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 heuristics. The discipline of EBD was first developed in the healthcare industry. Its principles are now 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.

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. 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, otherwise the wrong metrics may be used, and without good evidence, it becomes impossible to know what tweaks might be needed 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

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.

Step 1: setting the intent and identifying needs

Here, the we state the intent of the exercise, 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, but it would be wise to also engage informally with the premises users at this time and 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, including an assessment of the physical space (light, noise, layout, air quality, etc.) and a tailor-made staff survey, targeted at identifying and quantifying areas of concern.

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. Having reviewed all the initial survey information, they will have an idea of what might work and 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 a few weeks lead time for a design to be installed, so the designer, and the client, need to keep everyone’s enthusiasm alive and 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, so a series of follow-up surveys (staff questionnaires, analysis of client’s data and physical measurements of the environment) could be carried out shortly after the new designs have been installed.

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, as experience and use 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-interventionAt installationPost 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 changes in layout or environmental management to be made rapidly, ensuring that users get as comfortable, and as useful, a workspace as possible.

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

While understanding the collective preferences of the end users of the workplace – the office workers – is crucial, digging deeper into the data and attempting to map these preferences onto the cultural, demographic, and locational peculiarities of the organization can give invaluable insights, revealing 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), including for an extended period post-intervention, 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 aimPossible metrics
Improved productivity
Revenue (or profit) per employee
Revenue (or profit) per unit area of office space
Reduced absenteeismWork 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, especially if you are an interior landscaper looking to add value to your service, why not consider using an evidence-based approached to your designs? If you need help in putting together a programme or designing the surveys and other elements of data collection, then please get in touch.

Vulcaponics: is this the future for interior landscaping?

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

Close-up image of vulcaponic substrate

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.

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 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.

Office plants when offices are empty?  How interior landscapers can adapt to a rapidly evolving workplace environment

Even before the pandemic, the nature of office work was changing.  There was an increasing shift to creating more purpose-based workspaces that accommodated different styles of activity, such as collaborative working or quiet focused work.  This also led to an increase in the use of non-allocated desks (let alone private offices), so there was no guarantee, or expectation, that an office user would be at the same desk every hour of every day.

Then, the pandemic forced huge numbers of office workers to work from home, and many of them found it preferable.  This has led to a rise in hybrid working, but has also acted as a catalyst for evolution of workplace design.  

A decade’s-worth of change seems to have happened in about 18 months and many employers have completely remodelled their office space as a result: partly to attract workers back to the office by making them more comfortable and homely, and partly to adapt them to new ways of working.  

However, with all the changes in workspace design, many offices are still less than half full for several days a week.  A recent report quoted in The Guardian suggests that the Monday to Friday office occupancy rate across the UK is 29% for the first three months of 2023, and slightly less in London, compared with typical pre-pandemic levels of 60%-80% (according to data from Remit Consulting).  

Empty open-plan office
Where is everyone?

As a result of this, it is quite likely that suppliers of business-to-business (B2B) services are going to be impacted.  Those companies selling discretionary B2B services, such as interior landscaping (my area of interest), are probably going to be especially exposed. 

B2B companies that already have a nicely diverse mix of customers in terms of sector, size, and geography are probably going to be able to absorb some of the possible shocks, for reasons I’ll discuss later. However, those that are heavily dependent on one part of the marketplace, such as  large corporate offices, might find themselves living in ‘interesting times.’  This is especially true where B2B service providers are not a directly-employed contractor, but appointed by a facilities management company.

What does this mean for interior landscapers?

The benefits of interior landscaping and workplace wellbeing are pretty much understood and accepted, so I don’t think there will be a large-scale chuck-out of plants as a cost-saving measure that we have seen in the past (such as the aftermath of the 2008 financial crisis). However, if offices are only – on average – one third full, then it stands to reason that there will be a significant reduction in the floor space needed for organizations.  Those empty floors won’t need plants, art, ambient scenting or coffee machines.

There is an upside for those businesses agile and imaginative to grasp the opportunities.  Those office workers not commuting as often will still be working somewhere – and not necessarily at home.  They will probably be spending more time working in places such as local co-working venues (several being set up in the suburbs and small satellite towns), coffee shops, or even in hotel lounges.  All of these settings (often called third spaces) would certainly benefit from some nice plants – ideally supplied and maintained by a good interior landscaper.  By offering their services to these spaces, interior landscapers can ensure that their plants continue to be seen and appreciated by workers, even if they are not based in a traditional office environment.

