Get the light right

When I started in the world of interior landscaping, many years ago, the plants were usually the last thing to go into a building. Unless there were some big planter beds and atriums where trees and large-scale planting would be planned, most plant displays were in standalone planters.

This meant that interior landscape sales and design specialists were often brought into a project very close to the end of the design process. Furniture was in place and the lighting was installed.

A designer would visit the location, measure the light precisely where the plants were to be positioned and (usually) order the right plants for the prevailing lighting conditions.

Things have changed. Plants seem to be struggling where once they thrived, and it may not be as a result of poor plant quality from the growers, or poor maintenance by the interior landscapers.

Indoor lighting has changed

On 17 November 2025, I was fortunate enough to attend the second International Biophilic Design Conference in London. It was a packed day with several standout presentations. One that struck me as important was given by Ulysse Dormoy on the subject of light.

Ulysse Dormoy’s presentation spoke mainly about the role of far red (FR) and near infrared (NIR) wavelengths and their impact on human health. These wavelengths are just beyond the visible spectrum, and are essential for human health. This energy penetrates soft tissue and drives the reactions that take take place in mitochondria – organelles in every living cell (plants as well as animals) that power life.

The modern built environment – especially office buildings – relies on highly efficient LED lighting to illuminate our spaces. Modern, energy-efficient LEDs used in offices are often optimized to peak in the blue spectrum and only a narrow band of red (which is difficult to achieve in LEDs without losing efficiency) – this is fine for vision.

However, LED lights are almost devoid of the NIR and Far-red components prevalent in both sunlight and older light sources, such as incandescent and fluorescent lamps. Couple this with the treatments applied to glazing to minimize excess heat getting into buildings from sunlight, then we have a problem that might affect human health.

For humans, the absence of NIR means the loss of a key input for mitochondrial health, called photobiomodulation (PBM). This may lead to impaired cellular energy management that is thought to be linked to accelerated aging and reduced healthy lifespan.

So what?

What has this to do with biophilic design and, from my specialist point of view, interior plants?

As far as light is concerned, interior landscapers are faced with two problems. The first is light measurement and knowing whether there is enough for plant health.

Conventionally, interior landscapers measure light using instruments that measure light intensity – measured in lux (or footcandles in North America). When interior lights were incandescent or fluorescent, then measuring light intensity was good enough. Indoor lights of this type produced wavelengths that were good for photosynthesis and there was a close enough correlation between light intensity and photosynthetically active radiation (PAR) to mean that measuring light intensity was acceptable. Indeed, for decades, interior landscapers have relied on data sheets for indoor plants giving a range of light levels in lux (or footcandles) to aid specification.

PAR is a more accurate measure of useful light, and is measured as photosynthetic photon flux density – PPFD. With changes to lighting technology, PAR measurement might be the only way to understand what light is available to plants.

a PAR meter showing the light spectrum inside a building

PAR is measured using much more expensive instruments than light intensity meters (shown above). Unfortunately, no readily-available data exists for the PAR requirements of interior ornamental plants (although it does for salad crops, herbs and other plants grown in indoor farms). So even though the cost of PAR light meters is falling, without a reference point, interior landscapers don’t really know if the lighting in an office is going to be correct. Who knows how many micromoles of photosynthetically active photons per square metre of leaf surface, per second, are need for the optimal growth of a peace lily? I don’t, and I’m supposed to be an expert!

The second problem we face is akin to the human health angle.

Phytochromes

Just as humans need near infrared light for health, so do plants. Plants, like animals and fungi, have mitochondria. But they also rely on changes in the proportion of red and far red wavelengths to drive physiological processes that are not part of photosynthesis. These are the phytochrome reactions. The phytochrome system controls several growth and structural responses in plants, which govern the plant’s architecture and life cycle.

The phytochrome system functions as a molecular switch that allows the plant to perceive its light environment, particularly whether it is exposed to direct sun or under the shade of a competing canopy. This perception controls critical developmental processes.

Phytochromes are a family of chromoproteins that primarily absorb light in the 600–750 nm range. There are two interconvertible forms, distinguished by their maximum absorption peaks. The biologically inactive state, P_r (which stands for red-light absorbing form) is the default form synthesized in the dark. The biologically active state, P_fr, (which stands for Far-red light absorbing) is typically required to initiate developmental responses like germination or to inhibit stem elongation.

Red light (approximately 660 nm) is the activating signal. Exposure to red light quickly converts the inactive P_r form to the active P_fr form. A high proportion of P_fr signals full sunlight, triggering responses such as:

the promotion of seed germination (in light-requiring seeds),
inhibition of stem elongation (to maintain a compact, high-light-adapted form), and
induction of flowering in some plant species.

Far-Red Light is the deactivating signal. Exposure to far-red light quickly converts the active P_fr form back to the inactive P_r form

The Red:Far-Red (R:FR) ratio and interior landscaping

As the sun tracks across the sky, and as seasons change, the ratio of red and far red light in the spectrum also changes. For optimal non-photosynthetic, light-driven processes, the wavelengths are not just about intensity, but about the ratio between the two main absorption peaks.

The Red:Far-Red (R:FR) ratio is the environmental parameter the phytochrome system is primarily able to sense, providing a crucial mechanism for shade avoidance. Direct Sunlight (High R:FR ratio of approximately 1.1–1.2) is natural, unfiltered light, which is rich in red light, leading to a high proportion of the active P_fr form. The plant perceives this as optimal growth conditions.

Canopy Shade (Low R:FR ratio of approximately 0.2–0.7) is found when light passes through a plant canopy. Chlorophyll strongly absorbs the red wavelengths (used for photosynthesis) but transmits or reflects the far-red wavelengths (which are less useful for energy fixation, but good for mitochondrial health in animals, such as humans). This skews the light spectrum toward far-red, rapidly converting P_fr back to P_r.

When the R:FR ratio drops (due to shade), the plant registers an urgent need to escape competition. This shift to the inactive P_r form triggers the shade avoidance syndrome, resulting in rapid stem elongation (etiolation), petiole extension, and suppression of branching. This isn’t an adaptation to low light, but an emergency response to get into brighter light.

The built environment challenge

As explained earlier, modern, high-efficiency LED lighting often lacks or is deficient in far-red and NIR wavelengths compared to older light sources. For indoor plants, a lack of the far-red signal (730 nm) can prevent the proper establishment of the shade-avoidance mechanism. If the R:FR ratio is skewed too high by narrow-spectrum red LEDs (a common energy-saving configuration), the plant may struggle because it loses the far-red component. This is critical for growth and development processes tied to phytochrome A, which is the primary photoreceptor for FR responses. Even though the plant is photosynthesizing, its morphological development is regulated by a spectral signal that does not fully mimic the complexity of the natural sun/shade environment. This leads to suboptimal plant architecture and poor acclimation.

Office buildings are dark places compared with the outside world. Even on a cloudy, winter day, daylight is several orders of magnitude brighter than that which is found indoors in even the most brightly-lit office. Our eyes adapt quickly to low light levels, but plants can’t.

The plant’s phytochrome system primarily detects the R:FR ratio to determine if it is under a competing canopy, not the overall photon density. In an indoor environment dominated by typical lighting (high in blue/green wavelengths, but little FR), if the light source is a standard LED or fluorescent lamp that has some red peaks but very little Far-Red, the R:FR ratio will be high (similar to direct sunlight). This results in a response suppression. The plant maintains a high level of the active P_fr form of phytochrome, signalling “full light.” This suppresses the shade avoidance syndrome (etiolation).

However, there is another problem.

Far-red light is not just a signalling mechanism. It is also an efficiency booster for photosynthesis itself. This is called the The Emerson Enhancement Effect. Essentially for indoor plants, by completely removing FR from the indoor light spectrum, modern LEDs seem to be reducing the overall efficiency of photosynthesis. This makes the plants less efficient at utilizing the even the low light quantities they do receive. This further exacerbates their struggle. Therefore, while the lack of FR prevents undesirable etiolation, it forces the plant into a compromise that prevents true low-light adaptation and limits the efficiency of its remaining photosynthetic processes.

The plant structurally maintains a compact, short-stemmed, sun-adapted form, but the actual photosynthetically active radiation (PAR) remains too low. The plant is tricked into behaving as if it is in high light when it is actually in low light. True, long-term low-light adaptation (shade adaptation) involves changes to the photosynthetic machinery, such as

Increased chlorophyll density (producing more chlorophyll per unit area to maximize the capture of scarce photons),
Thinner, larger Leaves that maximize the surface area for light interception and reducing the energy spent on thick, robust leaves.

