Lauren Elizabeth Smith

Transcription

1 : Addressing mental fatigue in low-stimulus screeners and creative-class workers through biophilic design Lauren Elizabeth Smith Submitted in Partial Fulfillment of the Requirements For the Degree of Master of Fine Arts in Interior Design at The Savannah College of Art and Design May 2013, Lauren Elizabeth Smith The author hereby grants SCAD permission to reproduce and to distribute publicly paper and electronic thesis copies of document in whole or in part in any medium now known or hereafter created. Signature of Author and Date / / Prof. M. Shane Totten (date) Committee Chair / / Prof. Brian Sweny (date) Committee Member / / Mrs.Christy Cain (date) Committee Chair

2 : Addressing mental fatigue in low-stimulus screeners and creative-class workers through biophilic design A Thesis Submitted to the Faculty of the Interior Design in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Interior Design Savannah College of Art and Design By Lauren Elizabeth Smith Atlanta, Georgia May 2013

3 Dedicated to my loving parents Howard and Patricia Smith

4 This thesis has been a wonderful endeavor, and I am thankful for all the unending support throughout the journey. Special thanks to my thesis committee Shane Totten, Brian Sweny, and Christy Cain for their continued support, constructive words, time and commitment spent during this process. Additionally, I would like to thank my fellow SCAD classmates for the camaraderie and bonds formed during late nights in the studio. The long journey was best spent with you all. Lastly, I give thanks to my family, friends, and Troy for all of your boundless support and encouragement along the way. Your patience and positive words of motivation have truly strengthened my achievements and successes. Thank you.

5 List of Figures... 1 Abstract Thesis Statement Anticipated Goals and Research Methodologies Literature Review History of the Open-Plan Office Stimulus Screening Ability and the Open Office Setting The Creative Class and Workplace Innovation Attention Restoration Theory A Return to Nature: Biophilic Design Conclusion Data Collection & Research Methods Overview of Research Surveys Initial Summary of Findings Survey Conclusions Interviews Initial Summary of Findings Interview Conclusions Observations Creative Workplaces Biophilic Spaces... 63

6 Observation Conclusions Case Studies & Precedent Analysis Case Studies & Precedent Analysis: Creative Workplaces Summary of Findings Case Studies & Precedent Analysis: Biophilic Workplaces Summary of Findings Case Studies & Precedent Analysis: Private Spaces Summary of Findings Research Conclusions and Limitations Design Project Site Selection and Analysis Project Overview Introduction to Client: Facility Vision, Mission, Values and Objectives Concept Development Concept Imagery Programming Space Allocation and Adjacencies Space Planning and Organizational Analysis Volumetric Sketches Color Materials, Textures and Patterns FF&E Selections: Furniture and Lighting Development Proposed Design Solution Focal Points and Project Visualization

7 Concluding Remarks Bibliography Image Citations Appendices

8 Figure 1. Elements and Attributes of Biophilic Design (Kellert, Heerwagen & Mador).. 36 Figure 2. Office environment types (by author) Figure 3. Creative activity survey (by author) Figure 4. Spaces used most often in creative workplaces by employees (by author) Figure 5. Important aesthetic factors in creating a satisfying, creative work environment (by author) Figure 6. Environmental characteristics for personal innovation and creativity in the workplace (by author) Figure 7. Exterior views available from the workplace (by author) Figure 8. Plants in the workplace (by author) Figure 9. Perception of plants in the workplace (by author) Figure 10. Interior features for less distress and more productivity in the creative workplace (by author) Figure 11. Elements important to personal stimulation of innovative behavior and creativity in the workplace (by author) Figure 12. John Cantrell (retrieved from LinkedIn) Figure 13. Dr. Stephen R. Kellert (retrieved from LinkedIn) Figure 14. Organizational analysis depicting public, private, work, social, circulation and outdoor zones within the floor plans (by author) Figure 15. Spaces for Stimulation and Preparation (by author) Figure 16. Spaces for Reflection and Incubation (by author) Figure 17. Spaces for Sharing and Illumination (by author)

9 Figure 18. Spaces for Play and Experimentation (by author) Figure 19. Organizational analysis depicting public, private, work, social, circulation and outdoor zones within the floor plans (by author) Figure 20. Areas with Access to Daylight, Views and Plants (by author) Figure 21. Areas with Natural Materiality and Color (by author) Figure 22. Areas with Natural Motifs (by author) Figure 23. Exterior view (Retrieved from 69 Figure 24. Street view (Retrieved from 69 Figure 25. Entry and typical floor plans (Retrieved from 70 Figure 26. View from reception down entry floor corridor. (Retrieved from 72 Figure 27. Large conference room (Retrieved from 73 Figure 28. Small conference room (Retrieved from 73 Figure 29. Communal table for 24. (Retrieved from 74 Figure 30. Wingback chairs in library (Retrieved from 75 Figure 31. View of library (Retrieved from 75 Figure 32. Campfire-like private seating. (Retrieved from 76 Figure 33. Semi-private conference room (Retrieved from 77 Figure 34. Interior of conference room (Retrieved from 77 Figure 35. View of typical office floor (Retrieved from 78 Figure 36. View of typical workstations (Retrieved from 78 Figure 37. Figure 1.16: Indoor seating adjacent to the outdoor terrace. (Retrieved from

10 Figure 38. Exhibition area for accolades (Retrieved from 81 Figure 39. Street view. (Retrieved from Figure 40. Social meeting floor. (Retrieved from 85 Figure 41. Forma, enclosed meeting area (Retrieved from 87 Figure 42. Informal, open meeting area incorporated into the plan (Retrieved from 87 Figure 43. Casual meeting lounge (Retrieved from 87 Figure 44. Lounge area for flexible collaboration. (Retrieved from 87 Figure 45. Individual work carousel. (Retrieved from 88 Figure 46. Typical, non-dedicated workstations designed for flexibility. (Retrieved from 89 Figure 47. Casual meeting area with visual access to outdoors. (Retrieved from 90 Figure 48. Grand staircase. (Retrieved from 91 Figure 49. Street view. (Retrieved from Figure 50. First floor (Retrieved from 94 Figure 51. Second floor (Retrieved from 94 Figure 52. Town-Square. (Retrieved from

11 Figure 53. Dining area (Retrieved from 97 Figure 54. Kitchen area (Retrieved from 97 Figure 55. Game area (Retrieved from 98 Figure 56. Lounge space (Retrieved from 98 Figure 57. Lounge space serves as informal work area (Retrieved from 99 Figure 58. Flexible spaces for informal gatherings (Retrieved from 99 Figure 59. Glassed conference rooms allow for the transparency reflected in the company mission. (Retrieved from 99 Figure 60. Typical workstations outside of conference rooms. A sound proof skype booth can be seen at the end of the hallway. (Retrieved from Figure 61. Sculptural conference room under Town-Square. (Retrieved from Figure 62. Street view. (Retrieved from Figure 63. Floor plan. (Retrieved from

12 Figure 64. Undulating feature wall. (Retrieved from Figure 65. Welcome Lounge. (Retrieved from Figure 66. Common break area. (Retrieved from Figure 67. Exterior view of conference rooms (Retrieved from Figure 68. Interior view of conference rooms (Retrieved from Figure 69. Quiet room. (Retrieved from Figure 70. Interior daylight. (Retrieved from Figure 71. Interior plantings. (Retrieved from Figure 72. Earthy materials and bright colors from nature liven the space. (Retrieved from Figure 73. Street view. (Retrieved from Figure 74. Entry floor. (Retrieved from Figure 75. Reception. (Retrieved from Figure 76. Themed conference room ocean. (Retrieved from Figure 77. Themed conference room lodge. (Retrieved from

13 Figure 78. Enclosed meeting space with glass wall allows natural daylight into the interior core. (Retrieved from Figure 79. Hidden spaces for individual work are intermingled throughout the plan. (Retrieved from Figure 80. Indoor play area reminiscent of being outdoors. Greenwall adds life to the interior. (Retrieved from Figure 81. Neutral colors of typical workstations. (Retrieved from Figure 82. Neutral colors of general conference rooms. (Retrieved from Figure 83. Linear carpeting to aid in wayfinding and space delineation. (Retrieved from Figure 84. Plants and artificial turf brighten and bring life to a break room. (Retrieved from Figure 85. Street view. (Retrieved from Figure 86. Floor Plan. (Retrieved from Figure 87. Private offices exterior. (Retrieved from Figure 88. Private offices interior. (Retrieved from Figure 89. Lounge area. (Retrieved from Figure 90. Shared conference room open to the entry by utilizing glass walls. (Retrieved from

14 Figure 91. Administrative space. (Retrieved from Figure 92. View of reception. (Retrieved from Figure 93. Translucent, writable wall surface. (Retrieved from Figure 94. Decorative panels. (Retrieved from Figure 95. Flooring Boundaries. (Retrieved from Figure 96. Soft boundaries. (Retrieved from Figure 97. Hiding Places. (Retrieved from Figure 98. Quiet zone phone booth. (Retrieved from Figure 99. Heads-down space. (Retrieved from Figure 100. Site analysis ranking based on Biophilic Design (by author) Figure 101. Site selection criteria (by author) Figure 102. Area map (by author) Figure 103. Area amenities. (Image retrieved from Figures 104 a-c. Street Views (Retrieved from

15 Figures 105 a-d. Street and area views (Retrieved from Figure 106. Census data. (Retrieved from Figures 107 a-b. Exterior views. (Retrieved from Figure 108. Stacking diagram. (Retrieved from Figure 109. Building model. (Retrieved from Figure s 110 a-b. Interior Atrium views. (Retrieved from Figures 111 a-f. Interior tenant space views. (Retrieved from Figure 112. Tenant floor plan color overlay by author. (Plan retrieved from Figures 113 a-b. Area climate. (Retrieved from Figure 114. Solar Study. (Retrieved from Figure 115. Placed-based relationships map (by author) Figures 116 a-c. Views. (Retrieved from Figures 117 a-c. Interior Atrium views. (Retrieved from Figures 118 a-c. Rooftop views. (Retrieved from Figure 119. Permaculture (Retrieved from Figure 120a-e. Concept imagery Figure 121a-b. Programming and spatial allocation by type (by author.) Figure 122. Permaculture zoning (by author) Figure 123. Permaculture and Programming (by author) Figure 124. Key plan (by author)

16 Figure 125. Enlarged floor plan and Permaculture zoning(by author) Figure 126. Preliminary sketch of ceiling to define Permaculture zoning (by author) Figure 127a-b. Preliminary sketches exploring architectural privacy (by author) Figure 128a-d. Flora (by author) Figure 129e-i. Portland flora Figure 130. Color palette (by author) Figure 131. Material, texture and pattern selection (by author) Figure 132. Furniture selections (by author) Figure 133. Lighting selections (by author) Figure 134. The Settlement (by author) Figure 135. The Woodshed (by author) Figure 136. The Farm (by author) Figure 137. Wild Food Foraging (by author) Figure 138. The Wilderness (by author)

17 Attention restoration theory and the open office: Addressing mental fatigue in lowstimulus screeners and creative-class workers through biophilic design Lauren Elizabeth Smith May 2013 This thesis will explore what environmental factors of open office settings impinge upon low stimulus screening, creative class workers cognitive skills affecting overall productivity and workplace innovation. Research methods will include a broad historical overview through literature review, and qualitative and quantitative analysis through interviews, surveys, field observations, and case studies. The following thesis will address individual stimulus screening coping abilities, and will explore how increased exposure to nature can combat environment-stimulated mental fatigue through Attention Restoration Theory and Biophilic Design. 10