People working in a coffee shop
Photo by Marcus Aurelius on Pexels.com

Employers still have a duty of care

Even when the workforce is remote, employers still have a responsibility for the health, safety, and wellbeing of all their staff.  It stands to reason that some of those discretionary B2B services could be reimagined as something to enhance wellbeing in the home working environment.

Many interior plant companies, especially those that have the infrastructure in place to deliver plant displays, could adapt quite quickly – some have already by offering mail order houseplants.  Those companies could easily refine their offer by providing plants that are especially well suited to home working environments.  

A well-designed home office
A well-designed home office

These could include plants that are easy to maintain (and maybe even be set up in such a way as to make plant care especially straightforward), and be properly matched to the home worker’s office environment.  Advice and guidance on selecting the right plants for the space, together with instructions on plant care could be given, alongside tips on how to create a more effective home office space.

The Glasshouse. Helping ex-offenders into work in the interior landscaping industry

On the 8th March, Plants@Work (the UK trade association for the interior landscaping industry) was delighted to welcome Kali Hamerton-Stove of The Glasshouse to tell us about a project to help women ex-offenders back into employment through training, work experience and work placements in horticulture, especially interior landscaping and houseplant retail and mail order.

If you can spare half an hour, please watch the video of the presentation that Kali gave.

Having worked with The Glasshouse and some of the women in the project a few times, I can’t express enough how important this project is.

If you are a UK interior landscaper looking for new staff, please consider employing some of the Glasshouse alumni – they are trained in interior horticulture, highly motivated, have great personalities and have experience working in a wide variety of customer locations.

The Glasshouse’s interior current interior landscaping customers include businesses in financial services and hospitality.

Interior plants in a private members' club in London
An example of the work of The Glasshouse – the interior planting in a private members’ club in London, installed and maintained by women ex-offenders

You can’t manage indoor air quality without measuring it first

Lots of people are selling products that are supposed to improve indoor air quality. They may be air purifiers, filter systems, complex green walls or even pot plants. Many claims are made, but how do you know whether the systems you are buying are doing what you need them to do? This is where air quality monitoring comes into its own.

(By the way – I’m not trying to sell you an indoor air quality monitor, or any form of air purifier. However, I can help your business set up an IAQ monitoring project and even help you on your way to gaining a RESET certification for your buildings, which will also help you with WELL and Fitwel certifications – please get in touch if you want to know more).

Why monitor indoor air quality?

Good indoor air quality is often thought of subjectively.  Human perception of good air quality is difficult as our senses evolved to deal with environments that were unpolluted.  As long as we could detect smoke, which suggested an immediate threat (or, conversely, the possibility of a cooked meal and convivial company), air quality was not much of a concern to our plains-dwelling ancestors.

Inside buildings, we often only notice an issue with air quality when it directly affects our comfort. We might describe the air as heavy, fusty, stale or stuffy. Stuffiness (often as a result of elevated carbon dioxide from our exhalation, combined with warm temperatures and high humidity) can be alleviated by opening a window. Carbon dioxide (and airborne viruses, such as Covid-19) inside the building is diluted by bringing outside air in, and humidity and temperature might also be made more comfortable.  This improvement to our comfort, achieved by a perceived improvement to indoor air quality, is not the whole story.

Opening the windows might risk exposure to other harms that are not readily detected by human senses.  Fine particulates, volatile organic compounds or various oxides of nitrogen or sulphur are not usually detectable by human senses, so how do we know whether they are present?

Only by using calibrated IAQ monitors that measure, record and report key parameters of air quality can you then set out to manage air quality and reassure the users of the building that their safety and comfort is being looked after.

Without data from air monitoring, any management of indoor air quality is pretty-much based on guesswork, which is inadequate for the proper management of risk in a building.

My new white paper explains how and why organizations should develop an indoor air quality monitoring and management programme, which you can download here.

Can indoor plants really improve indoor air quality?