This shade adaptation is a slow process and starts on a grower’s nursery and has meant, in the past, that indoor plants can cope with office lighting conditions.

However, a high R:FR ratio (due to lack of FR) actively inhibits these true shade-adaptation responses. The plant remains stunted but not acclimated. It is physiologically light-starved because its genetic programming, signalled by the high R:FR ratio, is telling it to stay structurally compact and save energy, making it struggle even more over time.

When incandescent and some fluorescent lights were used, the low light levels – which the plants could adapt to – they had the right R:FR ratio. Now, they don’t and indoor plants, which are well acclimated to low overall light levels, are struggling and not living as long.

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More greenery isn’t the same as more biophilic

The interior landscaping industry is doing very well at the moment. This is a good thing as it keeps me and my colleagues in work.

The demand for greenery in, on and around buildings remains strong. Architects, designers and facilities managers are planning their spaces to fully integrate plants into their designs.

The justification for all of this very welcome plant life is to improve wellbeing and make the office more welcoming. Employers are keen to attract and retain staff (those Glassdoor ratings aren’t going to write themselves). Commercial real estate firms need to get people through the doors in order to justify the existence of their cathedrals of capitalism. It doesn’t take too long before ‘biophilic design’ is mentioned.

I have written before about why just putting plants in buildings is not the same as biophilic design. I am increasingly worried that the phrase has gone beyond being a synonym for office plants and are now weasel words that are losing all meaning. However, that is not the purpose of this article.

Sense of connection

Biophilic design should be about creating a sense of reconnecting with our natural environment. Zoos design their animal enclosures to be as much like the natural environment of the animals as possible. This helps them to live as well as possible given their captive state. The human animal also thrives in naturalistic environments, but the modern office is nowhere near getting there.

I understand that buildings are easier to construct with lots of straight lines and right angles – and that’s fine. But the spaces inside don’t have to be like that.

The trend of the moment is cabinet-top (furniture-based) planting. I have written about the practical issues of this style of planting, so won’t go over those again. You can read about my gripes here and here.

No, the problem I wish to address here is how such planting reinforces straight lines and right angles, making the spaces even more artificial.

ai-generated images of a modern office with cabinet-top planting

Nature is pretty random. There are curves and undulations. Vegetation is clustered, scattered and varied. Sometimes you can see over long distances, other times, there are mysteries to explore. There are wide-open spaces as well as sheltered spots. All of this can be alluded to in an office, but so rarely is.

Ticking boxes

Interior landscapers are often presented with a set of floor plans with the furniture already specified. These frequently include cabinet-top planters (which are often far too shallow, but that’s a different issue). The layout is fixed. The interior landscaper’s creativity has been hobbled and the inevitable consequences are hedgerows and plantations.

These hedges and plantations allow boxes to be ticked. Vegetation is visible from the majority of workstations, even though it is uniform. Surfaces are free from clutter and circulation routes are well defined. You might even get a certificate to show how healthy your building is.

But, without the variation that could be introduced, that would bring a sense of connection with the outside world, that could draw the eye away from the screen – even if only for a few seconds – are these spaces really biophilic?

Be braver

Embrace the irregularity of nature. If even it isn’t as space-efficient, you might find that the benefits, in terms of wellbeing and performance, more than outweigh the cost of the odd curve here and there. If you need some help with that – take a look at my services page and get in touch.

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Houseplants and interior landscaping plants – what’s the difference?

Image of a young woman in a contemporary domestic living room surrounded by houseplants. Image generated by Bard Imagen ai

Are you a new or aspiring interior landscaping designer? Have you been inspired by the multitude of houseplant influencers that have been promoting the benefits of indoor greenery? Perhaps you are a houseplant enthusiast or influencer and you fancy a new career in commercial interior landscaping. Well, there are some fantastic career opportunities (and I’d be happy to put you in touch with good companies – get in touch). Maybe you run one of the new mail order houseplant companies that has dipped its toes into corporate horticulture. Are you wondering how to do it profitably?

If any of those apply to you, read on. Be prepared for some preconceptions to be challenged.

Read on even they don’t apply – I think you will find the rest of the article interesting anyway.

What has changed?

Over the last few years (pretty much since the end of the pandemic and the drive to get people back into offices), the interior landscaping industry has experienced something of a boom. A lot of interior designers are specifying plants and other elements of biophilic design, which is very welcome. However, many of these designs are clearly inspired by domestic interior design trends and Pinterest boards.

Last week (and not for the first time), I was asked whether the plants suggested by an interior architect would be suitable for an office. I’m afraid the answer was no.

Despite the drive for making offices more welcoming and home-like, using fashionable houseplants in the workplace can pose challenges for the interior landscaper.

Interior designer working on an office design that features plants. AI-generated image by Bard Imagen 3

All indoor plants have to be adaptable to low light and lack of seasonal variation. Interior landscape plants also have to cope with being in a more hostile environment. Office plants often have to contend with a dry atmosphere, irregular lighting (due to motion sensors), care on a three-weekly service cycle and possible abuse (usually accidental, occasionally malicious) by the users of a building.

On the other hand, houseplants – even if not watered or fed very often – are usually checked quite frequently. Houseplants can be moved around to take advantage of changing environments, treated for pests as soon as they appear, and are looked after as valued members of the household.

All interior landscaping plants will make good houseplants (assuming you have the space and the right environmental conditions). Not all houseplants are suitable for a commercial interior.

Why is that?

Inside of a modern office building in London. Image taken by the author. — This is not a house!

Offices and rainforests have a lot in common. The natural origins of indoor plants

There are over a quarter of a million species of flowering plants alive on Earth. About 500 or so will live as houseplants, but interior landscapers tend to use only a fraction of that number.

Understanding something about the natural origins of interior plants will help with the design and specification of successful and resilient planting schemes. It is important for a designer to know about plants’ environmental needs and how they interact with the indoor environment.

The range of plants interior landscapers use comes, broadly, from three distinct climate types. these are the:

Rainforests (tropical and subtropical). About 75% of interior plant species have their natural origins there,
Semi-arid areas (deserts and semi-deserts), which account for about 20% of interior plant species (including succulents and spiky plants), and
Mediterranean climate zones. These include not just the area around the Mediterranean Sea, but also areas with a similar environment, such as California, South Africa (The Cape) and parts of Japan, Taiwan, Chile, Australia and New Zealand (generally at altitude).

The rainforests and semi-arid regions are characterized by very little seasonal variation. This means that plants from these areas are well adapted to interior conditions. Most workplaces have pretty constant conditions all the year round – just like a jungle. The only difference is that instead of lots of rain, the plants are watered by experienced horticultural technicians.

Northern Queensland rainforest, Australia. Image taken by the author — Tropical rainforest in Northern Queensland, Australia
(image by the author)

The differences between a houseplant and an interior landscape plant

A lot of popular houseplants are easy to care for, as long as you don’t mind checking them every few days. They are often quite fast growing and also quite short-lived – although you can often take cuttings. Several species benefit from being moved around the house according to the season and availability of light. They are often quite happy on a windowsill (especially if the house is unoccupied during the day and window light is all they get). Furthermore, dealing with an occasional pest is quite easy – especially if you catch them quickly and can take the necessary time to nurture your plant back to health.

Houseplants are often grown to a different quality standard to those destined for the interior landscaping market. Root systems are often weaker and they have been grown on a nursery to promote lots of lush foliage. This makes them very appealing in a garden centre or DIY store. The retailer isn’t fussed if the plant doesn’t live too long. Most people assume that their dying houseplant is down to their own lack of green fingers. Houseplants are often quite small too, but if you are green fingered, they can be allowed to grow quite big.

Schefflera arboricola. 13 years ago, this was a cheap plant from a DIY store in a 15cm pot. Image by the author. — 13 years ago, this was a cheap plant in a 15cm pot, which I bought from a DIY store. Now it is well over 2m in height and still growing.

However, if you are a commercial interior landscaper, you need proven, resilient plants. These must be capable of surviving for several years in the hostile environment of an office. They have to be resistant to pests, they shouldn’t grow too quickly and they should be long lived. You also need them to thrive between service visits – and these could be three weeks apart (or more). You also need to use a different set of horticultural techniques, substrates and a different way of setting up the plant displays.

Where to learn more

If you would like more information about indoor plants, have a rummage around this blog. There are lots of posts, and more to come, about indoor greenery.

If you would like advice or training on interior landscaping, get in touch or join my mailing list (see below). You can also find out more about my services and training courses here.