18 Attention Restoration Theory and the Open Office: Addressing Mental Fatigue in Low- Stimulus Screeners and Creative-Class Workers Through Biophilic Design. To explore environment-behavior impact of open office settings on employees To explore environment-behavior factors that foster innovation and creativity in the workplace To explore how increased exposure to nature can be used to combat environment-stimulated mental fatigue through the application of Attention Restoration and Biophilic Design. To conduct historical analysis through literature review, surveys, interviews, field observations and precedent studies 11

19 The open-plan office has a significant environment-behavior impact on employees, particularly for those workers with low-environment stimulus screening abilities. Through the application of Attention Restoration Theory a theory suggesting that nearby natural setting can play an important role in reducing mental fatigue and stress (Kaplan, S., 1995, p.169) the natural environment can be incorporated into the built environment, improving the behavioral implications and cognitive coping abilities of nonscreeners individuals who have difficulty filtering out environmental stimuli (e.g. noise, visual disruption), thus becoming overstimulated and overwhelmed by their surroundings (Mehrabian, 1977, p. 89) in open office settings. The focus of the literary research will not only be on nonscreeners, but also for creative class workers, who similarly have strong environment-behavior factors that facilitate or inhibit workplace creativity and innovation. With two-thirds of the American workforce in the corporate world now working in open-office settings (American Society of Interior Designers, 2005, p. 2), there seems to be a shift toward open-plan office designs to create more collaborative and productive workplaces. However, open-plan offices are not always conducive to the environmental needs of nonscreening, creative class workers. There is research to suggest as workers experience fewer and fewer partitions and architectural privacy in the workplace, the environment may contribute to increased noise and visual distractions, perceived crowding, decreased psychological privacy, increased stress and productivity loss. 12

20 This literature review will explore what environmental factors of open office settings impinge upon low stimulus screening, creative class workers cognitive skills affecting overall productivity and workplace innovation. The following review will reveal the history of the open-plan office, will address individual stimulus screening coping abilities, and will explore how increased exposure to nature can combat environmentstimulated mental fatigue through Attention Restoration Theory and Biophilic Design. History of the Open-Plan Office Previous studies of the workplace have shown that the physical environment plays an important role in shaping psychological and behavioral outcomes of employees, including motivation (Oldham & Brass, 1979, p. 269) and job satisfaction (Veitch, Charles, Farley, et al., 2007, p. 179). The impact of offices on worker productivity has also been a topic of recent conversation (Leaman & Bordass, 2005, p. 41; Davis, Leach & Clegg, 2011, p. 193). Within office design and organizational literature, offices are typically described as either traditional (sometimes referred to as enclosed) or open-plan. Traditional offices often house one or two individuals in private rooms enclosed by walls, while open-plan offices are characterized by a lack of interior walls, with larger numbers of workers arranged in groups of individual workstations (Brennan, Chugh & Kline, 2002, p. 279; Brooks & Kaplan, 1972, p. 373). Workplace design, however, is becoming a major topic of debate due to the changing nature of the office in favor of the open-plan. Many organizations are now reevaluating their facilities to ensure that their workplace meets the needs of the changing 13

21 workforce and nature of work (Laing, 2006, p. 29; Davis, Leach & Clegg, 2011, p. 193). There are emerging shifts in how employees spend their time, the types of tasks engaged in, and technologies available (Duffy, 2000, p. 372). Office redesign involves changing the physical layout or configuration of the space and the facilities and services provided, which can have a significant impact on how teams or individuals work (Laing, Duffy, Jaunzens, et. al., 1998, p. 30). With over 70 percent of workers occupying open-plan offices (American Society of Interior Designers, 2005, p. 2), workplace design is now under increasing examination to determine the best practices that avoid counterproductive work behaviors. The physical workplace environment has been a topic of discussion for industrial and organizational psychologists since the early 1900s, predominantly focusing on the effects of ambient conditions (e.g. lighting, temperature, and ventilation) on worker productivity (Davis, Leach & Clegg, 2011, p. 195). However, a general decline in interest and an initial lack of success in establishing environment-behavior links caused a lapse in extensive workplace research that would last until the 1960s (Oldham, Cummings & Zhou, 1995, p. 8). The widespread introduction of the open-plan office in the 1960s and 1970s revitalized psychologists interests in the relationship between workers and the physical workplace (Brooks & Kaplan, 1972, p. 375; Duffy, 2000, p. 374). Proponents of the open-plan office suggested that this new strategy would produce better worker communication (Brooks & Kaplan, 1972, p. 375) and provide better space efficiency, reducing overhead costs by increasing the density of employees previously housed in private offices (Duffy, 2000, p. 374; Laing, 2006, p.48). Many 14

22 corporations began to implement the new workplace design strategy and so began the rise of the open office. This, in turn, created a wave of workplace research focused on the effects of open-plan working (Brennan, Chugh & Kline, 2002, p. 281; Oldham, Cummings & Zhou, 1995, p. 9). There is a need to address the tensions in open-plan offices between its purported benefits and risks. Mixed findings make it difficult to determine whether openplan offices are most appropriate for a corporation, or which aspects of such workplace designs pose a greater threat to an organization (Charles & Veitch, 2002, p. 29). There are trade-offs that may be negotiated by varying office configurations (e.g. providing different forms of open-plan space for differing employees) to create a more uniform balance of competing employee needs. More evolutionary approaches are currently emerging to strike a balance in open-plan settings that better reflect modern workers and range of workflows, either individual or collaborative tasks (Laing, Duffy, Jaunzens, et al., 1998, p. 31; Davis, Leach & Clegg, 2011, p. 204). Alternatives to the open office are becoming more commonplace, such as designing offices based on patterns of occupant work and their respective needs for collaboration (Gillen, 2006, p. 63). These unconventional open offices often incorporate magnet areas such as hubs or streets that encourage social, collaborative interaction, taking the form of team designated spaces, computer hubs, more formal meeting rooms and café areas that are separate from individual workspaces (Gillen, 2006, p. 75; Davis, Leach & Clegg, 2011, p. 206). The new models of open offices also allow for more individualistic tasks by incorporating reading rooms and spaces for reflection and solitary work, and providing multiple types of open landscape solutions 15

23 related to specific tasks, required levels of collaboration, and job autonomy. Lastly, easier access to closed meeting rooms may relocate impromptu congregation away from individual coworkers desks, (McCoy, 2005, p. 175; Duffy, 2000, p. 374; Laing, Duffy, Jaunzens, et. al., 1998, p. 32). Benefits of the open office include reduced overhead savings, greater flexibility, and increased employee communication. Fewer interior walls allow for larger floor plans and greater numbers of employees accommodated, lessening overhead such as rent, construction, and service costs (e.g. heating and ventilation) to corporations (Brooks & Kaplan, 1972, p. 380; Duffy, 2000, p. 375; Laing, 2006, p. 48; Veitch, Charles, Farley, et. al., 2007, p. 180). Cost savings can also be achieved through an increased flexibility of open-plan offices as it is easier to reconfigure workstation furniture as individual and organizational requirements change. The rapid adoption of open-plan offices is also due, in part, to increased team communication (Brooks & Kaplan, 1972, p. 388). Advocates suggest that the openness of the work environment increases greater social interaction and communication of employees. The open office landscape encourages the sharing of task-related information and collaborative feedback as conversations and informal meetings are more frequently held around workers desks (Oldham & Brass, 1979, p. 280; Brennan, Chugh & Kline, 2002, p. 294). Risks of the open office include reduced architectural and psychological privacy, increased noise, greater opportunity for overstimulation, and cognitive overload. Through the lack of interior walls and increased density of workers in an open-plan office, there is an increase in uncontrolled interactions among employees (e.g. cross conversations). The open office has been attributed to lack of psychological privacy that 16

24 may result in inhibited behaviors as workers feel visually and acoustically exposed (Davis, Leach & Clegg, 2011, p. 200). A rise in noise in the open-plan workplace, in conjunction with reduced walls, screens, and acoustic materials has been reported as the greatest issue of worker dissatisfaction (Leaman & Bordass, 2005, p. 41). Although increased communication is one of the purported benefits of the open office, this may also negatively affect cognitive processes and task performance (Oldham, Cummings & Zhou, 1995, p. 32). Increased distraction or interruption causing reduced levels of concentration have been associated with high-density, open-plan offices (Brooks & Kaplan, 1972, p. 391; Oldham & Brass, 1979, p. 280). There are individual and contextual factors affecting how employees cope with the physical setting such as their stimulus screening skills how well an individual is able to screen out factors of the environment that may serve as distractions (Mehrabian, 1977, p. 89; Fried, 1990, p. 268; Oldham, Kulik & Stepina, 1991, p. 929) which will be discussed in-depth in the next section. Stimulus Screening Ability and the Open Office Setting Research has been previously conducted to show how the physical characteristics of the office environment can have an important impact on employee behavior and productivity. As mentioned in the preceding section, the layout of the office spaces in contemporary approaches is characterized by minimal use of floor-to-ceiling walls. This method of office design is exemplified in environments that predominantly utilize cubicles or open workstations and desks versus closed, private offices. In particular, in open-plan offices, environmental characteristics such as noise, lighting 17

25 conditions and the amount of space allowed for each employee have been linked to employee retention, satisfaction and performance (Mayer & von Hippel, 2005, p. 219; Meijer, E., Frings-Dresen, M., & Sluiter, J., 2009, p. 1027; Klitsman, S., & Stellman, J., 1994, p. 733). As adults spend a large portion of their day in the workplace, it is important that the environment provide adequate conditions to reinforce productivity. Further research indicates that open-office plans have been linked to increased noise disturbances, visual distractions, increased perception of crowding and loss of privacy in the workplace which leads to employee dissatisfaction and decreased productivity (Oldham, G., Kulik, C. & Stepina, L., 1991, p. 930; Brennan, Chugh & Kline, 2002, p. 294; Fried, Y., 1990, p.268; Klitsman, S., & Stellman, J., 1994, p. 733). Both direct and indirect sensory stimulation (eg. light, noise, crowding) impact concentration, learning, mental health, stress levels, cognitive and social functioning, and overall mental wellbeing. This phenomenon is described as a dynamic state in which the [physical environment affects the individual s ability] to develop their potential, work productively and creatively (Boyko, C., Cooper, R., & Codinhoto, R., 2009, p ). In terms of environmental disturbances in open-offices, ambient noise is often thought to be the most negative stimulus factor contributing to stress and anxiety (Hongisto, V., Haapakangas, A. & Haka, M., 2008, p.1). Workers in open plan workspace[s] judge noise to be a primary source of discomfort (Vischer, 2006, p. 4). Noise disturbances may be caused by nearby employee conversations, telephones ringing and other mechanical office equipment. Previous research suggests that increased background noise may be the most invasive factor in open-office settings, 18

