypertension and BMI, and enhanced memory and mood.

Land-use planning will continue to be of vital importance to help our cities evolve our spaces for not just the current crisis, but to have the flexibility to more readily accommodate future changes and needs. Many landscape architects will find themselves advocating for these changes amidst heightened budgetary difficulties as cities deal with competing funding priorities. Pushing for the growth of urban tree canopies, green space expansion and modification, and reduced maintenance and water use are more important than ever before and will necessitate a higher level of community engagement and consultation, and more widely-accessible public meetings.

Questions remain as to whether changes to public design will require significantly more physical space and whether developers will be willing to support those needs, sacrificing square footage at a potential loss of revenue.

Will municipalities drive the trend towards more open green space by adopting code changes that make such modifications a requirement of new builds and renovations?

Centerview, Irvine, CA, Architect: Robinson Hill Architecture, Inc., Landscape Architect: LandCreative Inc., Contractor: Swinerton, Owner: EMMES

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

55

Landscape architects can help with educating local leaders and stakeholders from public and private organizations about the short term and long term benefits of developing green and blue infrastructure by pointing to global examples such as Utrecht, Netherlands. The city has been implementing these types of environmental infrastructure goals since 2007.

By restoring much of their original canal structure, increasing green spaces, and creating nature-based solutions for climate adaptation, they are paving the way for improved air quality, cooling, noise-reduction, biodiversity and water cleaning and storage. They are also increasing environmentally sound opportunities for recreation and sporting activities.

The real challenge will be in convincing leaders and stakeholders to increase blue and green infrastructure by not only expanding public outdoor areas, but also investing in integrative approaches that consider proper cohesion with concurrent civic planning initiatives. While not all of these changes will happen overnight, introducing and continuing to advocate for these practices will have dramatic positive outcomes in the long run.

Beyond the immediate fiscal landscape, it is possible that the forced introspection that COVID-19 has created has made us collectively value outdoor spaces more than we did previously. This invigorated appreciation could help turn the design tide away from simply maximizing interior square footage to a more expansive view that considers the overall health of our planet and inhabitants. As little as 20 minutes a day of connection with nature has been associated with improved health and wellbeing, so it is easily conceivable that increased exposure to the natural world can yield even deeper impacts and rewards.

56

Eighteen Main, Irvine, CA Architect: Robinson Hill Architecture, Inc. Landscape Architect: LandCreative Inc. Contractor: Driver SPG Owner: EMMES

In terms of return on monetary investment, our mental, physical, and societal health may be less quantifiable commodities in the short-term. However, we believe that as society’s expectations of accessible green spaces continue to be expanded and expressed, these health aspects will eventually be recognized not just as intangible benefits of greening our world, but as significant revenue drivers in the hospitality, retail, and office sectors as well.

The sooner that the realization that land is a type of “natural capital” occurs on a more global scale, the better for our collective future and that of the earth at large.

THE FUTURE OF OUTDOOR PUBLIC GATHERING SPACES

57

INTERVIEW:

by Lorraine Francis from Cadiz Collaboration

BILL AND CATHERINE OF TERRAPIN BRIGHT GREEN ON BIOPHILIC DESIGN The work of Bill Browning and Catie Ryan Balagtas of Terrapin Bright Green has long resonated with me. Bill is a founding partner of Terrapin Bright Green, which focuses on sustainable biophilic design solutions, and is a top innovator and strategist in the green building and real estate industry.

Catie is the Director of Projects at Terrapin and for over 12 years has been concentrating on environmental and biophilic design, systems integration, strategic planning, and regenerative design.

I recently spoke with Bill and Catie to discuss their exciting new book launching September 2020, Nature Inside: A Biophilic Design Guide, the history of Terrapin, and the evolution of biophilic design, which aims to connect nature to the modern built environment to satisfy our inherent human need for organic connections.

58

59

Lorraine Francis: Thank you both so much for speaking with me today. As a bit of background for our readers, how many years has Terrapin Bright Green been in existence?

Bill Browning: Since August 2006. I had left Rocky Mountain Institute in 2004, where I had started a group called Green Development Services, then left to be a real estate developer and the Director of Design for a new project in Virginia. And we had a team that completed the design and got all the approvals in place and had the project financed. We were beginning construction when the two families that owned the project went through spectacular divorces, so I went back into consulting.