A lot of indoor plant sellers will tell you that indoor plants will purify the air. Sometimes, they refer to experiments carried out by NASA to prove the point.  However, careful analysis of some of these claims shows that the claims are often exaggerated, or taken out of context.

That doesn’t mean that plants have no impact on indoor air quality – they can.  So, how can you get the most of plants’ abilities to affect the indoor environment? I can’t promise miracles, however.

A brief history

In the early 1980s, NASA was investigating the ways that astronauts could maintain their environments whilst on long-term missions.  The reaction of photosynthesis is a way of producing fresh oxygen for the astronauts to breathe, and some plants are good at removing other pollutants from the air and water.

The idea was that by having completely sealed living environments, coupled with optimal growing conditions for vast amounts of greenery, humans and plants could live in complete balance and the resources needed for a long-term mission could be reduced.  At the time, only a few years after the last manned landing on the moon and with early space stations (Skylab and Mir – the forerunners of the International Space Station) being lived in for months at a time, this research was clearly very important.

The results of the experiments showed that some plants were especially good at removing pollutants such as some volatile organic compounds (VOCs), some of which are quite unpleasant and are associated with harmful indoor air quality.  These have become quite well known and are often referred to as the NASA list of air cleaning plants.

Sick buildings – could plants be the answer?

In 1984, the World Health Organization gave a name to a recently discovered phenomenon.  People were feeling ill in modern buildings, and analysis of the environments in some of these buildings identified a number of VOCs as being likely causes of the problem.  That problem became known as Sick Building Syndrome, and a great deal of effort was expended trying to identify the building components most responsible for the release of these chemicals into the air inside buildings.

It didn’t take long for someone to notice that a lot of the VOCs identified as being associated with sick building syndrome were those that some plants seemed to be good at removing.  Indeed, one of the scientists involved with the original NASA experiments – Bill Wolverton – has since made a career writing about how houseplants can create fresh air.

However…

Thinking back to the original NASA experiments, you will notice that they were carried out with a specific purpose in mind, and the plants were grown under conditions that made them actively grow – their metabolism was optimized by controlling the environment with high light levels, good humidity, warm temperatures and precise levels of plant nutrients.  There were also vast numbers of plants in the growth chambers.

If you ever visit the hot houses at a botanic garden, such as Kew or the Eden Project, you will experience exactly the type of environment the plants experienced in the NASA experiments.  The air inside those spaces is uplifting, fresh and life-supporting.  The difficulty lies in recreating those conditions in homes and offices.

Issues of indoor air quality

Fortunately, since the early 1980s, the use of products in buildings associated with sick building syndrome has been significantly reduced.  Most homes and offices are not full of nasty VOCs.  However, there are some pollutants that have the potential to cause harm, or at least discomfort. 

Volatile organic compounds (VOCs)

There are many sources of VOCs in houses. In fact, almost everything you can smell is a VOC of one type or another. Paints and new furnishings often release some compounds, but more mundane products are the biggest source: cleaning products, cosmetics and toiletries. Cooking, too, also produces types of VOC, as does opening a bottle of wine or mixing a cocktail. Most of these VOCs are harmless, although some can be irritating.  Other VOCs are actually the result of human physiology: when you breathe out, there will be some VOCs on your breath as well as carbon dioxide and water – these are just the products of digestion and metabolism.

More worryingly are the VOCs that can enter the house from outside. Vehicle emissions, agricultural and industrial activities all contribute to VOCs in the atmosphere that will find their way indoors.

Fine particulates

A more pernicious threat to human health comes from ultra-fine particulate matter, usually produced as a result of combustion.  These are often classified as PM10 (particles smaller than 10 μm in diameter) and PM2.5 (particles smaller than 2.5 μm in diameter).  These particles can be breathed deeply into the respiratory system, where they remain.  Fine particulates come from vehicle exhausts, inefficient combustion of gases and even cooking.

Dust

Larger particulates, such as dust, can irritate the respiratory system and contribute to asthma and allergies.  These are either produced inside buildings (and are usually composed of dead skin cells and pet dander), or can be blown indoors through doors and windows (such as fine dust from roads and fields or construction, or pollen from trees and grass).  Since most homes are not airtight (and most people wouldn’t want them to be – opening a window is a great way to refresh the air and create cooling breezes indoors), there is little that can be done to prevent dust from getting in from the outdoors.  Remember, also, that good ventilation is recommended as a way of reducing the risk of Covid.