26 more so than temperature or lighting (Jackson, T., Klein, K. & Wogalter, M., 1997, p. 509). While noise is the most common contributor of environmental stimulus in the open office, reduced numbers of enclosures also increases negative responses in terms of employee density and visual intrusions (Oldham, G., Kulik, C. & Stepina, L., 1991, p. 930; Fried, Y., 1990, p.272). An inability to control external environmental stimulus from lack of visual privacy provided by enclosing partitions is likely to result in increased stress and anxiety levels (Boyko, C., Cooper, R., & Codinhoto, R., 2009, p. 984). Although reduction in space requirements and increased communication are purported benefits of open-plan office designs, the negative implications and behavioral reactions of workers due to environmental disturbances should be considered. The lack of enclosed space and increased contact with other coworkers may have an impact of overstimulation on employees. This overstimulation may cause inability to meet immediate task demands and evoke negative behavioral responses, resulting in employee dissatisfaction (Oldham, 1988, p. 253; Fried, Y., 1990, p.268). Some employees have exhibited ill physical and mental health issues such as fatigue, irritation, anxiety, distress, headaches, strain and nausea based on environmental stimulus factors of the open office (Jackson, T., Klein, K. & Wogalter, M., 1997, p. 510; Boyko, C., Cooper, R., & Codinhoto, R., 2009, p. 970). Research suggests that employees in open-office settings prefer lower levels of employee density and greater privacy to avoid excessive environmental stimulation that may cause dissatisfaction (Oldham, 1988, p. 253; Kwallek, N., Soon, K. & Lewis, C., 2006, p. 133). 19

27 While some characteristics of open-office designs have been linked with negative behavioral effects, some researchers aim to discover if there are personal differences in the severity of overstimulation and ability to filter out environmental stimulus. Evidence supports that employee reactions to stimulus overload differs from person to person, as research by Albert Mehrabian indicates that some individuals are better able to cope with environmental stimulus than others (1977, p. 89). Mehrabian suggests that individual coping abilities relate to one s stimulus screening ability. He proposes screeners are those who can effectively filter out or reduce the effects of overstimulation by applying a hierarchical approach to information processing. Screeners are more adept at filtering out low-priority intrusions. Conversely, nonscreeners filter out far fewer environmental stimuli and have difficulty prioritizing intrusions, thus becoming overstimulated and overwhelmed by their surroundings (Mehrabian, 1977, p. 89; Gifford, 2001, p. 114; Oldham, G., Kulik, C. & Stepina, L., 1991, p. 933; Fried, Y., 1990, p ). In measuring stimulus screening ability, Mehrabian developed a questionnaire categorizing individuals into ranges of low, moderate and high screening capabilities. Research supports Mehrabian s hypothesis to suggest nonscreeners are more negatively impacted by the effects of crowding, noise and visual disturbances inherent to open-plan offices (Kwallek, N., Soon, K. & Lewis, C., 2006, p. 134; Oldham, G., Kulik, C. & Stepina, L., 1991, p. 930; Fried, Y., 1990, p.268). Additionally, nonscreeners have been shown to resist places that evoke higher levels of environmental stimulus, where the individual may have feelings of less control toward external intrusions and may work 20

28 less effectively due to stimulus overload, resulting in lowered job satisfaction (Gifford, 2001, p. 114). The ability to effectively screen out environmental stimulus in the workplace may hinder concentration for the required task at hand. Concentration on a particular task requires an individual s focused attention to filter relevant information while inhibiting irrelevant information and background stimulus that may be present in open-offices. Because of an individual s ability to inhibit or screen out environmental stimulus in highly distracting settings, one s personal capability may determine how they cope in an openoffice. According to a study by Alena Mayer and Courtney von Hippel, [e]ffective inhibition allows the individual to avoid simultaneous processing of many competing stimuli. Inhibition is crucial to the individual s capacity to concentrate in a distracting environment (2005, p. 221) and may be associated with individual performance in cognitive tasks such as reading, pattern recognition, decision making and creativity. According to the theories of stimulus screening and inhibitory overstimulation, employee behavioral reactions and performance may be negatively affected by increases of environmental distraction which are associated with open-plan offices. The Creative Class and Workplace Innovation Creative class, or knowledge workers, are defined as employees who are involved in the creation, distribution or application of knowledge in which the workers brains comprise the means of innovation or creativity (Florida, 2005). The creative class totals more than 40 million workers, more than a third of the total workforce nationwide (Martin Prosperity Institute, 2012). The new socioeconomic class includes the fields of 21

29 scientists and engineers, architects and designers, artists and entertainers, and the growing ranks of knowledge workers generate more than $2 trillion in wages and salaries nationwide (Florida, 2012). The business of creativity is now becoming a main driver of the economy as the talented groups of creative class knowledge workers are generating new ideas, innovations, and companies. According to the MIT Sloan Management Review (2002), the importance of knowledge work is innovation, which they suggest is the key to long-term organizational stability and growth (Davenport, Thomas, & Cantrell, p. 23). A creative individual can be defined as a person who actively seeks new knowledge, synthesizing information through the cognitive process of problem solving. It involves innovation and adoption of new ideas (Amabile, 1999, p. 630; Amabile, Conti, Coon, Lazenby & Herron, 1996, p. 1155; Martens, 2008; p. 306). Graham Wallas introduced the first empirical model of creativity (1926) where he established the phases of the creative process. The phases are Preparation, Incubation, Insight, and Elaboration and Evaluation (Abelson, 1965, p. 603; Kristensen, 2004, p.89). Preparation is an investigatory process used to gather data and information for a particular problem. Situations differ depending upon the creative task, but both individuals and teams may conduct this preparation and analysis phase either collaboratively or independently (p. 90). During the Incubation phase, the individual uses both conscious and unconscious mental digestion of the information acquired during preparation. Wallas suggests that this is a personal cognitive process of problem solving and is most often a private affair. Some creative individuals work best if left to themselves during the incubation stage. This is supported by studies conducted by 22

30 psychologists Csikszentmihalyi, Feist and Eysenck, who suggest creative individuals are most often introverted and require being alone to stimulate inspiration (Cain, 2012). Wallas refers to the next creative phase as Insight or illumination in which he proposes that a flash occurs when a concept cuts across the barriers of consciousness (1926, p.90). The last phase of Elaboration and Evaluation is similar to the preparation stage, in which the individual ends with a debriefing and plan for implementation (Abelson, 1965, p. 603; Kristensen, 2004, p.89). Abelson goes on to suggest that without preparation and incubation, there can be little illumination (1965, p. 604). Teresa Amabile and others suggest multiple factors all play an integral role in successful workplace innovation and report that little empirical research has been conducted to quantify environmental factors that contribute to employees subjective experiences of creativity (1999, p. 631; Stokols, Clitheroe, Zmuidzinas, 2002, p. 137; Pritzker & Runco, 1999, p. 264). Andrew Pirola-Merlo, Leon Man, and Philip Abelson also researched workplace creativity relating to individuals and interdependent teams, suggesting that an individual s inhibition of creativity has a profound effect on project teams as a whole. Through individual contributions of creativity, teams are shown to become dynamic over time and will shape overall outcomes and deliverables (2004, p. 256; Abelson, 1965, p. 603). Creative class companies may benefit from utilizing the physical workplace to their advantage by encouraging the innovation process. Psychological literature on creativity from Csikszentmihalyi (1996) suggests that space has a strong attachment to emotional wellbeing which is fundamental to creative work. During interviews and observations with groups of creative individuals, he determined that the right place and 23

31 right time play crucial roles in the creative process, indicating factors outside of the creators individuality are at play (Csikszentmihalyi, 1996, p. 264). Buildings and their interior configurations and designs can both constrain or support the exchange of ideas and flow of knowledge (Martens, 2008, p. 306). Creativity more commonly takes place within the workplace (Pritzker & Runco, 1999, p. 264). Research suggests that the physical setting can either support or hinder the flow of innovation (Amabile, 1999, p ; Davenport, Thomas, Cantrell, 2002, p. 24; Martins, 2008, p. 303; Kirsch, 1995, 2001), similar to the environment-behavior associations shown in nonscreeners, those with low environment-stimulus screening abilities. Environmental factors that may affect creativity and experiences of innovation are proximity to other people, and sensory experiences such as sight and sound. Suboptimal environments may include factors that impair creative output. High densities of people within an open office setting may result in more intense and frequent interaction of employees causing crowding and heightened levels of noise and visual interferences (Stokols, Clitheroe, Zmuidzinas, 2002, p. 138) that not only hinder creativity but ability to maintain focused attention. These factors may restrict and cause discord with cognitive processing and creativity in the workplace. Through their use of case studies and survey analysis, the MIT Sloan Management Review found that there is a strong correlation between the physical setting and workplace arrangements on creative work (Davenport, Thomas, & Cantrell, 2002, p. 24). The MIT researchers allude to experimentation and redesign in workplaces being conducted by furniture makers solely to sell more chairs but suggest that the still emerging discipline of knowledge management awaits a model or 24

32 methodology that can bridge the space between [technology], workplace design, business strategy and people management due to the lack of evidence about what actually improves creative worker performance (Davenport, Thomas, & Cantrell, 2002, p. 26). The studies found that in open plan office environments, over-the-wall conversations may help information flow quickly in creative offices, but note many anecdotes about workers who stay at home to do heads-down work because they can t concentrate in the office (Davenport, Thomas, & Cantrell, 2002, p. 26). Concentration may be especially challenging for creative employees who have lowered abilities to screen these environmental distractions. Creative work requires tremendous amounts of concentration during the day which can be challenging for individuals to control in open office settings. Richard Florida suggests when creative thinkers have their flow of innovation interrupted, that it may take 20 to 30 minutes to regain focus (Florida, 2002, p. 125). Concentration for jobrelated tasks and workplace innovation are strongly connected to environmental interference. Creative people often need uninterrupted periods of time in which they can become absorbed in their work. Research shows that recorded levels of environmental distraction are significantly linked to employees perception of supported innovation at work (Stokols, Clitheroe, Zmuidzinas, 2002, p. 137; Pritzker & Runco, 1999, p. 78). Creative class workers in permeable, open-office settings often experience heightened feelings of unpredictability or uncontrollability from the bombarding stimuli and disturbances in their environment, similar to nonscreeners. Further research suggests that emotion, wellbeing and job satisfaction related to stimulus arousability in the built environment may also foster or diminish creativity, abstract thinking and cognitive skills, 25

33 memory capacity, stress levels and ability to focus (Kristensen, 2004, p.89; Baas, Carsten, Dreu, Nijstad, 2008, p ; Stokols, Clitheroe, Zmuidzinas, 2002, p. 137; Pritzker & Runco, 1999, p. 384). This need for privacy and freedom from interruption is required for creative individuals to be more productive. Creative workers need time alone to develop ideas and analytical skills. Martins suggests knowledge workers need hassle-free time for non-conscious processing that aids creativity and imagination (2008, p. 307). Today s open-plan offices sometimes ignore the differences in workflows and the ways that people accomplish creative tasks, either individually or collaboratively, and can be linked to making workers more distracted, increasing numbers of mistakes and the length of time to finish tasks. In research conducted by Adrian Furnham, he suggests creative individuals almost always perform better than groups, both in quantity and quality (Cain, 2012). In looking to common environmental factors contributing to workplace innovation, experimental studies have been conducted to target features of the physical workplace that may have positive effects on creative task performance. Such features, as studied by Shibata and Suzuki (2002), are the presence of plants and access to nature through a direct window view (p. 265). Other studies examine other physical features having positive effects on creativity such as adequate lighting and ventilation (Stone, Irvine, 1994, p. 57). McCoy and Evans suggest that access to windows and views, natural light, plants and natural materials often play a high role in creativity potential (2002, p. 409). They propose that environmental conditions that encourage positive mood and creativity in the workplace are most likely built from natural materials, and often overlook 26