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Cabinet-top planters: think of them as horizontal green walls

Shallow planter mounted on the top of office furniture

Over the last few years, office designers have specified cabinet-top planters (sometimes called furniture-based planters). They are rectangular troughs that are designed to hold several small plants – often a mixture of species.

These planters are often, they are rather shallow: 150mm to 200mm depth is quite common. They can look great, but they can also have some issues – especially if you have to maintain the plants in them.

I have seen increasing numbers of this type of planting not looking their best after a relatively short time. Sometimes, this is down to having a mix of plants that are incompatible with each other. (I have a training course about that, by the way – please get in touch). However, more often, it seems to be because the planters are very shallow. Office furniture designers – get in touch with a horticulturist (me, for example) before you design your planters. Some of your work is very sub-optimal. Why do you think 150mm depth is adequate?

Most of these planters take large numbers of small plants in a relatively small volume of growing medium. As a result, they tend get through water quite quickly. Because they are quite high (often above shoulder height), they are also tricky to water and groom.

Vulcaponics can work very well with furniture-based planters, but even they can struggle when the planter is especially shallow.

Most commercial interior landscaping companies have a service cycle of two weeks or more (three weeks is common in Europe). This is fine for larger, solo plants displayed in decent-sized planters. Three or even four week watering intervals are no problem, but this is a stretch for such small plants.

It strikes me that the best way to think of these planters is as a horizontal green wall. Green walls have large volumes of small plants in a relatively small space. They work because the watering element of plant care is managed by having an irrigation system, or hydroponic set-up.

Shallow cabinet-top planter with hydro-culture plants — Shallow cabinet-top planter set up with hydro-culture plants
Image by the author

Interior landscapers: you have options

First, you can shorten your service cycles. This will work, but will be costly. It might make planning of service schedules quite difficult if you have a mix of 2-week and 3-week cycles.

Second, try using more succulents and other low-water plants. This will also work, but you will need to check to make sure the light levels are high enough.

Next, do nothing but make sure you price in much higher plant replacement costs.

Finally, consider using hydro-culture for this type of plant display. This will enable you to stretch your service intervals back to three weeks. You will also solve many of the plant incompatibility issues that would arise from the species having different water requirements when grown in compost. This is the closest to a green wall in terms of care and maintenance.

Get in touch for advice, training or consultancy, whether you are an interior landscaper, designer or furniture supplier – I can help you get it right. Please also sign up to get my emails about my services and training programmes.

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Biophilia in the home: why you should take a warm shower, even if you are clean

Image of the head of a person taking a shower — Photo by Photo By: Kaboompics.com on Pexels.com

In my last post, I wrote about the benefits of incorporating non-rhythmic stimuli into the built environment as a biophilic design intervention. In both the home and the workplace, we can use such stimuli to add an extra dimension to our sensory experiences, which ought to improve our wellbeing and comfort.

In the home, one of the most potent things you can do to create a biophilic experience is to take a nice, warm shower.

A warm shower can be more than a utilitarian act of hygiene – it is a deeply pleasurable, biophilic experience. It engages so many of our senses: sound, touch, smell (if your shower gel is nice) and warmth in ways that can be both soothing and invigorating. This offers a good blend of physical and psychological benefits. One reason for this pleasure lies in the non-rhythmic sensory experience it provides, which is an important element of biophilia and our innate need to connect with nature.

Unlike the predictable, repetitive stimuli we often encounter in daily life, such as the hum of a computer or the ticking of a clock, the sensation of water cascading over the skin is irregular and varied. This non-rhythmic stimulation captures our attention without overwhelming is. The gentle, unpredictable patterns of water droplets hitting the skin can almost induce a meditative state, allowing the mind to unwind and release stress and provide a mental escape.

The skin, as our largest sense organ, plays a central role in this experience. When warm water flows over the body, it stimulates countless nerve endings embedded in the skin, sending signals to the brain that trigger the release of feel-good neurotransmitters like endorphins and serotonin. The warmth of the water also promotes vasodilation, improving blood circulation and creating a comforting, enveloping sensation. This tactile stimulation is deeply grounding and fosters a sense of physical and emotional well-being. Furthermore, the contrast between the warmth of the water and the cooler air outside the shower can heighten sensory awareness, making the experience even more vivid and enjoyable. These elements could be thought of as a multisensory ritual that not only cleanses the body but also rejuvenates the mind. A warm shower a profoundly pleasurable, restorative and essentially biophilic act – cleansing both mind and body.

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The sounds of falling water and the movement of shadows: the benefits of incorporating non-rhythmic sensory experiences into the built environment

fast-running water cascading over rocks. Picture by the author — Fast running water cascading over rocks. Picture by the author

Biophilic design has gained significant traction over the last decade or so as a way to support well-being, improve quality of life in built environments and even improve productivity. For some designers – especially people in my own industry of interior landscaping – this starts and finishes with plants. However, there is much more to it than just greenery.

I have written before about the need to stimulate all of our senses to be truly biophilic. One way to achieve this is by incorporating non-rhythmic sensory stimuli. These include elements such as the sound of running water, the sight of flickering flames, rustling leaves, or the sensation of a gentle breeze. Ambient scenting may also be considered a non-rhythmic sensory stimulus, although this is a much more complicated issue and worthy of a separate article.

The incorporation of non-rhythmic sensory experiences into the built environment can offer additional ways to enhance well-being, productivity, and overall quality of life by making the biophilic experience more rounded. This is one of the 14+ patterns of biophilic design recognised in the iconic report by Terrapin Bright Green (which has been recently updated in its 10th anniversary edition, and which is very much worth a read).

Image of the cover of Terrapin Bright Green report: 14 patterns of biophilic design - 10th anniversary edition

The science behind non-rhythmic sensory stimuli

Non-rhythmic sensory stimuli are characterized by their variability and unpredictability, which is in contrast to the often monotonous and repetitive patterns found in the artificial settings of the built environment. These stimuli are common in natural settings. Research suggests that such patterns engage our senses in a way that promotes relaxation, reduces stress and may even enhance our cognitive abilities.

One study Joye et al. (2013) suggested that non-visual sensory stimuli, such as the sound of water or wind, can significantly reduce stress and improve mood. The study found that these stimuli activate the parasympathetic nervous system, which is responsible for the body’s “rest and digest” response. It has been suggested that this could counteract the effects of chronic stress. Similarly, the visual unpredictability of natural elements, such as the movement of flames or shifting shadows as the sun shines through vegetation blowing in the breeze, might capture attention in a non-intrusive way, fostering a sense of calm.

shadows of folaige on a wall — Photo by Tim Mossholder on Pexels.com

Psychological and emotional benefits

One of the most significant benefits of non-rhythmic sensory experiences is their ability to reduce stress and anxiety. In a world dominated by structured routines and artificial environments, the introduction of natural, irregular patterns can provide some form of mental escape back to nature. For instance, the sound of running water, whether from a fountain, an indoor waterfall or even from an electronic soundscaping system has been shown to reduce stress, as measured by skin conductance (Alvarsson et al., 2010), something that could be valuable in high-stress environments such as some offices, hospitals, and schools.

Moreover, non-rhythmic stimuli can evoke positive emotional responses. The sight of dancing flames in a fireplace or the gentle movement of curtains in a breeze can create a sense of warmth, comfort, and nostalgia. These experiences tap into our evolutionary connection to nature, fostering feelings of safety and well-being. Over 30 years ago, Roger Ulrich (1993) wrote that exposure to natural elements can elicit positive emotions and reduce feelings of anger, fear, and sadness, which are often exacerbated by sterile, artificial environments.

Cognitive and productivity benefits

Incorporating non-rhythmic sensory experiences into indoor spaces can also enhance cognitive performance and productivity. Research by Kaplan and Kaplan (1989) on Attention Restoration Theory (ART) suggests that natural environments, with their innate variability, provide a restorative effect on mental fatigue. Non-rhythmic stimuli, such as the sound of a breeze or the sight of moving water, can serve as “soft fascinations” that allow the brain to recover from the demands of focused attention.

In the workplace, it has been suggested that the introduction of non-rhythmic elements might be linked to improved concentration, creativity, and problem-solving abilities. Anecdotal reports suggest that people working in environments with natural sounds, such as flowing water or bird songs, experienced higher levels of satisfaction and productivity compared to those in traditional office settings.

Similarly, the use of dynamic lighting systems that mimic the shifting patterns of natural light can help regulate circadian rhythms, improving alertness and reducing fatigue. Research carried out at the BRE and presented at the Wellness and Biophilia Symposium in 2019 showed a relationship (in some scales) between dynamic lighting and improved self-reported wellbeing.