Carbon dioxide

The atmosphere is composed of approximately 78% nitrogen, 21% oxygen, 0.9% argon and 0.1% of all other gases (including 0.04% carbon dioxide).

About 80% of the entire atmosphere is within 15km (10 miles) of the earth’s surface (which is only 0.2% of the earth’s diameter) – a fragile and wafer-thin envelope upon which all life depends.

Elevated levels of carbon dioxide are more of a problem in offices than in homes. Small meeting rooms with lots of people, will result in CO2 levels rising fast and getting to concentrations high enough to cause drowsiness and impair cognitive function – just one reason why outdoor meetings might make for better business decisions.  In the home, this is less of a problem, although in the winter, when everyone is indoors and windows remain firmly shut, CO2 levels might rise above comfortable levels.

How can plants help

Despite the fact that most homes are unable to house enough houseplants to actively purify the air, nor are they able to provide the conditions for them to be physiologically active enough to achieve the sorts of effects seen under laboratory conditions (that would be extremely uncomfortable for people), there are ways that plants can be used indoors to improve air quality – and some plants are better than others.  

The key is to match the plants well to their environment.  The more closely matched they are, the more physiologically active they will be, and that is when the effects will be greatest.

When you search for indoor plants online (whether for home or office), you will often see that retailers often include details about the conditions that they do best under.  If you choose plants that suit the different conditions found in the various spaces in your home or office, then you are more likely to notice an effect.

Plants affect the indoor environment in three main ways

Volatile organic compounds

First, the bacteria in the soil that live amongst the roots are able to break down some VOCs, and convert them into substances useful to the plants.  This is an entirely natural phenomenon, although only relatively recently properly understood in horticulture.  Plants with healthy roots and good soil will have the biggest impact, and those that are the fastest growing will also be the most effective.

Carbon dioxide removal

Second, plants that are actively photosynthesizing will be removing some carbon dioxide from the air. Plants that originate in dark tropical conditions (such as rainforest floors) are able to photosynthesize extremely efficiently – they have evolved ways of making photosynthesis work even in very low light conditions, so that means more carbon dioxide is used by the plants.

It must be emphasized that the benefits to air quality are due to carbon dioxide removal, not increasing oxygen. Why?

The simple equation for photosynthesis shows that for every molecule of carbon dioxide removed from the atmosphere, a molecule of oxygen is added. So, in an office where the concentration of carbon dioxide might be, say, 600ppm, removing 100ppm is a massive reduction (about 17%) and will have quite an impact on the way you feel. However, at best, you will only be adding 100 ppm to the oxygen in the same space. As there is already roughly 210,000 ppm of oxygen in the atmosphere, adding an extra 100ppm to that is an increase of less than 0.05%. Actually, you get even that much back as the plants also need some of that oxygen for aspects of their metabolism.

Fine particulates

Third, plants with hairy or slightly sticky leaves are able to trap particulates on the leaf surfaces, including fine particulates.  In fact, plants such as ivy and Cotoneaster are used outdoors to mitigate the effects of pollution in urban areas.  Some indoor plants can do that too (although they will need to be cleaned – there is no rain indoors to wash that pollution away).  In fact, research carried out at Washington State University some years back showed that many different types of foliage plant attracted dust to their leaf surfaces – possibly as a result of an electrostatic effect – so almost any leafy plant will be useful.

Which plants work best

Plants that are adapted to low light conditions will be the best to improve indoor air quality, especially reducing VOCs and carbon dioxide.  Plants in the aroid family, such as Spathiphyllum, Philodendron species, Aglaonema species or Monstera species will be good, as will other jungle-floor plants such as Calathea species, Ctenanthe and even small palms, such as Dypsis lutescens.

If light levels are slightly higher, Dracaena species have been shown to be effective at reducing levels of carbon dioxide (experiments carried out in Australia by Margaret Burchett, Fraser Torpy and colleagues, in real office conditions have shown that relatively few plants are needed to have a measurable effect).

Plants such as Ficus benjamina and varieties of ivy (Hedera helix) and some ferns that do well indoors are good at removing particulates.