34 natural settings (McCoy, Evans, 2002, p. 409; Augustin, 2009, p ). The access to plants, windows and views, and natural materials are thought to increase creativity by enhancing the individual s attention, helping to sustain concentrated and meditative thinking required for creative thought formulation (Pritzker & Runco, 1999, p. 78; p. 264). The next section will further discuss the positive benefits of incorporating the natural environment into the workplace. Attention Restoration Theory As seen in the previous section, the incorporation of the natural environment into the workplace is thought to increase creativity by enhancing the individual s attention for creative thought formulation (Pritzker & Runco, 1999, p. 78; p. 264). The question remains whether nature can contribute positive, restorative benefits such as improvements in cognitive ability, productivity and stress levels that are often inhibitory to nonscreeners. Frederick Law Olmstead, the landscape architect who designed Central Park in New York City, believed that nature is beneficial to emotional and physiological health; modern theorists and academics such as Edward Wilson and Stephen Kellert, creators of the Biophilia hypothesis, also believe this to be true as built environments are increasingly industrialized, urbanized, and further removed from nature (Gifford, 2001, p. 387). Environmental psychologists have hypothesized that nature improves cognitive freedom and sense of escape, as well as restoring mental health (Boyko, Cooper & Codinhoto, 2009, p. 977). One such theory is that of the affective-arousal approach, suggesting that nature s positive benefits are derived from the calming, positive 27

35 emotions associated with the natural environment (Gifford, 2001, p. 389). A similar hypothesis, Attention Restoration Theory, as a term first introduced by Stephen and Rachel Kaplan, suggests that a nearby natural setting can play an important role in health, performance, motivation and overall emotional wellbeing (Kaplan, S., 1995, p.169). Typically focused in the context of hospitals, prisons and residential settings, this concept has not been extensively researched in the workplace (Kaplan, R., 1993, p.193). The Kaplans suggest that nature is inherently fascinating and that it entails involuntary attention, requiring little or no effort (Gifford, 2001, p. 388). The theory focuses on the positive, restorative benefits of views to nature that help to restore mental fatigue and stress. They differentiate between involuntary and focused attention, in which the latter may cause fatigue from sustained mental effort. Mental fatigue often causes a reduced ability to concentrate that can result in human error, lower problem solving skills and thought formulation (Kaplan, R., 1993, p.196; Berman, Jonides & Kaplan, 2008, p. 1207), of which are a cognitive detriment to those with lowered stimulus screening abilities. In a regular workday, most workers are required to actively engage with focused attention which can cause mental strain. Stephen Kaplan discusses how a person s ability to maintain directed attention plays a major role in information processing in the same way that Mehrabian s hypothesis of stimulus screening ability addresses nonscreeners concentration levels and coping skills. If the ability to concentrate is fatigued or stressed, Attention Restoration Theory is aimed to use the natural environment to generate restorative experiences to recover. Kaplan states that any 28

36 prolonged mental effort can lead to directed attention fatigue (Kaplan, S., 1995, p. 174). Both Kaplan and Kaplan suggest that even short experiences with natural settings can be restorative which will gradually restore mental fatigue and cognitive attention (Gifford, 2001, p. 390; Berman, Jonides & Kaplan, 2008, p. 1211; Kaplan, Kaplan, & Ryan, 1998, p. 26). Principles of Attention Restoration Theory are that experiences with nature to reduce mental fatigue can be achieved through being away, extent, soft-fascination and compatibility (Berman, Jonides & Kaplan, 2008, p. 1207). Being away frees mental activity that requires directed attention. This may also include conceptually being away rather than a change of physical setting. Kaplan suggests a change in direction or gaze could allow a typical environment to be viewed in a new way. Natural environments should be easily accessible to offer a place to rest attention (Kaplan, S., 1995, p.179). Another facet of Attention Restoration Theory is extent, which is the sense that being away is of a significant magnitude for the person. The environment must be rich enough so it constitutes as a whole other world (p. 179). Kaplan suggests that even small areas may provide a sense of extent by including paths or trails so that small areas seem larger. He notes that, conceptually, extent could be given using historical artifacts to give a sense of being connected with the past (Kaplan, S., 1995, p.179). The theory also suggests that nature provides soft-fascination giving the mind an opportunity for mental reflection, rest and relief. Many of the fascinations of a natural setting may be restorative such as the relief one might feel from looking upon billowy clouds, sunsets, snow patterns, or rustling leaves in a breeze (Kaplan, R., 1993, p.196; Kaplan, S., 1995, p.179). This type of mental effort requires involuntary, effortless 29

37 attention and thus reduces mental fatigue incurred by focused attention. Soft fascination could be particularly useful in restoring mental fatigue acquired by those with lowered stimulus screening abilities. Lastly, the natural environment should demonstrate compatibility with the person experiencing it. The environment should be comfortable and appropriate to preferences of those experiencing it. Kaplan suggests that the more compatible the environment, the less directed attention is required (Kaplan, S., 1995, p.180). A person can achieve soft-fascination and its restorative benefit by views to a natural setting, general proximity to nature, or access to leafy plants and vegetation (Shibata & Suzuki, 2002, p. 265; Stone & Irvine, 1994, p. 57). Plants in the workplace reduce stress, enhance performance levels and effectiveness, promote human creativity, and improve overall mood, even when people only have peripheral views of them (Augustin, 2009, p. 187). Not only do plants make office spaces seem more aesthetically pleasing and comfortable, but Augustin suggests that plants, particularly yucca and lilies, are physiologically beneficial by removing carbon dioxide from the air to increase concentration (2009, p. 187). Rachel Kaplan further details two studies with respect to the role of nature in the workplace. These included measures of perceived health, job satisfaction and attitudes toward the work situation focusing on the view from the window in the workplace, a environment she calls micro-restorative (1993, p. 196; Augustin, 2009, p. 186). The presence of windows and views within the workplace can have a positive impact on employees. When there is no access to windows in the work environment, individuals have reported more dissatisfaction with their jobs, higher tension, and feelings of 30

38 isolation and restriction (Boyko, Cooper & Codinhoto, 2009, p. 984). Rachel Kaplan found, however, that given the availability of a window, it does matter what views can be seen. If all that is seen are buildings obstructing a view of nature, few psychological benefits are realized. However, a large quantity of natural elements are not necessary to produce a significant effect (ex. a few trees, flowerbed landscaping) (Kaplan, R., 1993, p. 196; Augustin, 2009, p. 186). Kaplan also suggests there are benefits of having natural areas within the workplace site that can be used for more direct involvement (ex. picnic tables, walking paths). These micro-restorative experiences with nature are all opportunities that can help to reduce attention fatigue (Kaplan, R., 1993, p. 201) and improve cognitive functioning of overstimulated nonscreeners. A Return to Nature: Biophilic Design In studying Attention Restoration Theory, a theory relying on the premise that directed attention, an essential component of day-to-day functioning and human performance, can be restored through exposure to nature or resemblance of nature, (Kaplan, 1995) one might inquire how to connect users within interior environments to a nearby natural setting to reduce mental fatigue and stress. A similar theory, Biophilia Hypothesis, recognizes the restorative benefits of nature critical to health, performance and overall wellbeing. In the 1970s, Edward O. Wilson, a biologist and naturalist, introduced Biophilia which literally means love of life in which he suggests that humans share an instinctive bond with other living systems formed during the course of evolutionary history, and are powerfully responsive and innately connected to nature s forms, processes and patterns (1983). 31

39 At the core of Wilson s hypothesis is the assertion that there is an intrinsic connection between humans and the natural environment based on evolved humannature reliance over time for survival, which ultimately leads to human preference for a natural habitat. The hypothesis was further elaborated upon by Kellert, Heerwagen and Mador, in which they suggest the natural environment goes beyond meeting the needs of survival such as food, water and shelter, providing humans with enriched physical and psychological wellbeing. (Wilson, 1983; Kellert, Heerwagen, & Mador, 2008). Biophilic Design suggests the built environment in contact with nature may have a positive impact on human cognition and behavior. By incorporating direct access to nature, or representations thereof into the interior, the constructed environment, or interior landscape, may foster and support the mental wellbeing of its occupants (Ulrich, 1984; Kaplan, 1993). Kellert, Heerwagen and Mador suggest that Biophilic Design is an understanding of the positive experiences of natural systems and processes [as utilized] in our buildings [as they remain] critical to human performance and wellbeing (2008). The withdrawal of nature within architecture and interior environments of the mid- 20 th century produced interiors that lacked restorative value to their occupants (Joye, 2007). [T]he prevailing approach to design of the modern urban built environment has encouraged the massive transformation and degradation of natural systems and increasing human separation from the natural world (Kellert, Heerwagen & Mador, 2008). However, Dr. Stephen Kellert suggests that to address this disconnect with the natural world, [w]e designed ourselves into this predicament and theoretically can design ourselves out of it, but only by adopting a radically different paradigm for 32

40 development of the modern built environment that seeks reconciliation if not harmonization with nature (2008). Contemporary research on buildings designed with strengthened connection to natural world suggests there is a growing awareness of nature s positive impacts on human wellbeing (Ulrich, 1984; Kellert, 2005). Studies performed by contemporary psychologists reinforce the positive outcomes associated with increased exposure to nature such as shortened surgical recovery rates, improved worker productivity rates, accelerated childhood development and maturation rates, and improved cognitive functioning (Ulrich, 1979, 1984; Kaplan, 1995). The assertion that humans innately seek out colors, designs, patterns, and processes found in nature, and that some of these influences facilitate and support mental, emotional, and physical health, is a basic tenet of Biophilic Design (Kellert, 2005). Providing opportunities for interaction with nature through architecture and interior design, Biophilic Design relies on an inherent connection between humans and the natural environment as a valuable resource when creating interiors and constructed landscapes that not only serve their intended functions and programming requirements, but restore the physical, psychological and emotional health of the occupants (Kellert, Heerwagen, & Mador, 2008). Kellert categorizes Biophilic Design into two dimensions, organic and vernacular design, which become a theoretical framework for understanding not only how humans interact with their environment, but also serves as a foundation for understanding how nature can enrich those interactions (2005). The first basic dimension of Biophilic Design are organic or naturalistic dimensions, defined as shapes and forms in the built environment that directly, indirectly or symbolically reflect the inherent human affinity for 33

41 nature (Kellert, Heerwagen & Mador, 2008). Direct contact with the natural environment includes elements such as daylight, plants, animals and natural habitats and ecosystems. Indirect exposure to nature requires ongoing human interaction for the element of nature to survive such as watering a garden or maintaining a fountain. A symbolic experience with nature requires no actual interaction with the natural environment at all, but is experienced through a representation of nature such as imagery, metaphor, sounds or scents (Kellert, Heerwagen & Mador, 2008). The second dimension of Biophilia, vernacular design, or time-and-place-based design, refers to buildings and landscapes that connect to the culture, [history, ] and ecology of locality or geographic area to create a place of meaning, security and a sense of belonging (Kellert, Heerwagen & Mador, 2008). Kellert suggests attachment to a place is cultivated by the experiences and emotions associated with events or time spent there. This includes not only the traditional concept of interacting with nature outdoors through parks, gardens and open spaces where individuals and their families seek time for rest and recreation, but the historical reverence of places where communities developed connections with the land that sustains us (2005). Kellert, Heerwagen and Mador further outline the two dimensions of design as they relate to six Biophilic Design elements: Environmental Features Natural Shapes and Forms Natural Patterns and Processes Light and Space Place Based Relationships 34

42 Evolved Human-Nature Relationships (2008). These are additionally summarized into seventy two attributes as they relate to the built environment seen in the table below: Environmental Features Color Water Air Sunlight Plants Animals Natural Materials Views and Vistas Façade Greening Geology and Landscape Habitats and Ecosystems Fire Natural Shapes and Forms Botanical Motifs Shells and Spirals Shapes Resisting Straight Lines and Right Angles Biomimicry Tree and Columnar Supports Egg, Oval and Tubular Forms Biomorphy Animal Motifs Arches, Vaults and Domes Geomorphology Natural Patterns and Processes Sensory Variability Information Richness Age, Change and the Patina of Time Growth and Efflorescence Central Focal Point Patterned Wholes Bounded Spaces Transitional Spaces Linked Series and Chains Integration of Parts to Wholes Fractals Light and Space Complementary Contrasts Hierarchy and Organized Ratio of Scales Dynamic Balance and Tension Natural Light Filtered and Diffused Light Light and Shadow Reflected Light Light Pools Warm Light 35