Practical applications in the built environment

The use of non-rhythmic sensory experiences into indoor spaces is now being incorporated in some workplaces, and can be achieved through a variety of design strategies. Water features, such as indoor fountains or aquariums, can provide both auditory and visual stimulation. . Similarly, the use of natural materials, such as moss, foliage, wood and stone, can enhance tactile experiences and evoke a sense of warmth and authenticity.

An indoor water feature in an airport providing irregular sounds of falling water — An indoor water feature in an airport

In addition to these physical elements, technology can play a role in bringing non-rhythmic experiences indoors. For example, dynamic lighting systems that mimic the changing patterns of natural light can stimulate the brain not unlike being outdoors throughout the day and soundscapes that replicate natural environments, such as forests or beaches, can be used to create a calming atmosphere in offices, schools, and healthcare facilities.

Virtual reality systems that simulate natural settings can also provide immersive sensory experiences, particularly in environments where access to nature is limited. I once visited a place where there were no windows in one part of the building, so screens were set up linked to cameras mounted on the external walls so the view from outside could be brought in.

I can help you with your biophilic designs

If you are a designer or are planning some biophilic interventions in your building and would like some advice on how to incorporate non-rhythmic stimuli, please get in touch. I know lots about plants, a fair bit about water and scenting and I can put you in touch with plenty of people that are experts in some of the other patterns.

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The biophilic beauty of flames

Image of two candles with flickering flames

Flames for biophilic heating

One of the most popular videos on Netflix at the moment is an open fire. Logs alight with bright flames dancing and the sound of the wood crackling and popping as the wood burns. Similar videos can be found on You Tube and many other platforms, and they gain millions of views.

For many people, especially those living in urban settings, live fires aren’t possible. Smoke control regulations for good air quality makes lighting a fire unlawful in many circumstances (and can exacerbate poor air quality, especially in the winter). More modern homes, as well as flats and other high-density housing won’t have fire places, so a even if a real fire was desirable, it isn’t going to be possible.

Modern heating systems are much better at distributing warmth around the home, and are probably a lot cheaper than buying in a load of seasoned logs, so flames seem rather redundant.

Yet, we humans seem to have a primeval urge to be drawn to flames. It could be videos, or even the flame effects that you can find on electric fires, or our desire to light candles (or even switch on LED flames in fake candles) to create an atmosphere when a light bulb is far more efficient.

A picture of lighted candles — Photo by Matej Novosad on Pexels.com

Objectively, flames in the home are a terrible idea. They are polluting, inefficient, labour-intensive and can be expensive. If left unattended, they can also be dangerous. A radiator and a light bulb are much easier to live with. So why do we like flames?

Biophilic design is used to make us feel comfortable in the artificial environments of our modern, unnatural homes and workplaces. Reconnecting ourselves with the sensory stimuli that enabled our species to survive in our wild, natural environment means that we can reduce stress and live happier, healthier and more productive lives. One of the elements of biophilic design that is often left out of our buildings is non-rhythmic sensory stimulation.

Non-rhythmic sensory stimulation can manifest itself in many ways – some of which will be expanded upon in future posts – but examples can include the sound of water in streams or rainfall, birdsong, the dynamic use of shadows that move across a space over the period of a day, the feeling of a refreshing breeze on the skin or the pleasure of a warm shower to relax under, rather than just for the utility of hygiene. It can also be found in the movements of flames, the curling of smoke and the irregular popping and crackling of wood.

In buildings, these elements can be incorporated into design. Soundscaping and lighting design can be used creatively. Objects, such as plants and furnishings can be positioned to cast shadows and simulated fire can create feelings of cosy security.

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A problem with cabinet-top planters

Close-up of a cabinet-top planter in an office with multiple tropical plants

I see dozens of posts on LinkedIn every day of interior landscapers, from all around the world, showing some of the fantastic projects that they are doing. The desire for office greenery isn’t subsiding and organizations are seeing the benefits of putting plants into the workplace.

This makes me happy.

I also see dozens of posts every day where such greenery is in cabinet-top planters. This too has its positives: the plants are elevated and visible from a distance. The density of foliage is good and it looks a whole lot nicer than piles of paper and other office junk that would otherwise find its way to any available horizontal surface.

This too is a cause for celebration.

But. And there is a but…

Interior designers and interior landscapers, please have a thought for the technicians that have to look after these plant displays. The plants are often at, or above, shoulder height and if you are constantly lifting 10kg – 15kg of water from the floor to that height, and twisting to make sure that the water goes where it is supposed to, you are putting quite a strain on your body. Do that 150 – 200 times a day and you are really going to feel it.

Please make sure your manual handling risk assessments are up-to-date, your manual handling training reflects this type of plant maintenance, and please look for alternatives to watering cans when planning work like this – small watering machines would be a good choice where practicable.

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Easy exotica: how to get the best out of your orchids

Thirty years ago, the idea that an orchid could be anywhere other than in a hot house would have been considered as horticultural heresy. Now they are sold in supermarkets for the price of a bottle of wine. Formerly the preserve of specialists with expensive hot houses and specialized composts, advances in tissue culture have made the propagation and care of orchids an inexpensive way of getting exotic blooms into any building.

About orchids

The orchid family is one of the largest plant families, with approximately 28,000 species growing in almost every habitat – including a few wild species in the UK. To illustrate how big a family of plants that is, more than 10% of flowering plant species are orchids.

European interest in orchids started in the late 16th Century, when explorers collected plants from their native habitats and brought them back to Europe. By the late 19th Century, their cultivation had become something of an obsession with wealthy collectors, who paid high prices for new varieties and built special glasshouses to keep them.

Most of the orchids grown indoors have their natural origins in the tropics and subtropics, where they grow as epiphytes (meaning that they cling onto the trunks and branches of trees) or lithophytes (growing on rocks and cliff faces).

Many orchid species and hybrids are commercially available, and can be grown as house-plants. The mystique that used to surround their cultivation has all but disappeared, and expensive hot-houses are no longer required except for the most exotic and rare plants.

collection of orchids — Orchid display at the RHS Chelsea Flower Show

Amongst the most popular indoor species are:

Dendrobium, from China, the Himalayas, Southeast Asia and Tropical parts of Australia (the name literally means ‘living on a tree’, which describes its epiphytic habit rather well).
Miltonia, a native of Central America named after the Englishman, Lord Fitzwilliam Milton, and which are often known as Pansy Orchids, for the shape of their large flowers.
Phalaenopsis, the moth orchids, are found growing wild on the Pacific Islands of Borneo, Java and the Philippines. The name Phalaenopsis means ‘moth-like’. They are the easiest orchids of all to keep as houseplants, and we will concentrate on them in this article.

Dendrobium nobile often produces large numbers of highly scented blooms on long canes called pseudobulbs. Spectacular these may be, but the blooms are very short-lived, and when not in flower, they are not especially attractive to look at.

Phalaenopsis and Miltonia hybrids are similar in many respects. The flowers, whilst appearing very delicate, are surprisingly long-lasting (due to the scarcity of pollinators in the wild), and the plants are very robust when grown as house-plants.

Phalaenopsis orchids (pronounced fa-leh-NOP-siss) are especially recommended for their visual appeal, and comparative ease of care. In good conditions, Phalaenopsis will flower for several weeks. Miltonia, though similar, produces very large flowers that really need some space to display them to their best advantage.

How to care for Phalaenopsis orchids

Displaying in a decorative pot

Orchids are supplied growing in a special free-draining compost. They should not be removed from their original pots, which you will notice are made of a clear or translucent plastic. (You should keep the orchids in their original grow pots: orchids benefit from a little light at the roots, which is why they are sold in such pots.) Instead, a layer of LECA (light expanded clay aggregate – small pellets of absorbent clay, which you can buy from most garden centres) or vulcaponic substrate should be spread in the bottom of the decorative pot, and the orchid pot placed upon it.

Clear plastic orchid nursery pot — Transparent orchid nursery pot

LECA absorbent granules — LECA – light expanded clay aggregate

Alternatively, you can buy special orchid pots, which are often taller than conventional decorative pots. These are designed so that you can keep a moist layer, or even just water, at the bottom, without the orchid sitting in it.

pink orchid pot — A selection of orchid pots showing supports for the grow pot so that a humid area can be provided underneath

If the decorative pot is large, you may wish to surround the nursery pot with more LECA, coarse vulcaponic substrate or even something like glass beads to hold it in place (and let some light in). Phalaenopsis benefits from a humid environment around the roots, which can be achieved by standing the grow pot on a layer of something like lava rock or LECA in the decorative pot to support the pot, and keep that material moist.