Two friends of mine, architects Rick Cook and Bob Fox, had formed a new LF: We have spoken on quite a few panels on our firm Cook+ Fox to design the Bank mutual passion, Biophilic Design, and now you and of America Tower in New York and Catie have just released your new book; “Nature Inside: they were getting a lot of requests to A Biophilic Design Guide.” What led you two to write a do green building consulting. They comprehensive book on biophilic design? didn’t really have the bandwidth to do it and decided to reach out to me and Catherine Ryan Balagtas: We had written other see if we could partner and create a publications in the past The Economics of Biophilia new entity to do that consulting. So in and The 14 Patterns of Biophilic Design being the August of 2006 we launched Terrapin best known of them. And we had been receiving Bright Green. requests over time wondering when we would be writing an actual book. We were fortunate that RIBA Publishing came to us with this book idea and asked us if we or someone we knew would be interested in writing a book about biophilic design for interiors.

So we contemplated it for a while and decided this is something that we wanted to do. We also recognized there was a need for it. There have been a lot of books about theory and practice at a high level and there are case studies out there as well, but nothing that really put it into an applied design perspective. Our emphasis in the book was to bring it down to a really practical level. How can you bring biophilic design into your existing design practice? So we’re not introducing a new process, we are adding a biophilic lens to assist with guiding design decisions. It gives designers a newly informed perspective based on health and well being in nature.

60

LF: That’s excellent! Bill, going back to your experience on the Bank of America Tower in New York City in 2006, where did the whole interest for biophilic design comes into play? How did you see that evolving?

BB: Well, biophilic design was actually one of the components of the design of the Bank of America Tower itself. It’s something that started for me in the 1990’s at Rocky Mountain Institute when we were doing research on productivity and green buildings, and were finding some pretty amazing results. I really wondered how you would maximize the full effect and got introduced to the concept of biophilia through the environmental psychologist, Judith Heerwagen, who teaches at the University of Washington, and does research for the federal government. Her early career had actually started with looking at how to improve zoos for the animals, and they realized that if you created exhibits for the animals that were more like their real habitats that animals had much better outcomes. The animals were healthier and happier, more likely to breed and didn’t have the pathological behaviors characteristic of animals that were just in cages.

She thought that was interesting, given that most of our office design is very much like these cages.

CRB: Judith has also gone on to say that zoo design is actually decades ahead of office design. That we do not currently design spaces to meet our basic needs from a psychological standpoint. I’ve often thought it would be great to put photos of office spaces with a sea of cubicles next to zoo design from the 1890s and compare similarities.

INTERVIEW WITH TERRAPIN

61

LF: So, you and Judith elaborated on this research into the office work environment while at the Rocky Mountain Institute?

BB: When I was at Rocky Mountain Institute we wrote a publication called Greening the Building and the Bottom Line that was collection of early case studies of improvements in worker productivity and green buildings. My co-author on the publication, Joe Rohm, worked with the U.S. Department of Energy in the Energy Efficiency and Renewables Group and had some budget for this type of work, and at that time Herman Miller was completing a brand new factory building designed by Bill McDonough. There were going to be 700 people moving out of a windowless factory into this brand new facility with incredible day lighting, surrounded by restored prairies and water features.

62

It was a great opportunity to do an experiment on that topic, and Judi was part of the team for that. She’s actually the one who introduced me to the concept of biophilia as the basis for the research hypotheses for explaining why people might do better in this new building versus the old building. It played out in a really interesting way in that the building operated in three shifts and not all shifts saw the same gain in productivity. The really significant gain in productivity was the daytime shift, whereas the nighttime shift didn’t show a gain. We came to realize that even though the building had great lighting and all these conditions were the same, it was during the night time that the employees couldn’t see the view to the outside. We realized it wasn’t just lighting design, but it was actually that connection to nature that made the difference.

LF: I love that! When did you formalize the 14 patterns plus the new 15th pattern “AWE”, how did you designate the three main categories of patterns to create your publication?

BB: It’s kind of longer story, we had helped Steven Kellert to do fundraising to put together the first conference on biophilic design in 2004 and it eventually led to the book Biophilic Design. One of the chapters was written by myself and Jenifer Seal Cramer. We realized there were all these different pieces and patterns out there as we were writing. We put together a list based on all the materials of about 72 different items and as designers we realized that was just way too many to sort through.