43 Light and Space (continued) Light as Shape and Form Spaciousness Spatial Variability Space as Shape and Form Spatial Harmony Inside-Outside Spaces Place-Based Relationships Geographic Connection to Place Cultural Connection to Place Landscape Features that Define Building Form Spirit of Place Historic Connection to Place Indigenous Materials Landscape Ecology Avoiding Placelessness Ecological Connection to Place Landscape Orientation Integration of Culture and Ecology Evolved Human-Nature Relationships Prospect and Refuge Order and Complexity Curiosity and Enticement Change and Metamorphosis Security and Protection Mastery and Control Affection and Attachment Attraction and Beauty Exploration and Discovery Information and Cognition Fear and Awe Reverence and Spirituality Figure 1. Elements and Attributes of Biophilic Design (retrieved from Kellert, Heerwagen & Mador). As seen above, Biophilic Design can often be implemented through a variety of means within interiors, such as increased access to natural daylight, exterior views, and exposure to living materials and indoor plants within the built environment. Similarly, Kellert suggests the use of natural materials, color, patterns and processes mimicking those found in nature, representations or symbolic depictions of nature such as abstractions found in art may enrich the occupant-nature connection (2008). It is 36

44 important to note that even very limited exposure to nature can create a restorative effect and evoke positive experiences within the built environment such as enhanced cognition and overall improved mental, emotional and physical health (Kellert, Heerwagen, & Mador, 2008; Ulrich, 1986; Kaplan & Berman, 2010). Conclusion While implementing open office designs has positive benefits of increased communication, flexibility and reduced overhead savings, the risks of the open office can be a detriment to creative class nonscreeners with their inherent reduced architectural privacy, increased noise and visual distraction, and greater opportunity for overstimulation and cognitive overload. Due to the extreme polarization toward openplan offices in contemporary settings, with two thirds of corporate office workers now occupying open offices, there is an important need to address the negative environment-behavior implications of this shift for workers with special cognitive needs while still maintaining balance between individual and collaborative tasks. While there is emerging information on the environmental characteristics that pose negative behavioral implications for nonscreeners, there is little existing literature on how to better suit their cognitive needs in the open-plan office as the workplace landscape is still evolving. This investigation attempts to justify the incorporation of the natural environment, through the application of the principles of Attention Restoration Theory and Biophilic Design, to provide cognitive relief for creative class nonscreeners. Though creative class and those with low stimulus screening abilities have often been studied in 37

45 independent fields of workplace research, there is significant overlap in the interior environment-behavior characteristics that affect overall productivity and workplace innovation. By taking a restorative approach to the design of open-plan workplaces, the interior may improve the behavioral implications and cognitive coping abilities, thereby positively influencing workplaces by reducing mental fatigue. A biophilically designed workplace may better foster productivity and promote creativity while improving stress levels and overall wellbeing. 38

46 Overview of Research After analytical review of literature relevant to the topics of this thesis, research was conducted exploring the overarching themes such as open office environments, workplaces for the creative class, Attention Restoration Theory and Biophilic Design. To further research the aforementioned themes, investigation of the sub-topics was conducted based on the following research methods: Surveys with creative-class workers to determine workplace preferences fostering innovation and perceived connectivity to the natural environment Interviews with professionals with vast knowledge and expertise in the field of Biophilic Design Site observations of creative-class workplaces Site observations of biophilic interiors Precedent analysis of creative-class workplaces Precedent analysis of biophilic workplaces Precedent analysis of private spaces Each of the data collection methods mentioned above with be further outlined and detailed in the following sections. 39

47 Surveys Surveys were conducted to target creative class-workers to determine workplace preferences fostering innovation and perceived connectivity to the natural environment. A list of questions related to the physical work environment were formulated prior to conducting online surveys to further explore the topic. After launching the survey online, a total of 84 respondents participated in the survey data collection. Initial Summary of Findings Of the 84 respondents surveyed, the following work predominantly in the following type of office environment Figure 2. Office environment types (by author). 30.9% open-plan office 21.8% work in a semi enclosed office 18.2% work in a private office 21.8% work from home 7.3% work from a mobile location 40

48 When asked to rank the following activities from 1-4 (1 = most beneficial activity for personal creativity; 4 = least beneficial activity), respondents stated that while working, they feel most creatively productive when performing the following activities? Play (Ranked 4th) Reflection (Ranked 3rd) Stimulation (Ranked 2nd) Collaboration (Ranked 1st) Figure 3. Creative activity survey (by author). Collaboration: where ideas are shared and built with others was ranked most beneficial activity by 34.0% of respondents Stimulation: the mind or thought process is triggered in a new way was ranked second most beneficial activity by 35.8% of respondents Reflection: a period of uninterrupted focus was ranked third most beneficial activity by 34.0% of respondents Play: lots of experimentation to generate new ideas was ranked the least beneficial activity by 30.2% of respondents 41

49 The respondents were asked to select the space in their workplace they utilize most often to be creative. Their responses are as follows: Lounge areas / break Room Multipurpose/Support area (ex. training room, reference library Outdoor areas Conference rooms / meeting rooms Private area for individual, heads down work Personal office / workstation Areas with ample daylight and views to outdoors Figure 4. Spaces used most often in creative workplaces by employees (by author). 36.4% Areas with ample daylight and views to outdoors 23.6% Personal office/workstation 10.9% Private area for individual, heads down work 7.3% Conference rooms/meeting rooms 7.3% Outdoor areas 5.5% Multipurpose/Support area (ex. training room, reference library) 1.8% Lounge areas/break Room 42

50 Of the 84 respondents surveyed, the following (in an average week) work at least 50% or more of their time working: 65.5% Individually 30.9% Balance of Individual and Collaborative work styles 3.6% Collaboratively When asked which is most important aesthetic factor in creating a satisfying, creative work environment, respondents rated the following: High tech look and feel Reflection of the company s brand Color selection Artwork Cool-factor /unique character Natural environment with lots of daylight and views Figure 5. Important aesthetic factors in creating a satisfying, creative work environment (by author). 43.6% Natural environment with lots of daylight and views 23.6% Cool-factor /unique character 43

51 7.3% Artwork 5.5% Color selection 5.5% Reflection of the company s brand 0.0% High tech look and feel The respondents were asked to select the most important environmental characteristic for their personal innovation and creativity in the workplace. Their responses are as follows: Areas supportive of for group work Areas supportive of individual work Areas with uninhibited access to windows and views Cleanliness, accessibility, and low noise levels Multipurpose spaces that maximize choice and flexibility Figure 6. Environmental characteristics for personal innovation and creativity in the workplace (by author). 50.9% Multipurpose spaces that maximize choice and flexibility 25.5% Cleanliness, accessibility, and low noise levels 44

52 10.9% Areas with uninhibited access to windows and views 7.3% Areas supportive of individual work 5.5% Areas supportive of for group work Pertaining to the exterior views available from their workplaces, the following responses were gathered: Have views to lots of trees, hills or water views (lake, river, beach) Have no views to a window Can see only views are to buildings/streets/parking deck Can see a few trees/natural life (flowerbeds, tree-lined streets) mixed with other buildings and structures Figure 7. Exterior views available from the workplace (by author). 50.0% can see a few trees/natural life (flowerbeds, tree-lined streets) mixed with other buildings and structures 24.1% can see only views are to buildings/streets/parking deck 13.0% have no views to a window 7.4% have views to lots of trees, hills or water views (lake, river, beach) 45

53 When asked to describe the plants in their workplace, respondents replied as follows: Plentiful and healthy looking Only in reception area and public spaces Not enough - I d like to see more plants in the workplace Absent altogether Figure 8. Plants in the workplace (by author). 51.9% Absent altogether 20.4% Not enough I d like to see more plants in the workplace 18.5% Only in reception area and public spaces 1.9% Plentiful and healthy looking When asked to describe how they feel about plants in the workplace, respondents replied as follows: 46

54 There are no plants in my workplace I don t think plants are a beneficial addition to the workplace They are there, but I don t notice them I work better when I m around plants They improve the air quality They boost my mood They look great I love them Figure 9. Perception of plants in the workplace (by author). 52.7% They look great I love them 52.7% They boost my mood 49.1% They improve the air quality 29.1% I work better when I m around plants 12.7% They are there, but I don t notice them 1.8% I don t think plants are a beneficial addition to the workplace 29.1% There are no plants in my workplace Pertaining to the natural and artificial lighting qualities available in their workplaces, the following responses were gathered: 43.6% There are windows, but not much daylight indoors 47

55 38.2% There is lots of natural light and plenty of windows 16.4% My workplace has no natural light, only artificial lighting When asked which interior features make them feel more at ease, less distressed and more productive in the workplace, respondents replied as follows: Artwork that depicts nature Sense of mystery / intrigue Contrast of scale, rhythm, proportions Botanical / nature-like patterns or textures Interior water / fire features Visual complexity / intricacy Natural colors Indoor plants Natural materials (in flooring, furniture, etc.) Balance of scale, rhythm, proportions Air quality / ventilation Daylight View to outdoors Figure 10. Interior features for less distress and more productivity in the creative workplace (by author). 90.9% View to Outdoors 89.1% Daylight 74.5% Air quality/ventilation 69.1% Balance of scale, rhythm, proportions 63.6% Natural materials (in flooring, furniture, etc.) 48

56 50.9% Indoor Plants 32.7% Natural Colors 25.5% Visual Complexity/Intricacy 21.8% Interior Water / Fire features 20.0% Botanical/Nature-like patterns or textures 20.0% Contrast of scale, rhythm, proportions 20.0% Sense of Mystery/Intrigue 16.4% Artwork that depicts nature When asked which elements are important in stimulating personal innovative behaviors and creativity in the workplace, respondents reported the following as preferential: Decreased peer/colleague interaction Comforts of home Storage Visual privacy Dedicated individual/heads-down space Dedicated team/conference space Free of excessive noise Increased peer/colleague interaction Visual openness Social heartbeat energy and excitement Exposure to work in progress by others Flexibility configuration of workplace Sense of place unique character Access and/or views to outdoor space Access to natural lighting, living plants and Technological connectivity Comfort personal adjustment of Figure 11. Elements important to personal stimulation of innovative behavior and creativity in the workplace (by author). 49

57 69.1% Comfort personal adjustment of temperature, lighting, acoustics, and furniture 65.5% Technological connectivity communication and access to data 63.6% Access to natural lighting, living plants and clean air 61.8% Access and/or views to outdoor space 60.0% Sense of place unique character 54.5% Flexibility configuration of workplace easily adapts 54.5% Exposure to work in progress by others (ex. drawings, notes, photos) 50.9% Social heartbeat energy and excitement 47.3% Visual openness 47.3% Increased peer/colleague interaction 45.5% Free of excessive noise 45.5% Dedicated team/conference space 43.6% Dedicated individual/heads-down space 41.8% Visual privacy 34.5% Storage 34.5% Comforts of home 3.6% Decreased peer/colleague interaction Survey Conclusions Survey results concluded that in designing for creative workplaces, areas with direct access to ample daylight and views were consistently a preferential environmental characteristic for employees. Design considerations should include 50