Do not plant the orchid directly into soil or potting compost.

Ensure that the fleshy, grey aerial roots are able to sit above the surface and not get buried. Let the grey aerial roots sit above the surface of the lava rock or LECA. They are covered in a material called velamen, which acts like a sponge to absorb moisture from the air.

Heat and light

Orchids benefit from good light, but should not be placed in direct sunlight, draughts or near direct heat. A minimum of 15°C is needed, ideally a little warmer once the flower stem starts to grow. Large fluctuations in temperature between night and day will also shorten the lifespan of the flowers.

Orchids do really well in humid situations and make for fantastic bathroom plants.

Water

Orchids require regular watering, but must not be allowed to stand in water. My own research has shown that rainwater, or deionized (or distilled) water, with a little fertilizer (see below) is ideal, but tap water is acceptable in most circumstances (although it can vary, and often contains dissolved salts that can damage the roots). One thing to bear in mind, however, is that cold water can be damaging – tap water or rainwater is best if allowed to get to room temperature before using.

To water an orchid, lift its grow pot out of the decorative planter and take it to a sink. Pour plenty of water into the orchid pot and allow it to drain, then replace into the decorative pot. If you keep the orchid on a layer of LECA, or similar, moisten that as well. You probably won’t need to water more than once a week, or occasionally less frequently. (If you are going to be away, give the plant a good watering before you leave and make sure there is some humidity at the base of the pot). Standing water near the leaf bases will lead to rot and leaf loss.

Fertilizer

In their natural environment, orchids such as Phalaenopsis, gain their nutrition from the poor soil they grow in, or from water washed off the leaves of the trees that they live in (such leaf washings might include nutrients derived from dirt and even the droppings of birds, small mammals, tree frogs and insects). In some species, bacteria or fungi live in the aerial roots and they are able to fix nutrients direct from the atmosphere.

Cultivated orchids require very little fertilizer, but some micronutrients are needed, especially when the plant is flowering. Specially prepared orchid fertilizers are available from garden centres and orchid specialists, and whilst they may be beneficial, they are expensive and not absolutely necessary. A weak (10% of standard rate) solution of a general purpose houseplant fertilizer (containing trace elements) mixed in deionized water is ideal.

Keeping orchids clean and pest free

Orchids are generally pest free, but mealybugs, scale insects, thrips and two-spotted (red) spider mites can attack them. Remove any signs of webbing and mealybug egg masses as soon as you see them. Aphids seldom attack the plant, but they may gather on the flowers, making them unsightly.

Orchids have robust leaves and surprisingly strong flowers. However, that does not mean you can be rough with them. The most important thing to do is to remove any dust that has accumulated on the leaves – a damp cloth is often the best way.

Caring for the flowers

Phalaenopsis produces flowers on a long stem. The buds develop at the tip of the stem and can be quite fragile. It is important not to damage them. Sometimes, the buds may not fully develop. In this case, they will shrivel and should be carefully removed.

Old flowers will start to shrivel, and these can be removed by gently rubbing the flower stalk from the stem. Once all the flowers on a stem have finished, the stem should be cut back.

If the plant is healthy and vigorous, it may be possible to encourage a second growth of flowers by cutting the stem back to just above the fourth or fifth bud where a new flowering stem can sometimes grow. If the plant is lacking in vigour, the original stem should be cut right back to the base, and the plant allowed to recover.

Flowering is triggered by a reduction in daytime temperature, so to get your plants to reflower, place them in a cooler (not cold, though) room in the house for several weeks before bringing them back to a warmer place.

As you can see, orchids really are pretty easy to look after, and they reward you with the most fabulous exotic blooms. Once you have mastered Phalaenopsis orchids, why not try your hand at some of the more exotic types, some of which have the most enticing perfumes and even more glorious flowers.

(image credits: all images from author’s own collection)

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Autumn challenges for your houseplants

woodland in autumn, showing shades of green, red, orange and brown

Last week, we passed the autumn equinox. The day when we enter a period of more night time than daylight. More people are also working away from home as employers are trying hard to encourage their staff back to the office. With this in mind, please spare a thought for your houseplants.

Lights on in the home

Offices are getting busier and more people are spending their working hours away from home.
We are also entering autumn. This means a lot less daylight, as a result of shorter days, less intense sunlight and far fewer hours of daylight.

It also means that the lights at home are off. On a dull day in an unlit house, light levels may be very low only a short distance from the windows. For houseplants, this can be tricky – they need light to photosynthesize, so prolonged darkness can cause problems. However, there are ways to minimize those potential issues.

By the windows

cacti on a windowsill — Cacti on a windowsill

If you haven’t already filled every available gap on your window sills with plants, now is the time to move some of your smaller plants a bit closer. Those that are sensitive to direct light (even at this time of year) such as Calatheas and Alocasias can go on north-facing window sills.

If you have a conservatory, and some room, some of your other plants might welcome a change of scene. Again, be aware that some species might not appreciate direct light, and watch out for cooler nighttime temperatures.

Many species, especially those with their natural origins in the undergrowth of a tropical rainforest, will be able to cope with the lower light levels quite easily without needing to be moved and without the need for additional lighting.

Be smart with your lighting

A lot of people have embraced smart technology and can control much of their home through an app or smart speaker (such as an Amazon Alexa or Google Home device). Smart lighting is one way of giving your houseplants a light boost, and as many lights use very little energy, they won’t add too much to your energy bills (and may save the cost of replacing some plants). A few extra hours of lighting whilst you are away from the home can easily be programmed, and you can also programme your lights to be on when you get home. Having your lights turn on and off throughout the day can also be a useful security benefit.

If your smart bulbs have different light quality settings, use daylight (sometimes called cool white) at the highest brightness during the day, and then change to a more comfortable warm white when you get home. You probably won’t need the lights to be on all of the time, but some species that do best in higher light conditions might benefit.

Comparison between daylight (l) and warm white (r) light from a programmable smart bulb

Cut back on water and feed

If you are spending more time away from the home, the chances are that as well as light being diminished, your home might be a little cooler as well: there is no need for the central heating if no-one is home.

If that is the case, your plants will be metabolizing a little slower, so they won’t be needing as much fertilizer and water as usual.

Always be guided by your plant – water according to the plant’s needs, not to a timetable. You can probably do without fertilizer until the spring as well.

If you have your houseplants potted in coir pots or set up with vulcaponics, that will certainly help regulate the water given to the plant. Adding water to the decorative pot and allowing it to soak gradually through the coir pot is an ideal way of managing the amount of water in the soil, reducing the risk of the roots becoming saturated.

Don’t worry

Most houseplants have their natural origins in the tropics and sub-tropics, where there isn’t much in the way of seasonal variation, much like inside a building. This is the main reason why native species of plants cannot cope with the indoor environment – they need seasonal variation to trigger different processes, such as flowering time or leaf drop.

However, when there is a seasonal change, some tropical houseplants will respond and you might notice more in the way of leaf drop than usual, especially on plants such as Ficus benjamina and other small-leaved tree species. Unlike temperate trees that tend to drop their leaves in the autumn, tropical species drop leaves continuously as they grow old, but you might find that if light and temperature levels do fall, they might drop more leaves as a result.

If this happens, don’t be alarmed (unless they drop all of their leaves). They will start producing a lot more foliage in the spring.

Houseplants are pretty resilient. Breeders and growers have selected species and varieties over time to ensure that they can cope with the indoor environment. Working from home has probably given many houseplants a bit of a boost, but they will adapt to emptier, darker homes quite quickly.

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Are plants in buildings really green? The environmental impact of interior landscaping

Biophilic design is all about creating spaces in the built environment that are healthy, happy, engaging and effective. You may know that the reason why biophilic design works is because we create spaces that allow us to rebuild connections to nature and our natural habitat. We enrich our spaces to make the lives of domesticated, ‘battery humans’ so much better. In the workplace, biophilic design can lead to better business outcomes. More productivity per kilowatt hour of energy consumed – so possibly a gain for the environment.

A significant element of almost every biophilic design is greenery – indoor and outdoor plants displayed in a naturalistic fashion. It is easy to assume that, because live plants are being used, that they must be an environmentally-friendly addition to any building.

But does that assumption survive scrutiny?

Does the green part of biophilic design create a net benefit to our environment?