We also realized that they seemed to fall into three broad categories. The first were direct experiences of nature, which we called Nature in the Space. The second category was representations of nature, which we called Natural Analogs. The third was related to the three dimensional characteristics of the space itself, which we called Nature of the Space. Within them, we could then express various concepts and ways of experiencing nature.

CRB: So regarding the 14 patterns, we didn’t select that as a number. The categorization really came from digging into the science and which ones actually had the most robust science to support them. There are certainly more patterns out there but ultimately the number of patterns is less important because our goal was to tie the patterns directly to science. Our 14 patterns focused on having enough science to comfortably

say they were recurring themes in nature that have a distinct impact on the human experience and have characteristics that can be applied to the built environment.

The 15th pattern “AWE” was one that we had talked about over the years but initially there wasn’t enough distinct science to give it its own pattern. We first thought of it as the result of experiencing a series of patterns together, but the research had evolved since 2014. Bill, you’ve actually spent more time in that realm, what’s your perspective?

BB: We’d suspected there was a pattern related to the experience of “AWE”, but we couldn’t quite find the mechanism in the brain that triggers it or how it is triggered and what the response was. We knew that, yes, people experience AWE walking up to the Grand Canyon or into a great cathedral, but it wasn’t until more recently that we finally saw evidence of what causes the response. It’s essentially an overloading of many different centers of the brain and it all rushes forward to the medial prefrontal cortex (a support center for memory and decision making), which lights up all at once.

This overload causes you to stop, your heart rate to change, your mouth to drop open, and your eyes to open wide. It’s a very distinct physiological response and the psychological response is equally interesting. You tend to be more humble, you tend to be more charitable, and you tend to exhibit more pro-social behaviors after having an awe experience, which may be one of the reasons why “AWE” is so prevalent in religious architecture around the world.

INTERVIEW WITH TERRAPIN

63

LF: Are there other patterns that are currently fascinating you as well?

BB: Water sound and the presence of water is one that I’ve focused on over the last couple of years, in particular the whole impact of psychoacoustics, which is the sound that your brain listens to, as opposed to the many competing sounds coming into your ear. In any instant, every sound around you is coming into your ear, which you can’t process all at once. The brain has to choose what it’s going to listen which is why noise distraction is a huge issue in offices and a lot of other spaces. The question has been what’s the best masking sound? The best masking from a pure acoustics standpoint is white noise. That’s if you were just doing an acoustic treatment, but the response in the brain is different. The best masking sound for the human brain is the sound of moving water like a stream or a small waterfall. If you add water sound to an environment it will totally change people’s perception of the space.

LF: Is “AWE” one of the most interesting and unexpected biophilic patterns for you?

BB: Well, “AWE” can happen not just through visual triggers, music or auditory triggers can do it as well. There are different ways of experiencing awe, but maybe most people associate with a visual experience, those are the ones that people remember the most.

64

Also, I’ve been spending a fair amount of time looking at fractals and biomorphic forms, partially as a strategy where maybe I can’t place plants, or I can’t do a lot of other things, or I don’t have much budget, but I can do carpet or wallpaper or things like that.

I was part of a team that did an experiment in a school in Baltimore, just implementing carpet tiles, wallpaper, blinds, and ceiling tiles having either biomorphic forms or fractals as part of them and watched what happens with students across the year.

We saw dramatically improved academic performance and significant improvement in stress recovery, amongst sixth graders in the biophilic classroom compared to those in the otherwise identical control classroom.

LF: It’s fascinating to me. It’s so true and simple how our bodies respond to this connection. How did the book research process go? What did you discover from the book versus what you’d done in the past that may have been a fun discovery?

LF: That’s extraordinary. I’ve actually been developing a new line of textiles and some have the essence of water in the way they’re textured. So I’m using that whole idea of fractal patterning as part of the story.

BB: It’s really interesting stuff. There’s a whole team at the University of Oregon, built around the physicist Richard Taylor.

He got into the topic because was looking to replicate the way the neural networks work in the eyes- the processes, images, and how the eye works. There’s a fractal nature to it and he started looking at how we respond to them. Fractals occur a lot in nature, in things like a fern leaf or the dappled light under a tree. When you see what they’ve been doing in neural science experiments, and then see those sorts of patterns in human designed objects, it becomes clear that we’re predisposed to know what they are and respond positively to them. Actually, just seeing them in fabrics and other human created items lowers our stress level because the brain is already fluent in them, it’s called fractal fluency. Our brain understands what those are, and it takes less energy and less effort to process them before creating a relaxation response.