58 providing access to adequate daylight and views if possible within the interior. However, most respondents noted that in their current workplaces, exterior views to the natural settings are limited if not nonexistent. The same applies for plant life and vegetation within and surrounding their respective office settings. More focus could be made toward interior views and plantings, creating natural settings within the built environment as most respondents noted their perceptions of plants and views to greenscaping improved their quality of work and mood while performing creative tasks. Other interior features thought to improve the mood and productivity of respondents were workplaces with adequate ventilation to improve air quality and offices including natural materials and colors. Personal comfort and the ability to adjust one s own temperature, lighting, noise levels and furniture were also highly noted. In terms of privacy within the open office environment, a balance of public and private spaces should be met within the design to accommodate for user preferences, as most respondents regarded them of near equal importance for creative tasks within the workplace. Privacy may be met with areas for individual, heads down work and accommodating for factors such as visual and acoustic privacy. Public areas may be accommodated for with the inclusion of conference and meeting rooms as well as spaces such as lounge areas, break rooms and other social gathering spaces that provide visual openness and support collaboration. In designing for the creative workplace, giving choice to employees through a multitude of spaces that range from private to public may maximize choice and flexibility, accommodating multiple workstyles. Flexibility within a workplace that easily adapts to work preferences was highly noted. 51

59 Interviews A series of interviews were conducted with leading industry practitioners who have relevant design or research experience with the theory of Biophilic Design and the implementation of Biophilic Design elements and attributes in the interior environment. A list of questions related to the aspects of Biophilic Design were formulated prior to conducting phone interviews to further explore the topic. Questions were asked to the interviewees to investigate their understanding about the theory of Biophilia and its application to the interior. Further inquiry was developed to gain understanding of how the elements and attributes of Biophilic Design can influence the psyche and strengthen perceived connection to nature. Interviews were conducted with the following professionals: Interviewee 1: John Cantrell, HOK Atlanta, industry leader in Sustainable and Biophilic Design Interviewee 2: Dr. Steven R. Kellert, Yale University noted author an expert in the field of Biophilic Design 52

60 Initial Summary of Findings Figure 12. John Cantrell (retrieved from LinkedIn). John Cantrell, HOK: Q: Out of the elements and attributes of Biophilic Design (ex. daylight, ventilation, access to plants/water, frequent indoor/outdoor access, complexity/order, mystery, natural forms, and materiality), what is the most important to make interiors more connected to nature? A: The attributes and elements of Biophilic Design work in unison and they may not be one attribute that stands out more than another. Biologically, our subconscious and other senses and experiences surely play a part in enhancing one s ability to become more in sync the natural environment. 53

61 Q: What are the most important characteristics of Biophilic Design when designing for a corporate, workplace setting? A: Daylight, Plants, and Materiality are the most common attributes found in the workplace. Elements of Biophilic Design such as complexity/order, mystery, and natural forms are desired when the user expectation or experience is about enjoyment, When designing for work and efficiency, people tend to desire more simplicity and order. Q: Are there some attributes of Biophilia that are more challenging to successfully implement in an interior than others A: Access to plants/water and ventilation still remain the most difficult to achieve in an interior environment due to the infrastructure and environment needed to sustain those items in any meaningful way in an interior space (ex. providing adequate daylight, drainage, maintenance, micro-ecosystems, humidity + moisture). Q: What is most challenging about designing biophilically for an interior workplace environment? A: Also challenging are recreating genuine experiences that demand things like attention and wonder, time and reflection that are key to mental health. Often the very notion of a productive workday is counterintuitive to the idea of connecting with nature. 54

62 Dr. Stephen R. Kellert, Yale University: Figure 13. Dr. Stephen R. Kellert (retrieved from LinkedIn). Q: Out of the elements and attributes of Biophilic Design (ex. daylight, ventilation, access to plants/water, frequent indoor/outdoor access, complexity/order, mystery, natural forms, and materiality), what is the most important to make interiors more connected to nature? A: Environmental features such as vegetation, place-based connections, and water are usually seen more outside than indoors, although still moderately important to an interior. Natural shapes and forms, natural patterns and processes, use of light/shadow and space are all very important attributes for interiors. Q: What are the most important characteristics of Biophilic Design when designing for a corporate, workplace setting? 55

63 A: Recommends utilizing natural materials, shapes and forms (simulated organic, curvilinear shapes found in nature), vegetation in the way of potted plants and/or depictions of nature, lighting and views, if possible. Q: Are there certain nature-scapes or landscapes that seem to have a higher impact on connecting users with nature than others? A: Compatibility and one s attraction to nature varies depending on evolutionary relationships. For example: People generally are not attracted to dark, confined places. Places with too much detail (without coherency) or to little detail can cause overstimulation or monotony. In general, people prefer organized complexity within the built environment. Color: natural attractions or aversions to certain colors. Earthtones are more appealing than colors too loud, stark or striking. Q: In regards to views to nature, what strategies could be implemented in urban settings with limited or no views to natural settings, plants and vegetation? A: Single potted plants do not have much impact. One should try to create ecological environments with a variety of plants that have relationship or association to one another in a compatible, symbiotic relationship. Designing in this way creates a more dynamic, robust environment. 56

64 Interview Conclusions Both interview participants noted the importance of daylight, the use of natural materiality, and visual access to plants within the workplace which are environmental features that designers may utilize to strengthen connectivity to the natural world. Elements such as place-based relationships, or the relationship of building to its site, may not be as easily controlled by an interior designer. Therefore, more emphasis on natural materials, natural shapes and forms (organic, curvilinear forms found in nature), patterns and processes, and light and space, and views (if possible) can be utilized within the interior of the built environment. When utilizing environmental attributes of Biophilia, such as access to indoor plants and water, they may still be difficult to achieve due to the infrastructure and environment maintenance needed to sustain them in a meaningful way, creating a micro-ecosystem that is more robust and dynamic, and has more environmental impact over the single potted plant. Similarly, some attributes of Biophilia are less likely to be found in a workplace setting, such as mystery, complexity, curiosity and enticement, etc. When designing for the workplace setting, most users respond positively toward simplicity and order. In general, based on evolved human relationships, people prefer organized complexity that avoids monotony or overstimulation. 57

65 Observations A series of site observations were conducted in the field, where interior spaces were visited to observe creative workplaces and environments with strong implementation of Biophilic Design elements and attributes in the interior. The following are sites visited and their categorization to the related themes: A. Creative Workplaces CCP Games, game design industry, Atlanta, GA Perkins+Will, architecture and design firm - Atlanta, GA B. Biophilic Interiors Gwinnett Environmental Heritage Center - Buford, GA Zoo Atlanta Conservation Action Resource Center - Atlanta, GA Creative Workplaces For creative workplace site observations, the following characteristics were observed: General office layout Types of spaces supportive of creative activity Stimulation: where the mind is inspired or a thought process is triggered in a new way. Stimulating spaces expose the mind to a variety of stimuli in order to encourage people to think differently. Can often be seen as the following: o Environment used as a tool to communicate attitude (vibrant graphics, signage) o Sense of awe and/or scale o Sense of Curiosity 58

66 o Environment may expose users to senses other than sight o May be devoid of stimulus Reflection: a period of uninterrupted focus. Spaces for reflection promote filtering of information into the brain, allowing it to make critical connections. Can often be seen as the following: o Areas for quiet and intense focus (ex. meeting rooms, introvert pods ) o Private Areas to relax or unwind (ex. lounging, napping) o Agenda-less spaces (ex. outdoors, comfortable nook, coffee stop) o Meditative places (designed to deliberately slow people down) Collaboration: where ideas are shared and built. Collaborative spaces support the sharing of information and knowledge. Can often be seen as the following: o Meeting rooms o Break/Kitchen areas o Walkways/Stairways/Mainstreet for chance liaisons/collisions o Large collaborative areas (ex. theater, café, venue) Play: where experimentation occurs. Play/Experimentation spaces elicits lightness; opens up lines of communication or aids in trying new things. Can often be seen as the following: o Social learning areas o Physical/Kinesthetic play areas o Exploratory areas (for testing & developing ideas) 59

67 Creative Workplaces: Site Observations of CCP Games and Perkins+Will Figure 14. Organizational analysis depicting public, private, work, social, circulation and outdoor zones within the floor plans (by author). Figure 15. Spaces for Stimulation and Preparation (by author). The office of CCP Games takes more of a white box approach to their interior, being more devoid of stimulus. A neutral backdrop of white walls and hardwood floors has minimal environmental stimulus. In contrast, the office of Perkins+Will uses accents of color throughout the space to evoke a sense of excitement and energy. 60

68 Figure 16. Spaces for Reflection and Incubation (by author). Both CCP Games and Perkins+Will s offices provide areas to get away from the traditional open office in the form of more private, informal seating areas. Perkins+Will also offers an outdoor area on the fifth floor deck that allows employees time to reflect and unwind out of the office. Figure 17. Spaces for Sharing and Illumination (by author). 61

69 Both CCP Games and Perkins+Will offer a variety of meeting spaces throughout that provide employees the opportunity to share information with colleagues. The meeting rooms are often arranged with conference tables that seat 4-8 people. Additionally, Perkins+Will s conference rooms are rich with visual cues pinned on tackable surfaces and written on writable glass feature walls to exposure employees to work in progress by others (ex. drawings, notes, photos). Figure 18. Spaces for Play and Experimentation (by author). Both CCP Games and Perkins+Will offer a variety of spaces within the workplace where employees can experiment with new ideas. As previously mentioned, spaces for play elicits lightness, open lines of communication or aid in the trying new things. CCP Games offers a game room and cantina area for employees to socially gather. Similarly, Perkins+Will offers a variety of informal gathering places where employees can share and develop new ideas. 62

70 Biophilic Spaces For biophilically designed interior site observations, the following characteristics were observed: General office layout Access to Daylight, Views and Plants Materiality and Color Natural Motifs Biophilic Interiors: Site Observations of Gwinnett Environmental Heritage Center and Zoo Atlanta Conservation Action Resource Center (ARC) Figure 19. Organizational analysis depicting public, private, work, social, circulation and outdoor zones within the floor plans (by author). 63

71 Figure 20. Areas with Access to Daylight, Views and Plants (by author). Both the Gwinnett Environmental Heritage Center and the Zoo Atlanta Conservation ARC have strong relationships to daylight, views and plants within the interior. Both are lit with natural daylight due to an abundance of windows throughout the space that maximize views and access to site vegetation in their natural settings. Figure 21. Areas with Natural Materiality and Color (by author). 64

72 The Gwinnett Environmental Heritage Center utilizes a variety of natural materials in the space, such as wooden beams and stone floors. The materials lend themselves to creating a neutral color palette within the interior environment. The Zoo Atlanta Conservation ARC also uses a color palette inspired by nature, using earth-tone greens and browns throughout. Accents of wood in furniture, doors and windows strengthen the natural materiality within the space. Figure 22. Areas with Natural Motifs (by author). The Gwinnett Environmental Heritage Center utilizes the wooden trusses and windows within the space to create a repetition and rhythm throughout. The ever-changing daylight, or living light adds to the rhythm to create a dynamic space. The Zoo Atlanta Conservation ARC also uses repetition throughout the space with curvilinear doorways and windows. Similarly, repeated throughout the interior are natural material motifs which are created with a backdrop of the use of bamboo, colored glass and natural fiber wallcoverings. 65