Interior landscapers, the providers of office greenery, use a variety of plants in their schemes. Indoor plants tend to have their natural origins in the tropics and subtropics – places where seasonal variation is minimal (much like the insides of buildings, which also have a near constant environment. Office blocks and rainforests have more in common than you might think.) This doesn’t mean that indoor plants are sourced from the wild – that would definitely be bad for the environment. They are grown by specialists under controlled environmental conditions in nurseries. In temperate climates, the use of native species in buildings is guaranteed to fail.

In Europe, most indoor plants are sourced from The Netherlands. Dutch growers have perfected the art of producing millions of plants using quite complex technology to regulate the light, temperature, water and plant nutrients used in their glasshouses to produce pristine crops to exacting specifications. However, this comes at a cost. The energy used to heat and light their glasshouses has to be generated somewhere. The water used for irrigation is treated with fertilizers and any left over has to be recycled and re-treated before it finds its way back into the environment.

Tropical plants in a nursery in the Netherlands — Interior landscape plants at a Dutch nursery (image from Koberg bv)

Over the last few years, the Dutch nursery industry has significantly reduced its inputs, with a significant reduction in the impact it has on the wider environment, but let’s not shy away from the fact that nursery production is a resource-consuming industry.

Another impact on the environment comes from the substrates used to grow the plants. Peat is still used (and not just in Europe). Even where it is no-longer extracted from fragile habitats, its extraction can lead to significant greenhouse gas emissions. As the peat dries out and oxidizes, it releases carbon dioxide. This carbon dioxide is, essentially, a fossil fuel. It was originally taken out of the atmosphere thousands of years ago by the mosses and sedges alive at the time.

Fortunately, peat is being used less and more sustainable substrates are now being used, such as coir, composted green waste and even volcanic minerals (vulcaponics).

Once the plants have been produced, they need to be transported to the buildings where they are going to be installed. Hundreds of trucks burn diesel fuel transporting plants from the Netherlands to all over Europe and beyond.

What about other countries?

In North America, plant production is rather less intensive. In the major growing areas of Florida and California, plants are grown more-or-less outdoors under polythene and heavy shade cloth. The energy inputs are significantly less than in Europe, but other inputs, such as pesticides tend to be higher.

Plants grown under heavy shade in a US plant nursery — Plants in a US nursery under heavy shade (image by Matt Kostelnick)

Here, as in Europe, plants need to be transported across an entire continent. Large, climate-controlled trucks drive thousands of kilometres to deliver plants from Florida to Montreal and all places in between and sometimes, plants are even transported by air.

Air transport container loaded with plants (image by Matt Kostelnick)

Many plants used by interior landscapers in Europe also spend some of their lives growing in fields in Central America before being sent to the Netherlands for finishing, and many large trees and palms used in European buildings are grown in Florida and shipped to the Netherlands for acclimation and preparation before they are then sent to their final destination.

Florida and California are both subject to ever more extreme climate events. The Florida nursery industry has often suffered existential threats due to hurricanes, and California is frequently under severe water stress.

There are other places in the world where indoor plants are grown. I have recently visited India, where vast office complexes are being constructed at an astonishing rate. These buildings are being constructed to the highest standards – often to high LEED and WELL buildings specifications. Biophilic design is integral to these projects, both inside the buildings and in the campus environments where so many of them are being developed.

A typical office campus in Hyderabad, India — An office campus in India showing the extensive outdoor greenery to provide a pleasant working environment

In India, most of the plants used are grown locally by commercial nurseries. It is a very well developed industry, which is superficially similar to the Florida industry. Vast, heavily shaded polythene structures are used to grow exceptionally-good plants for both the retail and interior landscaping markets. Pesticide inputs are low, growing media are often locally-sourced coir-based products (essentially a waste product of coconut farming) and little, or no energy is used for lighting their nurseries. Supply chains tend to be relatively short (there are nurseries relatively close to many of the big cities), so that too is a benefit.

Anthurium plants at a nursery in India — Tropical plants at a Nursery in India

However, every nursery owner that I spoke to (and it was a lot) is seriously concerned about climate change. Near Pune and Bangalore, temperatures are significantly above average, and rainfall is scarce. This is partly explained by the El Niño effect, which is near its peak, but there is no doubt that man-made climate change also has an impact.

Water shortages are a major concern. High on the Deccan Plateau, rivers are uncommon and much irrigation water is often sourced from boreholes and stored rainwater. Groundwater is rapidly diminishing and rains are increasingly unreliable.

Commercial plant nursery near Pune, India. A large reservoir has been constructed to store ever-diminishing supplies of water — Commercial plant nursery near Pune, India. A large reservoir (structure on the left) has been constructed to store ever-diminishing supplies of water

The seemingly insatiable desire for indoor plants in India, due to the rapidly developing commercial real estate market, is threatened by changes happening to the environment right now.

Reasons to be cheerful

I don’t want to be too gloomy, though. Compared with other elements in the built environment (including other elements found in a biophilic space), greenery still contributes comparatively little to the environmental damage caused by commercial development (though it can be improved).

Plants are still a high impact, low cost addition to the built environment. If they make an organization more effective, you get more output (however you choose to measure it) for every tonne of carbon dioxide (or other harmful emission) put into our environment.

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How do you know whether a design is going to be (or has been) successful? A simple guide to evidence based design

What is evidence-based design?

Evidence-based design (EBD) is the design of spaces based on evidence, not simple ‘rules of thumb’ (also referred to as heuristics). The discipline of EBD was first developed in the healthcare industry, and its principles are increasingly being applied across the built environment.

An important part of the design process has to be a real understanding of what the client is really trying to achieve and then develop some metrics and indicators to determine whether those objectives have been achieved.

What is important for the customer?
What is the starting point?
What is the end point?
How do we know that we’ve got there?

For example, is the client concerned about health and wellbeing, colleague engagement or productivity? These can all be measured, to an extent.

Some measurements may be physical or observational, e.g. how space is used. Other measurements might be associated with HR indicators such as absenteeism or complaints about the indoor air quality.

Maybe, the client is mainly interested in achieving a building certification (such as WELL) or a high Glassdoor rating in order to attract and retain staff (or to gain a “great place to work” recognition). These may require a different set of metrics and, in some cases, might be achieved by ticking boxes and completing spreadsheets without needing to engage with the end-users of the space at all.

Having said that, such a workplace, whilst meeting the specified end point of getting a certification, may not be especially effective. It is now well known that empowered, involved and engaged workers tend to be happier, healthier, more satisfied and more productive than those for whom a change was imposed.

However, without defining terms at the beginning of a project, the designer cannot really justify claims for its subsequent success. Objectives and KPIs must be clearly defined. If not, the wrong metrics may be used. Without good evidence, knowing what tweaks might be needed is impossible. This is especially true once a new workplace design has been commissioned to keep it working effectively.

If EBD is applied without direct involvement from the end-users, the designer limits the amount and quality of evidence available.

Five-step approach to evidence-based guided design

Diagram showing the 5-step evidence-based design process

I will illustrate the process using an example of creating an new interior landscape scheme in an office-based workplace, although the principles would apply to almost any types of design project. Get in touch to discuss your specific needs.

Step 1: setting the intent and identifying needs

Here, we state the intent of the exercise. We seek to discover the needs of the client and identify any issues or areas that are important to the organization. These may relate to health and well being, productivity / financial indicators, staff engagement or even sustainability. Initial discussions would probably be with the client’s management team. It would be wise to also engage informally with the premises users at this time. This helps see if the management’s concerns align with those of their staff.

Outputs: KPIs agreed, scope and boundaries of surveys agreed, communications plan, workshops and end-user communications (e.g. newsletters)

Step 2: surveys and initial data

The next step would be to carry out a detailed set of surveys. This will include an assessment of the physical space (light, noise, layout, air quality, etc.) and a tailor-made staff survey, which will identify and quantify areas of concern. I can design these surveys for you so you get the information you really need.

The designer would also ensure that we have some objective baseline data from the client (if required) that could be compared against the designer’s own findings.

Outputs: initial surveys and data analysis, second staff communications, scope and boundaries of design agreed, design budget agreed.

Step 3: consultation and engagement

Before any intervention is made (for example, a redesign of the office space), the office staff should be kept engaged.

Research has demonstrated that giving office workers a genuine stake in the project (hearing their views and giving them real choices) results in better, and more durable, outcomes.

Throughout the process, the designer would ensure that all stakeholders in the project are kept informed of the progress of the project. This will be achieved using newsletters, social media and face-to-face discussions. At this point, the designer would have a fair idea of options available.

Outputs: ideas and requests collected from client’s staff, third staff communications

Step 4: design

At this point, an experienced design team would be brought in to discuss design options with all the stakeholders. The designer will have an idea of what might work after reviewing all the initial survey information. The designer will then present some outline options to the client.