CRB: One thing was the realization while trying to figure out how to differentiate this book from what we’ve written in the past, was to focus on process, as opposed to the more theoretical language that has been used by others. We came to realize that biophilic design is not a process.

We wanted to stress the point, that this is not something that needs to be a new or different approach. We don’t want to upend people’s design processes; it can be folded into an existing process. Bill had used the word “lens” and I think “lens” or any similar word is good that can get us to filter or guide design decisions based on a desired outcome or experience. We also started to focus on this being about experiential design, a way to talk about biophilia when we’re not speaking so technically about the science.

INTERVIEW WITH TERRAPIN

65

LF: Yes, I actually tend to phrase biophilic design the same wayevery designer has their toolkit so this is another lens that you add to your toolkit and make informed design decisions.

CRB: I think it’s also important to emphasize that it’s not about replacing a different strategy. There doesn’t have to be a cost associated with it, it’s decisions that you were going to make already, only now you have another way to filter down or to prioritize your options. A very easy example is with an upholstery or carpet selection, when you have to give the client three options. Why not give them an option that’s biophilic, or maybe all three options are biophilic? You don’t even have to bring biophilia into the conversation. If you provide them with three options that are biophilic, they choose one of them based off the aesthetics or cost- it becomes integral to the design process and you ultimately end up with a biophilic solution even if it wasn’t a distinct strategy; it was just an underlying theme that ties the whole concept together.

LF: Yes, that’s how I see it. Revisiting what happens in the brain when we experience biophilia, how do we simplify it to translate it to a layperson?

BB: What we’ve come to learn is there are very distinct brain responses to experiences of nature and they tend to fall into several different categories: ones that help reduce your stress; others that can help your cognitive performance; and some that enhance your mood.

CRB: Yes and some that stimulate creativity and curiosity, which can also be associated with performance.

LF: Out of those four areas, what do you feel gets the most play, or the most recognition?

CRB: The first two- reduced stress and cognitive performance.

BB: Probably the stress recovery in particular. Yes, because it gives us healing rates, office performance, and classroom performance. Let’s face it, we are in a fairly stressful society and right now is a particularly stressful time, so if reconnecting with nature helps to lower our stress then that’s a really good thing.

66

LF: Speaking of our current times, are you working on anything new, highlighting your biophilic principles and practices in new ways? Or are there any new discoveries?

CRB: In addition to getting the word out about our new book, we’re always looking to expand our discussion on application from interiors to a more holistic scale. We’re also thinking through what the role of biophilic design is in offices in light of COVID and how do we need to think about permanent versus semi-permanent or adaptable change to existing spaces. One example would be if more partitions are going up, can they be planters instead of just solid partitions? Planted partitions provide that necessary buffer.

You actually see it a lot these days on streetscapes with outdoor restaurants, where lots of the partitions are vegetated planters. It’s great to see that, but I could see that happening on interiors as well.

BB: We’re also working on a new community project in the Hudson Valley. Part of it is really thinking through the biophilic experience that can be created in light of the community that inhabits it.

INTERVIEW WITH TERRAPIN

67

LF: Since your book is so focused on interiors, do you have any takeaways for our readers that they could utilize in their own homes?

CRB: The book actually has a fun, extensive list of resources in the appendix. There’s a toolkit for practical application, where we really tried to distill down the tools that you may already use, but then we layer in this biophilic design perspective. These are tools that can be incorporated into your learning process or design process.

The toolkit is really a great resource for anybody who’s trying to up their game or get more acquainted with biophilic design.

BB: Another easy one is if you’re in a windowless space even just a poster, photograph, or painting of nature can make a big difference.

CRB: Right, if you don’t have a great view, it provides a different kind of “window.”

And that reminds me of one of the focuses that we’ve had in working with some of our hospitality clients in particular and it’s an interesting point that we like to reiterate. That having a fantastic view of nature or a landscape is ideal but it’s not always possible and the preferred view may not be out the window. So how can you rethink your interior space to create a preferred view? Maybe that means adding a poster or art work or some other biophilic installation that can draw your attention to it rather than a less attractive exterior view. I think that’s possible to do anywhere in any kind of space.

68

LF: Is Is there any kind of quantifiable result from a biophilic view that you have seen?

BB: Yes, even just looking at a picture of nature for 40 seconds will cause the brain to quiet down a little bit and you’ll come back with better cognitive performance after you’ve had that little break.