Technological solutions

Over recent years, the plant/microbe interactions in the soil have led to a number of innovations that use plants to actively clean the air.  These systems were originally designed for large commercial spaces, but domestic-scale systems are becoming available.

In commercial buildings, green walls can have a dramatic effect on indoor air quality – especially when set up with good lighting systems.  This is because green walls are set up with lighting systems, proper irrigation and, of course, hundreds of plants – all of which are physiologically active.

In the home, small green walls can now be purchased for relatively low cost, and can be installed by a competent DIYer.  Not only do they take up little in the way of floor space, the large volume of compact plants in a good root environment means that they are going to be very effective – especially if you invest in some plant lights to illuminate them (and these are also getting much cheaper).

More recently, active air systems have been developed that use fans to pass air through the foliage and the roots to increase the size of the effect.  Domestic-scale active air green walls are being developed and table-top systems, such as Vitesy’s Natede planter, are now already on the market.

Disclosure note: the author has commercial relationships with both foli8 and Vitesy and acknowledges their ownership of the copyright of their images in this article and is happy to recommend both companies – their products and services are genuinely excellent.

Making life easier for interior landscapers in 2021 with sensors and data

Pre-production samples of Nurtio Technologies sensors have arrived for testing. Three different soil probe lengths and a sensor for hydro plants – all fit into a common power unit that connects to a gateway, and which also houses the light and air temperature sensors.

Everything fits together really well and is a breeze to install – here into a 12 yr old semi-hydro Schefflera arboricola. Data being fed back to Nurtio and will be displayed on a dashboard and app.

This is a really well designed system and will bring great benefits to interior landscapers for service planning, training, assurance and customer care. These are ideal for high value displays, such as expensive indoor trees or green walls when you need to know quickly when the environment changes. The system is also have great value for standard container plants too – it will learn about the needs of the plants and help plan service schedules.

If you are an interior landscaper and would like to know more about this system, please get in touch – this could make your service operations in 2021 much more efficient, especially if your plants are more spread out than before in the new world of dispersed workplaces.

More information at www.nurtio.com

Why biophilic design is NOT about bringing nature indoors

It might be a tempting shorthand, but too many interior designers and interior landscapers talk about biophilic design in terms of bringing nature indoors. This is simply not true. The last thing you should be doing is to bring nature indoors – at the moment it is wet, windy, cold, muddy and the trees are shedding leaves by the ton. I don’t want foxes and crows gallivanting on my desk or slugs climbing my walls. If I want to be surrounded by nature – which I often do – I go for a walk in the fields or woods nearby.

Biophilic design is about improving wellbeing by using some of the cues of nature. As animals, we are as prone to being stressed in unnatural environments as any other species, which is why enclosures in zoos are designed to be as close to the animal’s natural surroundings as possible (and safe).

As a species, we have spent less than a 1% of our history as a domesticated animal (Professor Alice Roberts’ book, ‘Tamed, explains rather brilliantly why humans are the ultimate domesticated species – we domesticated ourselves). With that in mind, we need to create our enclosures to be as stimulating and stress free as possible.

We can do that by recreating natural stimuli in buildings – physical and mental – and that does include bringing some natural, or naturalistic elements into our buildings, but it doesn’t mean bringing nature indoors, because that is a bit messy.

For any advice on biophilic design, or if you are working on a project where biophilic design is an important element (and perhaps you are thinking only of plants), please get in touch.

What’s the difference between a space full of pretty plants and biophilic design?

Without a purpose behind a design, and the intent to make an environment better for the people that use it, we cannot describe a space as biophilic.

Over the next few paragraphs (which are based on my presentation to Cultivate ’20 Virtual in July), I am going to discuss what I think it means to build a biophilic design brand for interior landscapers and designers.

It doesn’t mean what logo to use, or what name to give your business. It is more about the philosophy behind your business – your vision and your values.

Why am I banging on about biophilic design – isn’t it what everyone is doing right now anyway?

Biophilic design is the design trend of the moment. It is associated with greater wellbeing. However, many of its proponents think mainly, or only, in terms of the emotional, almost spiritual, need to connect with nature.

This can be an effective approach, is easily understood and has a lot of merit.

Let’s did a little deeper

Research has consistently shown, for almost 50 years (maybe longer) that when we put plants in buildings, things get better.