The designer would then take their collected ideas forward for discussion and engage all users of the office space in the final decision. Once this has been agreed, the design team would make arrangements for the space to be redesigned accordingly.

Throughout this process, it is important to keep all stakeholders informed. There is often a few weeks lead time for a design to be installed. The designer and the client need to keep everyone’s enthusiasm alive. They should build up to the day when their ideas are realized in their newly-designed work space.

Outputs: first design proposals for discussion by staff and management. Revisions and final design choices. Design specification and order. Fourth (and possibly fifth) staff newsletter. Design installation.

Step 5: Follow-up and continuous review

The client will need to know whether the interventions carried out in the offices have been successful. Therefore, a series of follow-up surveys could be carried out shortly after the new designs have been installed. These surveys could include staff questionnaires, analysis of the client’s data, and physical measurements of the environment.

Such surveys might be repeated every 2 months or so for at least 9 months to confirm that the interventions have had a durable effect. If necessary, designs could be reviewed and adjusted as needed to satisfy the customer or end-users. Their experience may highlight unforeseen needs.

Again, the designer would continue to communicate and engage with all stakeholders to let them know what is going on, and to get some qualitative evidence as well as quantitative data.

Outputs: follow-up surveys, data analysis, continuing staff newsletters

How will you know whether an environment is successful?

At each step of the process, data will be gathered to determine whether process is working. Data for evidence-based design can come from direct, indirect or proxy sources.

Pre-intervention	At installation	Post intervention
Direct measures (examples)
End-user surveys End-user focus groups Sentiment / satisfaction measures Customer interviews Observational data Sensors and monitors	Discussions with end users – confirm needs have been met Discussions with customer – confirm needs have been met Sentiment / satisfaction measures	Ongoing Post intervention surveys (every few months for at least one year) Ongoing sentiment / satisfaction measures Interviews and focus groups Observational data Sensors and monitors
Indirect measures (examples)
WELL scorecard Fitwel scorecard RESET scorecard Sustainability scorecard Leesman index Revenue / person Revenue / square foot Absenteeism records Staff retention rates Review sites (e.g. Glassdoor, Trustpilot, etc.)	Absenteeism records Staff retention rates Review sites (e.g. Glassdoor, Trustpilot, etc.)	WELL scorecard Fitwel scorecard RESET scorecard Sustainability scorecard Leesman index Revenue / person Revenue / square foot Absenteeism records Staff retention rates Review sites (e.g. Glassdoor, Trustpilot, etc.)
Proxy measures (examples)
Tests and quizzes Simulations Comparison with similar organizations (impact seen with them probably similar to impact on us) Case studies References	Tests and quizzes Simulations Designer feedback	Tests and quizzes Simulations Comparison with similar organizations (impact seen with them probably similar to impact on us)

Big Brother is watching you

Direct sources of data may be from automated systems and sensors. Sensors are increasingly being used to give building managers and space planners real-time data on how space is used and the environmental conditions in different parts of a building. This is becoming increasingly important now that hybrid ways of working are becoming more common and workplace usage patterns are changing rapidly.

Data collected on environmental and space utilization parameters allows for rapid changes in layout or environmental management. This ensures that users get as comfortable and as useful a workspace as possible.

Mapping survey data to culture, demographics and location: unveiling the nuances

Understanding the collective preferences of the end users of the workplace – the office workers – is crucial. However, digging deeper into the data is essential. Attempting to map these preferences onto the cultural, demographic, and locational peculiarities of the organization can give invaluable insights. This reveals patterns and nuances that can be easily overlooked in broader surveys.

The benefits of longitudinal studies

Collecting survey data immediately before and after the installation of a new interior design is not especially valuable. People notice the immediate impact of change. However, tracking individual responses over time (whilst meticulously maintaining privacy) is very beneficial. It includes collecting data for an extended period post-intervention. This allows the designer to distinguish the subtle effects of design interventions from the larger waves of, say, a new CEO or a major business shift.

Granular analysis of data over time, ideally with the aid of a statistician, can offer a clear picture. It will reduce the risk of misinterpretations and helps to ensure that design decisions are informed by the most accurate trends.

Longitudinal studies, with frequent data analysis, also allow for post-design tweaks. Whilst easy-to-digest broad data can be appealing, the detail is where hidden gems of insight can be found.

Hidden gems

Demographic studies can hold surprising potential, as long as you know what to look for. For example, a seemingly innocuous study (carried out in the late 1990s) into the plant preferences of staff in a local government office revealed a hidden layer of cultural influence. The headline findings clearly showed a relationship between plant preference and the seniority of the office worker. Closer examination unearthed a deeper connection to gender, rooted in the organization’s history and norms. Men occupied the bulk of the senior positions, whilst there were far more women occupying more junior roles. This highlights the importance of not solely relying on surface-level observations and instead delving into the details woven into the data.

Another small study challenged preconceived notions by demonstrating that job role, regardless of age, could be a stronger reflector of plant preferences than previously thought. Stereotypes, both reinforced and shattered, illustrate the power of data to illuminate the complexities of human behaviour within a specific context.

Ultimately, mapping data to culture, demographics, and location is not about finding definitive answers, but rather about uncovering the rich tapestry of influences that shape how people interact with their environment. By exploring the nuances found in data, evidence-based design transcends mere aesthetics and can be a tool that transforms workplaces into spaces that truly resonate with their users.

Measuring the right thing!

If the aim of a project is to improve employee wellbeing, then there is no point in measuring the organization’s Net Promoter Score. Likewise, measuring indoor air quality is unlikely to tell you much about a company’s brand reputation.

Having said that, there are likely to be some interesting interactions. Improving indoor air quality may well have an impact on productivity, especially if carbon dioxide levels are kept low, leading to greater alertness and less fatigue. However, you won’t know if productivity has been improved unless you actually measure it. Similarly, whilst improving employee wellbeing may lead to a better NPS score – happy staff are probably going to give better customer service after all – NPS isn’t, on its own, going to be a reliable measure of wellbeing.

Here are some possible aims of a design interventions with some of the metrics that could be used.

Project aim	Possible metrics
Improved productivity	Revenue (or profit) per employee Revenue (or profit) per unit area of office space
Reduced absenteeism	Work days lost, long term absence, etc.
Increased office space utilization	Time spent in the office Workspace occupancy Sensor data
Improved wellbeing	Survey data: complaints of SBS, symptoms, reasons for absenteeism, etc. Health monitoring data
Improved environmental quality	Survey data: workplace comfort Physical data: temperature, RH, noise, VOCs, CO₂
Enhanced brand reputation	NPS data Ranking in reviews / indices (e.g. Glassdoor, Leesman, Trustpilot, etc.)
Improved colleague engagement	Staff engagement surveys, e.g. Q10, Hays Group,
Improved customer engagement	NPS Customer comments and complaints, reviews, etc. Customer satisfaction surveys Trip Advisor scores (for hospitality sector) Trustpilot scores (for service providers, retail, etc.) Increased footfall or dwell time (retail sector) Increase in return custom (retail, healthcare and hospitality) Customer referrals (retail, healthcare, hospitality)
Improved sustainability	GHG emissions normalized against revenue or per capita (rather than against floor space) Reductions in energy costs

Add value to your interior design

If you are involved in design, consider an evidence-based approach. This is especially important if you are an interior landscaper who wants to add value to your service. If you need help in putting together a programme, or if you need assistance designing surveys and other elements of data collection, then please get in touch. Check out my services page for information about my specific areas of expertise and consultancy.

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Vulcaponics: is this the future for interior landscaping?

Interior landscape where all the plants are set up using a vulcaponic growing system

Vulcaponics is the latest evolutionary step in interior landscaping and is becoming increasingly popular. If you are not familiar with the term, it is a growing system that combines the advantages of hydroculture with the convenience of soil culture. The system encourages good root growth, makes water and fertilizer management easier, reduces the risk of soil pests (especially fungus gnats) and helps the interior landscaping industry reduce its reliance on peat-based substrates.

So, what is a vulcaponic growing system?

Vulcaponics is a hybrid growing system that combines the benefits of both soil and hydroculture systems. It is effectively a semi-hydro system: the plants start out as conventional soil-cultured plants growing in a lightweight compost but over the course of a few weeks, the roots grow into the vulcaponic substrate and behave more like the water roots that are found with hydroculture plants.