CRB: I would say having the depth of view, the depth of field to allow you to look up and away for 40 seconds would be another tip to utilize. I realized after quarantine had started I’d set up my desk in my apartment to only give myself two feet of depth, facing a white wall and I had to reconfigure the layout. I had all these plants in my apartment, but they were behind me, and my window has a pretty cool view, but it had a chaise in front of it. It worked when I was sitting at it for breakfast, but not as my work space. Reconfiguring didn’t require a lot of design effort; I just needed to give myself a little bit more depth of view and better daylight. If you’re not accustomed to working from home all the time, the orientation of your desk may not be that important. Now that you are working from home more often, or even all day, you may want to rethink your office space.

LF: I can relate to that. I have a sit/stand desk in my office with a little bit of a window view, so I attached an acrylic bird feeder to the window, and when birds come to visit, it helps draw my eye and give me a visual breather and some entertainment.

CRB: That’s a great way to improve your likelihood of looking up and away and getting distracted just for a second. It doesn’t take your focus off your work, but it does give your eyes a break and your brain a little simulation. So a birdfeeder is an inexpensive way to incorporate biophilic design.

LF: Looking ahead, is there any kind of future innovation that you think is important regarding sustainability and connection to nature?

BB: Really the whole conversation about biophilia, and how we can use it is to help improve biodiversity.

CRB: Yes, and as both a public health strategy and proactive environmental strategy.

LF: Great! Thanks again so much for your thoughts today and for all of your innovations in this field. I greatly look forward to reading the book! I already preordered it on Amazon.

This interview has been edited for length and clarity.

Nature Inside: A Biophilic Design Guide Synopsis: Biophilic design brings positive experiences of nature into the built environment. Whether in a domestic, work, leisure, healthcare, education or retail setting, the health benefits are measurable.

Nature Inside’s case studies and photo examples illustrate how and when biophilic design can be implemented as an approach to supporting psychological, physiological and cognitive wellbeing. With practical guidance, real-world solutions and a versatile toolkit that can be directly-applied in day-to-day practice, this is a must-have for designers interested in optimizing the biophilic experience for a project.

INTERVIEW WITH TERRAPIN

69

C A M B R I A H O T E L S A N T A C L A R A

by Lorraine Francis from Cadiz Collaboration

70

We are excited to start construction this fall on our newest Cambria Hotel in Santa Clara, CA. Minutes away from some of the most innovative companies in the world, but also rich with local sports teams, university culture, and outdoor recreation activities, reasons abound for travelers to choose this vibrant new property as their ideal Bay Area accommodation.

The design was inspired by nearby Big Basin’s redwoods in California’s first National Park, dating from 1902. We aimed to capture the sense of awe and reverence of the world’s tallest trees, ambassadors from another time that leave an indelible mark on all who encounter them. While we have been deeply concerned by the impact of the recent California 2020 fires in the area, we are also heartened to learn of the continued resiliency of these redwood giants, many of which are in the process of recovery as another phase in the natural cycle.

This majestic forest and Big Sur vibe led us to create a tranquil palette with a sense of stillness, utilizing tones of umber, russet, moss, and golden pops. It was important for us to incorporate natural materials, modern vertical lines, honest craftsmanship, and refined details to create spaces that are cool and inviting, casually tailored and timeless. From the lobby registration desk showcasing wood formations suspended in clear acrylic to the purposefully curated furnishings, we’ve aimed for a sense of sanctuary and mystical woodland wonder. Our biophilic design aesthetic manifests in softly curved seating and casegoods; soothing forms of expression to help guests recharge and connect from inside and outside.

71

In the bar and indoor lounge, the terrazzo floor suggests rays of light penetrating through tree leaves and is juxtaposed against the hewn wood panels. The pool and outdoor lounge areas are grounded by a grand tree encircled with a wood slat bench and casual seating, offering opportunities for meaningful interactions. The art throughout the public spaces features an eclectic mix of antique photography, organic formations, and hightech visions, striking a balance between yesterday and tomorrow.

72

CAMBRIA HOTEL SANTA CLARA

73

The guestrooms are a calming respite from the technology forward sense of place, where the nature-based color palette continues, adding a sense of the deep, soft shadows of twilight through pattern and texture. A witty collection of art pieces will grace the walls, mixing antique floral sketches with bursts of amber blossoms and local ephemera. Wooden barn doors open to reveal the bright, sleek bathrooms boasting illuminated mirrors, soothing tile, and gleaming brass fixtures.