  • People feel happier
  • Symptoms associated with sick building syndrome disappear
  • Stress can be reduced
  • People become more productive

Various mechanisms for the benefits have been suggested – physical and psychological – but for years, all we had was a catalogue of discrete research projects without a compelling narrative to tie them all together.

This is Ken Brewer. He was with Ambius (my former employer), and its predecessor companies for over 30 years and was the North America Technical Director. As well as being a much missed colleague and friend, he is the man who first told me about biophilia – some time in the early 2000’s.

When he told me about it, the research that I (and many others) were doing suddenly made a lot more sense.

The concept of Biophilia is not new

However, it has been the work of Edward Wilson since 1984 (incidentally, the same year that the WHO first recognized Sick Building Syndrome), and more latterly Stephen Kellert, that has brought the concept of biophilic design to a much wider audience.

Biophilia theory is rooted in evolutionary biology and genetics. It contends that we, as a species, have an inherent need to be in an environment that relates to our basic needs as a species.

We evolved, and spent over 99% of our species’ history, in an environment resembling the savannah, and that is the environment that we instinctively feel most comfortable in: open, undulating landscapes with scattered and clustered vegetation and good access to water and shelter.

Our senses evolved to work at their best in such an environment, and so it makes sense to create our artificial environments to stimulate our senses is much the same way as in our wild setting. This is where biophilic design differs from conventional interior design – it combines multiple design elements in a holistic way to stimulate our senses.

The difference between a space full of pretty plants and biophilic design

The offices of Segment in California (image by Ambius North America) incorporating many elements that might be considered biophilic

At its core, biophilic design is a design philosophy that is based on biophilia, which incorporates natural elements and natural analogues in such a way as to create an environment that is stimulating, engaging and provides sensory stimuli that work together to minimize stress and discomfort.

It triggers an emotional connection with the space as a result of an appropriate sensory balance and sense of psychological and physical comfort.

There is a huge benefit to putting plants into buildings – the very act of enriching a space can have some profound effects in terms of wellbeing and productivity.

The difference, however, between doing interior landscaping and biophilic design isn’t what you put in a building, but how what you put in a building speaks to the people that use the building. In other words, it isn’t about the products.

It is also about why.

Why has your client asked you to put plants in their building? What is the intent?

Biophilic design has many definitions. Terrapin, for example, propose a number of characteristics that make up biophilic design in three broad categories, as we can see here.

  • Nature in the space
  • Nature of the space
  • Natural analogues

The first and last of these are areas are what interior designers and interior landscapers are really good at. With a bit of imagination, they can be pretty good at the other as well.

When combined well, these elements create a sensory environment that is harmonious. The sensory inputs we experience are congruent. They complement each other and allow us to understand our environment.

When our senses are stimulated discordantly, when we can’t make sense of what we are seeing, feeling, hearing and smelling, then we become stressed. If we hear a threat, but can’t see it, or if we smell the ocean but see the grey walls of an office, it takes mental effort to come to terms with those stimuli.

The importance of good organizational culture

Craig Knight’s research, and that of others, has shown that the biggest impact on performance and wellbeing isn’t plants, art, smells, and everything else that we do, but it is organizational culture.

The more people are empowered to manage their work and their work space, the better things are. Such empowerment can, and should for our industry, extend to engaging as far as possible with the end users of buildings – e.g. office workers – and giving them some agency over the plants and other enrichments.

Get empowerment right, everything else follows

And this doesn’t just mean with the clients. If designers get it right within their own organizations, they too will reap the benefits.

In fact, I think that designers need to live the values that are sold to clients in order to sell those ideas credibly, and for employees to sell and service those ideas with conviction

That’s how you build a biophilic brand identity: human-centric companies providing human-centric services.

It seems to me that it is likely that there is quite a strong interaction between design and organizational culture (although more evidence is needed to determine the strength of the effect), and that there are some synergies to be exploited.  

This can be represented simply as a diagram.  This is merely an untested hypothesis at present, but based on current evidence, an interaction between the extent of biophilic design and end-user empowerment might reasonably be expected to look something like this.

The more you enrich a space, and make it interesting and biophilic, the better.