In many respects, the system is similar to the Seramis system that developed in the 1990s, and which encourages exceptional root growth. Seramis is composed of small granules of expanded, aerated clay (much smaller and denser than LECA, used in hydroculture plants), which are able to hold water and allow root hairs to penetrate them. If I remember correctly, the product was originally developed as a type of cat litter, but was soon found to be an exceptional substrate for indoor plants.

Vulcaponic substrate shares many of the same characteristics, but instead of being made from clay, is composed of fine granules of pumice (the result of volcanic activity – hence the name) and some other naturally-occurring minerals.

Schematic diagram of a vulcaponic plant display

What are the benefits?

Vulcaponic systems have several benefits, and most relate to better root growth and root health due to improved water management.

Watering a vulcaponic system is very easy – you check the soil moisture of the root ball (using a soil probe), and if it is dry, you add water. Sometimes, vulcaponic displays are fitted with a float gauge (the same as with a full hydroculture system), but it isn’t essential.

Diagram showing how to assess moisture in a rootball — Assessing moisture in the rootball of a plant when a depth gauge is not used

Water is added to substrate, which then percolates down the to the bottom. The water is then absorbed by the substrate, which can lift it as much as 20cm. This then creates a jacket of moisture right around the root ball which initially soaks into the soil. After a while, roots from the rootball will grow into the vulcaponic substrate and take water from there. This means that the rootball remains aerated and oxygen can get to the roots easily. It also means that the soil is not compacted as it often is when top-watered.

Diagram showing watering technique — Water the surface, not individual plants

Delivering the water to the roots this way has another benefit – the soil surface remains dry. If the soil surface is dry, then fungus gnats (sciarid flies) have a hard time getting established. Furthermore, a vulcaponic display should include a 2 – 3cm deep layer on the surface as well as around the sides and underneath the rootball. This makes it even harder for soil-dwelling pests to establish.

Watering intervals can also be extended. My own experiments have shown that it is easily possible to extend watering intervals to as much as six weeks (depending on plant species). This means that interior landscapers can spend more time cleaning, grooming, trimming and pruning their plants (the interesting part of the job) and less time lugging heavy watering cans around and just having enough time to give the plants a quick drink. The ‘splash and dash’ approach to plant maintenance can be eliminated, resulting in higher quality, longer lasting plant displays. Commercial interior landscapers will have fewer customer complaints, fewer plant replacements and improved operating margins.

Planter containing two 17cm Aglaonema plants set up in a vulcaponic system. These are typically watered every 5 - 6 weeks — Planter containing two 17cm Aglaonema plants set up in a vulcaponic system. These are typically watered every 5 – 6 weeks

The downsides

Vulcaponics are not a panacea, but the system is ideal for small and medium-sized plants (up to about 2m in height). Really large plants are still better off in a decent soil-based compost. The main disadvantages are:

Vulcaponic substrate is heavy, so you must ensure that any plant containers, or furniture that they are placed on, can take the extra weight.
Compared with lightweight compost media, vulcaponic substrate can be pricey. However, the benefits outweigh the initial expense quite quickly
When planting mixtures of plants in a large container, it is important to ensure that the plants have a similar rootball depth
For deeper plant containers, you will have to use a liner – you don’t want more than 5 – 8cm depth of vulcaponic substrate under the rootball, otherwise the water will not rise far enough

Diagram showing The problems associated with using different-sized plants in a mixed planter when using the vulcaponic system — The problems associated with using different-sized plants in a mixed planter when using the vulcaponic system

Want to learn more?

If you are an interior landscaper interested in discovering more about vulcaponics, please get in touch. I’d be happy to discuss the system and I offer a training programme on this subject.

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Interior landscapers: investing in training can set you apart from your competitors and improve your profits

air quality Biophilia biophilic design creativity IAQ inspiration nature office design office work

Where do you have your best ideas?

Isaac Newton's garden in Lincolnshire showing the famous apple tree which inspired his theories of gravity — Isaac Newton’s garden at Woolsthorpe Manor, Lincolnshire

Did Isaac Newton contemplate the laws of gravity in meeting room 13N.21? No, of course not – he was famously in his garden in Lincolnshire.

What about Barnes Wallis? The idea of the Bouncing Bomb (of Dambusters fame) didn’t happen in a ‘collaboration zone’, but when skimming a stone across a lake. And Darwin didn’t come up with his theories of evolution in the confines of a meeting pod – his gardens at Down House, in Kent were his place of contemplation.

The poetry of Wordsworth wasn’t written as a result of sitting at a hot desk in a downtown office block, Hippocrates contemplated his theories of medicine sitting under a tree in the market place of Kos, and Archimedes had his eureka moment whilst having a bath.

There are innumerable examples of new ideas being inspired by something an inventor, philosopher, author or artist encountered outside of what we now regard as the workplace. Yet, if we were to believe the social media posts of commercial interior designers, or the marketing spin of companies boasting about how they have reimagined the workplace, you might think that we are entering a new golden age of discovery through the medium of office design.

We are certainly seeing more technology and a much wider range of space types inside office buildings (often supposedly to foster a sense of collaboration and creativity), and there is certainly a greater understanding of the principles and benefits (if not the application) of biophilic design.

The benefits of biophilic design in the workplace are becoming mainstream. The idea that bringing a sense of nature into our workplaces to support wellbeing and improve organizational outcomes is supported by a growing body of research, much of which has been referenced in some of my previous posts, and it is certainly true that you are more likely to be creative in a well designed, nature-inspired office space than in a sleek, bleak monochrome box.

Open plan office space — A creative space?

It is interesting to note that in many businesses, there is a lot of ‘do as I say, not as I do’ attitudes from business leaders. As an office worker, you may be expected to be seen in the office and to make use of the investments made in design, but leadership ‘retreats’, often in nice country houses or rural resorts, are still common. They are justified on the grounds that such places, away from the distractions of the office (and annoying colleagues), are ideal for strategizing and creativity.

There are many good reasons why that might be true: I have written about why meeting rooms might not be so great for making important decisions because the elevated carbon dioxide levels found in such spaces can cause drowsiness and affect cognitive ability. Being away from distractions (or allowing yourself to be distracted by something divorced from normal work activities) is also great for thinking, and you never know where you might find inspiration. Being outdoors can certainly help – separating yourself from sources of stress and discomfort, and stimulating your senses by immersing yourself in fresh air and the sights, sounds and smells of nature can be inspiring.

Needless to say, hiring a resort is never going to be a cost effective solution to the needs of day-to-day creativity and imagination, but there are things you can do.

View of a lake and trees — A good place to think

Go for a walk. Even if you work in an urban area, a short walk in the neighbourhood can be a useful break from the distractions of the office. In the UK, most people can get so some sort of green space within a few minutes.
Whilst you are on your walk, look around and look up – and take out your earphones.
Outdoor meetings are also worth trying. Again, the conscious act of taking yourself and colleagues away from the office gives space to think without fear of interruption.
If you work from home and have a garden, that is a good place for thinking time, or even for taking a coffee break.

Human beings are a uniquely creative species, and we are able to gain inspiration from the most unexpected places. And whilst variety and a wide range of work settings now found in modern offices are to be welcomed (management permitting, of course), confining ourselves to one space for work isn’t going to be enough to unleash inspiration and creativity.

Indoor lighting has changed

So what?

Phytochromes

The Red:Far-Red (R:FR) ratio and interior landscaping

The built environment challenge

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Sense of connection

Ticking boxes

Be braver

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What has changed?

Offices and rainforests have a lot in common. The natural origins of indoor plants

The differences between a houseplant and an interior landscape plant

Where to learn more

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Interior landscapers: you have options

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The science behind non-rhythmic sensory stimuli

Psychological and emotional benefits

Cognitive and productivity benefits

Practical applications in the built environment

I can help you with your biophilic designs

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About orchids

How to care for Phalaenopsis orchids

Displaying in a decorative pot

Heat and light

Water

Fertilizer

Keeping orchids clean and pest free

Caring for the flowers

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Lights on in the home

By the windows

Be smart with your lighting

Cut back on water and feed

Don’t worry

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Does the green part of biophilic design create a net benefit to our environment?

What about other countries?

Reasons to be cheerful

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What is evidence-based design?

Five-step approach to evidence-based guided design

Step 1: setting the intent and identifying needs

Step 2: surveys and initial data

Step 3: consultation and engagement

Step 4: design

Step 5: Follow-up and continuous review

How will you know whether an environment is successful?

Big Brother is watching you

Mapping survey data to culture, demographics and location: unveiling the nuances

The benefits of longitudinal studies

Hidden gems

Measuring the right thing!

Add value to your interior design

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So, what is a vulcaponic growing system?

What are the benefits?

The downsides

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