Working with our client, brand, management, architectural, purchasing, and vendor team to create a vision of economical sophistication, approachable luxury with a focus on nature and health has been a rewarding and refreshing journey, and one that we hope guests will thoroughly enjoy.

Stay Healthy- Travel Safe!

74

CAMBRIA HOTEL SANTA CLARA

75

P E O P L E W E L O V E !

by Lorraine Francis from Cadiz Collaboration

76

We have been deliberate about growing and cultivating our company culture. To stay on purpose, one key for us is to work and collaborate with like-minded people and companies. Our vendors are an important part of our collaborative process and are essential to us in finding innovative methods or materials to enhance the design story of each of our projects. Connecting a property to its surroundings and community is important at Cadiz Collaboration, and no detail is ever too small.

!

Out in the world, you never know where inspiration may find you. On a trip to the famous Rose Bowl Flea Market, we chanced across a collection of colorful plumbing valves. At the time, we were collaborating on our artwork for the Cambria Hotel Sonoma with Kevin Barry Fine Art and were focusing on pieces that spoke to the agrarian landscape of the local region.

Immediately, this grouping of well-worn valves brought to mind the beauty of ordinary farming equipment and irrigation systems. The hard work and planning that goes into the raising of crops, the cultivation of grapes, the love and care with which the soil is tended. But how could we incorporate them in a way that would be both aesthetic and impactful? Knowing that our consultants led by Allison Barry at KBFA would happily brainstorm with us, we simply bought the lot of them. What resulted was an artful collection, highlighting that ordinary objects can become extraordinary. We simply framed each one separately to celebrate its unique color, size, and beauty into a collective behind the bar walls.

77

78

This assemblage led us to other focal pieces that incorporated existing objects in creative ways, like the rustic display of wooden cutting boards we placed near the dining area- another way to tie into the agricultural aspects of the surrounding area. In fact, the majority of the pieces we developed with KBFA further strengthened that connection to the natural world outside the walls of the hotel. Being on a limited budget, KBFA was creative to expand our design with limiting our framing, animating our sizes, and dividing canvases into multiple linear pieces to create unexpected moments and shadows to catch our guests’ eyes.

You will find vintage photography of the area, native botanical assemblages, re-imagined landscapes, and pieces that evoke the spirit of aerial photography throughout the property.

We are so excited to share a few images of what resulted from this exciting collaboration and hope that you can experience them firsthand on your next trip to the region. KBFA is also working with our team on the Cambria Napa hotel. We are putting the final touches on this art collection to celebrate the boutique uniqueness of Napa and our focus on creating a welcoming accessible luxury feel for our new hotel opening late fall.

PEOPLE WE LOVE!

79

R H A

F E A T U R E

P R O J E C T

Balboa Yacht Club, Newport Beach, CA, Architect: Robinson Hill Architecture, Inc., Construction Manag

80

B A L B O A Y A C H T C L U B : U N E X P E C T E D B E N E F I T S In 2016, RHA was commissioned to renovate the Balboa Yacht Club, originally established in 1922.

Though the program scope had been defined from years of preparation, there were multiple priorities to be considered, given a fixed budget. Improvements included new boating lockers, a new ADA elevator, as well as countless deferred maintenance items. One item which seemed inconsequential was the introduction of a small service bar on the lower lever, facing the waterfront flag deck. For years, the club utilized a small portable event bar for drinks and libations. The club decided to integrate this small service counter into the project scope. Though it was expected to serve as much value as the old portable bar, we had no idea how helpful this upgrade would serve to be. Within 6 months of the club renovation being completed, the country was hit with the Covid-19 virus epidemic. As with most facilities, the club was essentially closed; however, given the outdoor dining option, in accordance with County Regulations, this little service counter ended up paying for itself in folds. Given its internal access to F&B supplies, and direct access to the 8,000 s.f. waterfront flag deck, this little service counter was paramount in the survival and success of the club, over the recent Covid shutdowns. In retrospect, this added scope had more impact on the 2020 bottom line than any other facility upgrade: an underestimated benefit.

ger: Willard E Dunlap, Contractor: Slater Builders, Inc.

81

We would love to hear from you!

Please reach us at : lorraine_francis@cadizcollaboration.com www.cadizcollaboration.com 3195 B Airport Loop Drive Costa Mesa CA 92626 949.667.2508 O 949.922.0591 M