Likewise, the more the end user is considered, the better – moving from design being done to the user, through being done for them, ultimately to being done with them.

And this is where the principle of intent comes in.

If an organization is willing to invest large sums to enrich a space with wellbeing in mind, then it may be reasonable to assume that the culture behind such a decision looks beyond physical comfort and considers issues such as empowerment, engagement, corporate citizenship behaviours, identity, and monitoring.  

And, unless organizations make efforts to address the mental space in their organizations as well as the physical space, then they, and their workers are unlikely to fully realise their potential.

For me, the ultimate goal of biophilic design is combining the best in design – all the plants and other elements – with the intent to make life better for the users of the space.

If the intent for creating wellbeing isn’t there, then all you are doing is making spaces pretty.

That’s better than nothing, but it’s not what I think is truly biophilic – genuine, human-centred spaces created with the wellbeing of the user in mind, with our senses stimulated harmoniously and designed by someone who really gets it.

Post pandemic plantscaping

The workplace is no-longer the traditional office for many.  Many organizations are challenged by the need to embrace new ways of physically working: planning space, maintaining higher standards of hygiene, enabling teams to work effectively together and recognizing that home working is going to be needed (and even wanted) for the foreseeable future.  All of those challenges are overlaid with the absolute need to ensure the physical and mental wellbeing of staff.

As we move through summer, many offices and other workplaces are re-opening and businesses are trying to imagine how on Earth they are going to be able to ensure effective working.  This uncertainty and the requirements for correct physical distancing and enhanced hygiene standards is going to place a strain on employers and employees alike. 

We’re beginning to get some hints about the way things might look in the period immediately after lockdown ends. One thing is for sure, the world of work (especially the office) is going to have to adapt very quickly. Even when buildings reopen, it seems likely that some degree of physical distancing and enhanced hygiene will be necessary.

After the second world war, a great leader found himself ruthlessly put out of power.  Churchill led the country through a crisis and might have expected a reward in the subsequent general election.  However, to his surprise, and that of the press and the establishment, he fell victim to the closest thing the UK ever had to a revolution.

Comparing the horrors of global warfare to the enforced changes to office life is a bit extreme, although it is worth drawing a few parallels.

Wartime highlighted the faultlines in society.  The old order had to be abandoned in order to fight the war and the idea that society would willingly return to the established ways of doing things was rejected.  Now, organizations are going to have to face up to the facts that the established ways of managing people and workspaces are also going to have to change.

We may even have to reconsider what we mean by workspaces.  

It is going to be a long time before this is normal again, if ever
Photo by fauxels on Pexels.com

Do we mean just the one (or more) physical spaces to carry out work – the realm of the designer – or does it include the headspace too?

Opportunities

Workplace managers are going to have to consider whole new interactions of disciplines in the very near future: space, furniture, technology, connectivity, restoration and recuperation, and new approaches to managing people.  All will need repackaging to create work environments that people want to use, and we must learn from our experiences over the last few months to create those new working environments.

What does that mean for the commercial interior and exterior plantscaping industry?

There are certainly going to be challenges, but also opportunities for those firms imaginative and agile enough to change.

Let’s first look at some of the challenges. These include adapting to new ways of working, such as maintaining physical distancing in clients’ offices whilst carrying out plant care, ensuring that plant displays are kept clean and disinfected and adapting to new office layouts that might be less accommodating for plants if desks and workstations have to be spread out.

One thing seems certain: high density offices are going to have to change. If physical distancing is going to be successful, then either desks are going to have to be spread out, or there are going to have to be screens between workstations, or fewer people are going to be allowed in the office at any one time. Pedestrian routes will also have to be altered. It will be no good if desks are isolated only for colleagues to have to squeeze behind the back of your chair or walk within a few inches of you as they go and get their coffee.

Graphic by Plants@Work – the UK trade association for interior landscapers

Already, interior designers and architects are producing their visions of the new normal office. Many solutions seem to revolve around an adaptation of conventional open plan spaces with designated empty desks and plastic screens to facilitate physical isolation. Some designers are a little more imaginative than others and have started investigating how people can be safely separated with items such as plant displays and green dividers comprising of moss, live plants or even replica foliage. These are, on the face of it, attractive options.