73 Observation Conclusions Observations and site visits of local creative workplace precedents revealed how, through contemporary application, the phases of creativity can be environmentally supported through the design of the workplace. Utilizing the environment as a tool to communicate an attitude or evoke feeling, the interior can be utilized to stimulate the mind in preparation for a creative task. Providing areas for quiet, intense focus such as private meeting areas, lounge spaces to relax and unwind, and agenda-less spaces such as coffee stops, outdoor areas, or comfortable nooks, the interiors can be supportive of reflection and incubation, allowing for critical connections in the brain. The environment can also foster collaboration and illumination, supporting the sharing of knowledge and information through traditional examples of meeting rooms and break areas, while non-traditional methods include maintstreets, increasing chance liaisons between creative employees. Lastly, social learning areas for physical or exploratory play can elicit a lightness that encourages employees to experiment and think about ideas in new ways. Observations and site visits of local biophilically designed precedents revealed how, through contemporary application, interior connection to the natural environment can be strengthened. Through increasing direct access to daylight, views and vegetation, users are more strongly connected to preferential features such as daylight and exterior views, especially when those views contain natural features and vegetation. Natural materiality is also of importance and preference to users, while materials reveal the organic process of aging, weathering and patina. Earth-tones and colors found in nature applied to the interior environment aid in supporting the user- 66

74 nature connectedness. Similarly, with the inclusion of natural shapes and forms, such as botanical motifs and curvilinear forms, the interior environment mimics patterns and process from the natural world. 67

75 Case Studies & Precedent Analysis A series of case studies and precedent analyses were conducted, where interior spaces were researched to study creative workplaces, environments with strong implementation of Biophilic Design elements and attributes, and examples of accommodating privacy in the interior. The following are sites analyzed and their categorization to the related themes: A. Creative Workplaces Schlaich Bergermann & Partner Stuttgart, Germany Microsoft Amsterdam, The Netherlands Atlassian San Francisco, CA B. Biophilic Interiors Kiva San Francisco, CA Microsoft Vienna, Austria Zapata and Herrera Valencia, Spain C. Examples of Private Spaces Translucent, Writable Walls Decorative Panels Flooring Boundaries Soft Boundaries Hiding Places Quiet Zones Heads-Down Space 68

76 Case Studies & Precedent Analysis: Creative Workplaces 1. Schlaich Bergermann & Partner, Stuttgart, Germany A. Address: Schwabstraße 43, Stuttgart B. Firm Type: Engineering C. Employees: 110 D. Area: 26,900 sf E. Design: Ippolito Fleitz Group & Identity Architects, 2011 F. Site/Context: The building is located at a busy crossroads in an urban district of West Stuttgart, Germany. The office occupies six floors of the seven-story building. Schwabstraße 43, Stuttgart Figure 23. Exterior view (Retrieved from Figure 24. Street view (Retrieved from 69

77 Key Goals: The main headquarters of the engineering firm Schlaich Bergermann & Partner relocated their office to change the operational and communicative structures within the company, reuniting their team under one roof. Work takes place among open offices to promote information exchange between colleagues. However, the plan has been broken into individual work units to allow for concentrations of team members. Building Organization: A. Floor Plan: Figure 25. Entry and typical floor plans (Retrieved from 70

78 1. Conference Room 1. Copier 2. Plotter Room 2. Kitchenette 3. IT Room 3. Restroom 4. Restroom 4. Team Room 5. Server Room 5. Open Office 6. Exhibit Space 7. Library 8. Communication Area 9. Break Room 10. Storage 11. Waiting Area 12. Administrative Area 13. Reception 14. Terrace B. Organizational Structure: Each floor has a rectangular floor plan with two rows of columns forming a longitudinal axis. The columns determine the layout of the typical office floors, where the offices are mirrored across the spine created for circulation. C. Entry Entry to the space occurs at a monumental, free-floating staircase that leads to the reception area. Once beyond the reception, the floor plate opens up to a row of desks for administrative duties. The reception and entry serve as a starting point for zones of activity within the space, defined by flooring changes from carpet to concrete, and lighting zones that aid in orientation within the space. 71

79 Figure 26. View from reception down entry floor corridor. (Retrieved from D. Shared Spaces: The largest floor serves as the heart of the company, consisting of reception, meeting and conference spaces, and break area. Central communication spaces occur on the entry floor, serving as a meeting space for all departments. A wide range of seating throughout the shared, entry floor allows for flexibility in setting for varying meeting styles and sizes, both formal and informal. 72

80 Conference Rooms: Two sizes are available, both with conference table, chairs, and built in millwork for additional storage. Figure 27. Large conference room (Retrieved from Figure 28. Small conference room (Retrieved from Communal Areas: A spacious communication area is centrally located on the entry floor. It hosts two tables, ample lighting and seating for 24. A punched metal ceiling gives acoustic dampening to the centrally located space. The space also serves as a central dining area for employees. 73

81 Figure 29. Communal table for 24. (Retrieved from Intimate Zones: Individual areas within the communal space offer additional flexibility for small group gatherings. A lowered ceiling panel also anchors the small group zones. An elongated bar table divides the larger tables from smaller, more private conversational tables for two providing an intimate conversational zone. 74

82 Other intimate zones include a grouping of wingback chairs near the library for quieter contemplation. Occasional tables and decorative lighting in this space give it an intimate feel. Figure 30. Wingback chairs in library (Retrieved from Figure 31. View of library (Retrieved from Directly adjacent to the library is an upholstered semi-circle that opens up toward the terrace. This area, defined from the rest of the space, offers the privacy needed for concentrated discussion. Deep pile carpet offers additional acoustic control, while accent lighting, colors and bronze metallics create a warm, fireplace type atmosphere. 75

83 Figure 32. Campfire-like private seating. (Retrieved from 76

84 A small, square conference area is clearly defined by transparent curtains, suggesting a semi-private space. Figure 33. Semi-private conference room (Retrieved from Figure 34. Interior of conference room (Retrieved from E. Administrative Areas Located on the entry floor, the administrative areas are centrally located for access to all organizational divisions. F. Open Office: Workers previously in separate office locations are now in large open-plan offices promoting information exchange and collaboration between colleagues. Five floors house 25 workstations per floor are identical in layout. Each floor has a rectangular floor plan. 77

85 Each typical office floor provides an open layout workspace while allowing smaller workrooms for teams. The individual enclosed offices incorporate glass walls to keep an open feel and visual accessibility within the overall plan. Figure 35. View of typical office floor (Retrieved from Figure 36. View of typical workstations (Retrieved from To further delineate workgroups within the open office area, groups of workstations are positioned behind storage units or folded glass and textile panels that provide acoustic dampening. The panels also serve as pin up boards for employees. Standing height tables are also positioned within the open-plan office for informal collaboration worksurfaces. A metal, grid ceiling further defines groups of employees in their respective team zones. 78

86 G. Support Spaces: Additional millwork and storage spaces have been tucked into the typical floors toward their entry, allowing for easy access for each person on the floor. Included in these support spaces are copy area and small kitchenette. The columns have also been built out with floating furniture units for extra storage, while allowing additional presentation space on magnetic surfaces. The suspended millwork allows for openness and ease of communication between adjacent groups of workstations. H. Outdoor/Indoor spaces: A terrace with seating and tables is easily accessible from the entry floor. The interior space that leads to the terrace utilizes green colors and dot patterns, creating an easy transition from outdoors to indoors. Seating is also provided on the interior that overlooks the terrace. The metallic ceilings used throughout the interior also reflect natural daylight and draw it through the interior. 79

87 Figure 37. Figure 1.16: Indoor seating adjacent to the outdoor terrace. (Retrieved from I. Focal Points: - In the area beyond the reception, exhibition cubes where glass shelves display awards and merits the engineering firm has won throughout the years. 80

88 Figure 38. Exhibition area for accolades (Retrieved from - The Communication Area on the entry floor serves as a centerpiece of the design. It s oversized scale gives this area importance as well as dramatic punched metal ceiling that anchors the space. - A light wall at the end of each typical floors circulation path. 81

89 Materiality: Warm materials help to identify varying communication zones within the space by creating different moods. The warmth of the materiality provides an intimate, comfortable atmosphere. Finishes include: - Deep pile carpets and carpet tiles varying in shades of gray and brown - Silver and metallic HPL millwork - Punched metal ceilings and walls - Sound absorbing gypsum ceilings - Pops of neon green add minimal color - Magnetic presentation surfaces - Comfortable furniture in fresh colors that add energy to the space - Upholstery in plush textures - Decorative lighting - Upholstered pin up boards - Acoustic fleece under metal grid applied to the ceiling 82

90 2. Microsoft Amsterdam, The Netherlands A. Address: Evert van de Beekstraat 354, Schiphol, Netherlands B. Firm Type: Technology C. Employees: 1,000 D. Area: 117,200 sf E. Design: Sevil Peach, 2008 F. Site/Context: The building is located at in a bustling, metropolitain area of Schiphol, Netherlands near two airports. Evert van de Beekstraat 354, Schiphol, Netherlands Figure 39. Street view. (Retrieved from

91 Key Goals: In order to support Microsoft Amsterdam s 1,000 member staff in their new office complex, the goal was to create a new model of activity-based work, meaning no dedicated desks for employees or private offices for senior level employees. The aim was to encourage social interaction and collaboration within the office, while utilizing the company s software (Microsoft Linc) for added communication within the workplace. Microsoft also wanted the space to convey a workplace that was transparent, democratic and customer friendly. A challenge for Sevil Peach, architecture and design firm, was to create a work environment that was welcoming and supportive of 1,000 employees who don t have dedicated desks. 84

92 A. Floor Plan Figure 40. Social meeting floor. (Retrieved from 1. Theater 2. Stair 3. Restrooms 4. Teamwork Bench 5. Work Lounge 6. Meeting Room 7. Individual Work Carousels 8. Lockers 9. Relaxation Zones 10. Open, Informal Meeting Area 11. Coffee Area 12. Administrative & Support 13. Outdoor Staff Dining 14. Concentration Booth 85

93 B. Organizational Structure The plan is arranged around an open staircase and two outdoor meeting pavilions that give employees a sense of transparency and connectivity within the work environment. The centralized plan acts as a social heart of the interior and a focal point of the design. A variety of work zones are intermingled within the plan to encourage flexible collaboration. C. Entry The entrance to the space begins with visitors being greeted by receptionist who are on their feet, not behind a desk to further reinforce the activity-based workstyle. D. Shared Spaces The office is designed to incorporate communal work areas throughout the building, encouraging flexibility and collaboration. Typical furniture throughout includes informal meeting benches, individual work carousels, enclosed and semi-enclosed meeting rooms, casual work lounges, and two auditoriums to maximize varieties of workplace needs and work styles. Additionally, a coffee shop and indoor and outdoor dining allow for employees to take a break from their daily activities. The coffee points also double as social, informal meeting areas. 86

94 Figure 41. Forma, enclosed meeting area (Retrieved from Figure 42. Informal, open meeting area incorporated into the plan (Retrieved from Figure 43. Casual meeting lounge (Retrieved from Figure 44. Lounge area for flexible collaboration. (Retrieved from 87

95 Since there are no dedicated desks within the office, everyone is given their own locker to be personalized with chalk. E. Open Office: The office includes informal meeting areas in the forms of benches, meeting rooms, and auditoriums for collaborative socialization. Individual work carousels allow for the needs of persons who need solitary work, although the carousels are amongst the openness of the floor plan. Figure 45. Individual work carousel. (Retrieved from 88

96 The space incorporates a ceiling runner that flows between work zones, physically interacting between spaces. Figure 46. Typical, non-dedicated workstations designed for flexibility. (Retrieved from For those who need privacy from the open-plan office, relaxation zones, concentration booths, and sleep pods are intermingled to allow for an escape. 89