The most imaginative of all are re-thinking the way that offices are going to work. After months of homeworking, most people have found that they can do their work pretty well from home, or at least can manage without missing the office too much. Work habits have changed and people are finding ways to adapt to remote working. The traditional corporate office environment has been shown, by and large, to be unnecessary.

Those organizations with the imagination to grasp the opportunity to create better office environments, rather than rush to adapting what already exists, may look to the types of environment typified by co-working spaces and serviced offices. Such places often resemble hotel lobbies and coffee shops, but also with a wide variety of working spaces to accommodate any type of activity. Such places are designed to get specific types of work done, rather than be a place to go to work.

The new office might be fitted out with better furniture, art and plants. They won’t be designed for dense occupation, but will enable physical distancing, and they will be adaptable to a time when such extreme distancing is no-longer needed.

In part two of this article, I’m going to look at some practical considerations for plantscapers. But if you can’t wait, do get in touch and we can talk about some ideas.

Stimulating the senses

Thoughts on biophilia and biophilic design (part 1) – it’s as much to do with human physiology as it is an emotional response

I’ve been thinking a lot about why Biophilia and biophilic design has much more to do with evolution and the way our senses work, rather than the emotional response to nature that is so-often suggested. 

Let’s look at one definition of biophilia. The most famous, and most important is that given by EO Wilson – the man who catalysed the development of the concept. In 1984, he defined Biophilia as “…the innate affiliation people seek with other organisms and especially the natural world.”

This is a strong statement.  Wilson also speaks of the human bond with other species, which is beautifully explained in his book. This all suggests that biophilia is essentially an emotional need to connect with nature and natural surroundings. 

Stephen Kellert, the grandfather of biophilic design, spoke of “our physical, emotional and intellectual inclinations for nature and life”. By expressing our need to connect with nature on an emotional level, we instinctively understand the concept.  We remember that being in natural places makes us feel good and that the countryside or woodlands are instantly relaxing.

Bringing nature into our built environment – our offices and cities – is a great response to that feeling of calm we get when in nature. However, let’s examine why being in nature really makes us feel comfortable.

I contend that it isn’t wholly a psychological or emotional need, but much more of a physiological need, based on humanity’s evolutionary history and our origins in the plains of Africa.

If you were to take a mole away from its burrow and place it in an open, sunny garden, such as where we might want to spend some time, it would be stressed, frightened and try to dig a new hole. Its senses are not able to cope with the bright light, the lack of close skin contact and the shrill noises of birdsong.  Millions of years of evolution have produced a creature that thrives in dark, damp, tight tunnels.  This is where it finds food, shelter and other moles with which to mate.  If we were to create an environment for a captive mole, it too would be dark, damp and tight, because that would be the humane thing to do.

A mole would rather be underneath this garden than in it!

When we create environments for humans – offices, for example – we tend to make them very space efficient, very energy efficient and completely unlike the environment where our species has spent over 99% of its evolutionary history. 

Not our natural habitat

Humanity evolved on the plains of Africa.  Wide open spaces with undulating landscapes.  The vegetation was scattered and grew in clusters; water was plentiful and skies were bright. 

Humans use their eyes to look for food and threats – sight is our most developed sense.  Colour perception for us – the part of the spectrum that we can see – enables us to spot shapes (food or danger) against the background of vegetation, and recognise when fruits are ripe. 

Our hearing is fine tuned to the noises of prey animals and the sound of running water.  Our sense of touch helps us to determine the quality of materials that we can use for shelter, and our sense of smell tells us what is safe to eat. Our senses are highly adapted to that environment. Those senses evolved to enable our species to survive.  If we stress our senses, we react as if there is a threat to our survival.  Stress hormones prepare us to fight or flee. Our senses become overwhelmed or under used. 

Biophilic design is the trend of the moment and is associated with wellbeing. However, many designers think mainly, or only, in terms of the emotional, almost spiritual, need to connect with nature. This can be an effective approach, is easily understood and has a lot of merit. 

However, I think we can create more effective spaces if we unpick what we mean by an emotional response and use a sensory approach to design.  Let’s stimulate our senses the way nature intended.

Footnote: some books worth having a look at. Nature by Design, by Stephen Kellert, Biophilia by Edward O Wilson and Biophilic Design be Kellert, Heerwagen, et al