97 F. Outdoor/Indoor Spaces: Two outdoor pavilions in a central location provide transparency and perforation between indoor and outdoor spaces. The exterior of the building is predominately glass that allows for natural light and views. Figure 47. Casual meeting area with visual access to outdoors. (Retrieved from G. Focal Points: - Centrally located outdoor pavilions - Grand staircase to encourage social interaction 90

98 Figure 48. Grand staircase. (Retrieved from - Coffee areas for social gathering - Grand staircase that serves as a mainstreet for employee interaction 91

99 H. Materiality - Warm and casual materials create a welcoming atmosphere. Social zones are inviting and hospitality-like. - Pops of color that evoke a playfulness against a neutral backdrop of grays, woods and whites - Plush upholstered contemporary furniture - Playful ceiling runner that flows between the interior zones. - Magnetic and writable surfaces for creative processes - Personalized lockers with chalk art for customization 92

100 3. Atlassian, San Francisco A. Address: 1098 Harrison St San Francisco, CA B. Firm Type: Technology C. Employees: 150 D. Area: 42,000 sf E. Design: Studio Sarah Wilmer, 2012 F. Site/Context: The building is located in the heart of San Francisco s Mission district, less than a mile from the Bay. Columbia Square, a large recreation park is located within one city block Harrison St San Francisco, CA Figure 49. Street view. (Retrieved from Key Goals Atlassian is an Australian software company specializing in collaboration and development tools. The goal of the design was to create a workplace that embodies the 93

101 company values of complete transparency. The company also believes it is important to have fun with coworkers while working and contributing to the team. A. Floor Plan Figure 50. First floor (Retrieved from Figure 51. Second floor (Retrieved from 94

102 1. Amphitheater 2. Event Space/Town Square 3. Open Work Area 4. Conference Room 5. Flexible Office 6. Common Lounge 7. Team Lounge Area 8. Skype Booth 9. Elevator 10. Entry 11. Garden Retreat nd Floor Café 13. Server / IT Room 14. Mechanical Room 15. Storage 16. Main Kitchen 17. Sandwich Island 18. Showers 19. Dining Area 20. Game Room 21. Training Room 22. Coffee Bar 23. Bike Storage B. Organizational Structure: The existing double height space of the warehouse inspired the design of a Town Square and amphitheater, used for common space staff meetings, presentations, and product launches. Employee workstations are open-plan and are located around the exterior of the building. 95

103 Figure 52. Town-Square. (Retrieved from C. Shared Spaces Open lounge areas are accessible throughout the plan. Communal dining areas also create an inviting space where employees can interact over their lunch break. Multiple transparent conference rooms and open breakout areas reinforce the democratic work environment with no dedicated or closed offices. The Town- Square seating area defines public space for company-wide events. 96

104 A kitchen, dining, and game area are also shared spaces, although separated from employee work areas by doors to eliminate distraction. Figure 53. Dining area (Retrieved from Figure 54. Kitchen area (Retrieved from 97

105 Figure 55. Game area (Retrieved from D. Open Office Based on the company values, not one employee has a closed office. A grand open plan was formed to give unrestricted access to all employees, inviting them to share information and conversation. Open lounge areas are fitted with comfortable furniture and beanbag chairs scattered throughout. Generous and varied open spaces provide a casual environment, while allowing transparency for all employees and clients. Figure 56. Lounge space (Retrieved from 98

106 Figure 57. Lounge space serves as informal work area (Retrieved from Figure 58. Flexible spaces for informal gatherings (Retrieved from Figure 59. Glassed conference rooms allow for the transparency reflected in the company mission. (Retrieved from 99

107 The plan also incorporates skype booths and small retreat rooms for individual use or private conferencing. The 11 closable skype booths are intermingled within the floor plan so that staff can access a space to have quiet, privately held phone conversations. For added privacy, a garden retreat tucked into a sunny corner allows for further personal reflection. Figure 60. Typical workstations outside of conference rooms. A sound proof skype booth can be seen at the end of the hallway. (Retrieved from 100

108 E. Support Spaces Employee support spaces integrated throughout the office including a spacious kitchen and café areas, a communal game room, lounge areas, ample bicycle parking and showers. F. Outdoor/Indoor Spaces The vast openness of the plan allows for maximum transfer of daylight within the interior. Close proximity to a recreation park allows for pleasant views to a green lot. Also included is an indoor garden retreat for reflection during the workday. G. Focal Points: - Town Square event space and amphitheater creates seating and sculptural interest within the space. The amphitheater acts as the central heartbeat of the company and encourages informal, spontaneous interaction among employees. Underneath is a glass enclosed primary conference room. 101

109 Figure 61. Sculptural conference room under Town-Square. (Retrieved from H. Materiality - Playful furniture with beanbag chairs creates a relaxed environment - The interior is an unexpected oasis in comparison to its industrial, warehouse exterior. - Warm woods and natural materials - Exposed structural trusses - Bolder splashes of color are used to activate smaller rooms such as skype booths 102

110 - Acoustic surfaces have been utilized to absorb sound in the offices. Summary of Findings Creative workplaces often incorporate flexible spaces for group meetings, conferencing and gatherings ranging from formal to informal, large to small. Shared spaces often include support areas such as break and dining areas, copy and supply areas, and communal lounge spaces. They are often centrally organized with workstations (typical open-office plans in the creative offices shown) with conference and support areas in the periphery. The openness of the workplace is utilized to encourage an exchange of information and communication among teams. Central gathering spaces are thought to further enhance collaboration, serving as a social heartbeat. Within the open office setting, sometimes private zones are included for privacy, relaxation, heads-down work, or intimate meetings; however they appear less frequently than the accommodation of open workstations and social gathering spaces. The creative offices in this Precedent study also typically display access to exterior windows and natural daylight, while some take advantage of exterior patios and courtyards. Transparency within the office was also noted as a major factor, not only for function but relaying company values aesthetically. The tone of the creative offices seen was also set with pops of color and branding to convey a mood, and comfortable furnishings that add casual energy to the space. The interiors also take care to provide layered task and decorative lighting as well as acoustical treatments to create comfortable work environments. 103

111 Case Studies & Precedent Analysis: Biophilic Workplaces 1. Kiva, San Francisco A. Address: 875 Howard St #340, San Francisco, CA B. Firm Type: Non-Profit Microfinance C. Employees: 120 D. Area: 17,000 sf E. Design: STUDIOS Architecture, 2012 F. Site/Context: The building is located in the heart of San Francisco s Mission district, less than a mile from the Bay. 875 Howard St #340, San Francisco, CA Figure 62. Street view. (Retrieved from Key Goals Kiva s mission in their workplace was to provide a lively, efficient and flexible workspace. Limited by budget, the office makes the most of its small space for 120 employees. 104

112 A. Floor Plan Figure 63. Floor plan. (Retrieved from 1. Welcome Lounge 2. Open Office 3. Conference 4. Lounge 5. Restrooms 6. Informal Collaboration 7. Break and Dining 8. Quiet Room B. Organizational Structure The office is organized in an open plan with workstations running longitudinally in the narrow floor plate. Conference rooms and support spaces are located around three sides of the perimeter of the building, allowing for open workstations to have access to windows and daylight in the space. 105

113 C. Entry Entry to the space leads through a small waiting lounge and directly into an undulating wall separating the entry from the open office environment. Figure 64. Undulating feature wall. (Retrieved from 106

114 D. Shared Spaces The Welcome Lounge serves as centrally located area that reflects the company culture, accommodating a wide variety of events and meetings. Tracked, sliding panels made from reclaimed doors allow for varying levels of visual connection between the lounge and workstations. Figure 65. Welcome Lounge. (Retrieved from A common break room and kitchen features a family style dining table for all to share. The space often serves as an additional meeting area for employees. 107

115 Figure 66. Common break area. (Retrieved from E. Open Office The office is organized in an open plan with workstations running longitudinally in the narrow floor plate. Conference rooms and support spaces are located around three sides of the perimeter of the building, allowing for open workstations to have access to windows and daylight in the space. Figure 67. Exterior view of conference rooms (Retrieved from Figure 68. Interior view of conference rooms (Retrieved from 108

116 Formal and informal collaborative areas are dispersed throughout the space. Also included within the office perimeter are a variety of enclosed, quiet workrooms and several booths allowing for additional privacy and concentration. A quiet room with oversized hammock allows for rest and relaxation within the workplace. Figure 69. Quiet room. (Retrieved from F. Outdoor/Indoor Spaces Through a vast window wall, the open office is visually connected to the exterior allowing ample daylight into the space. Interior plantings also bring life into the space. 109

117 Figure 70. Interior daylight. (Retrieved from Figure 71. Interior plantings. (Retrieved from 110

118 G. Focal Points - Welcoming lounge serves as centrally located area that reflects the company culture, accommodating a wide variety of events and meetings. - Undulating feature wall of woven wood adds interest to the space. H. Materiality - Reclaimed woods create a warm, earthy feel Figure 72. Earthy materials and bright colors from nature liven the space. (Retrieved from - Tracked, sliding panels from reclaimed materials 111

119 - Interior plantings bring life to the interior - Organic partitions that visually divide the space and create an undulating texture that runs along the reception area and main walkway. - Writable and magnetic surfaces for interaction and communication - Immaginative materials and creative graphic elements give the space a fresh and vibrant feel 112

120 2. Microsoft, Vienna A. Address: Am Europlatz 3, 1120 Vienna, Austria B. Firm Type: Technology C. Employees: unkown D. Area: 48,500 sf E. Design: INNOCAD Architektur, 2011 F. Site/Context: The building is located in a dense, industrial area of Vienna, Austria. Am Europlatz 3, 1120 Vienna, Austria Figure 73. Street view. (Retrieved from Key Goals The aim for the Microsoft Vienna office was to maximize the physical, social and virtual working environments. 113

121 A. Floor Plan Figure 74. Entry floor. (Retrieved from 114

122 1. Courtyard 2. Entertaining Area 3. Bar 4. Restrooms 5. Media Room 6. Cafeteria 7. Circulation 8. TV Lounge 9. Informal Meeting 10. Entry 11. Theater 12. Lounge 13. Retreat 14. Focus Room 15. Executive Lounge 16. Reception and Waiting B. Organizational Structure The entry floor is organized around a central entry point and circulation. Break areas are located toward the back of the floor plate nearest the courtyard. Conference and meeting rooms are located along the buildings perimeter on a longitudinal axis. C. Entry The entry features a large vegetated wall and backlit reception desk with graphics of the inner workings of a computer. 115

123 Figure 75. Reception. (Retrieved from D. Shared Spaces The space features a number of themed conference rooms ranging from a hunting lodge to an ocean. Figure 76. Themed conference room ocean. (Retrieved from Figure 77. Themed conference room lodge. (Retrieved from 116

124 Communal entertaining, media rooms, lounge spaces, theater and retreat encourage communication between employees. The entry floor is host to numerous shared conference rooms ranging from informal to formal and executive level meeting spaces. Figure 78. Enclosed meeting space with glass wall allows natural daylight into the interior core. (Retrieved from Smaller meeting spaces and focus rooms are available for employees in small groups or those needing individual privacy. 117

125 Figure 79. Hidden spaces for individual work are intermingled throughout the plan. (Retrieved from E. Support Spaces A variety of support spaces ranging from restrooms, cafeteria and dining spaces are available to employees on the common entry floor. F. Outdoor/Indoor Spaces An abundance of natural light enters the space through the buildings many windows. The incorporation of multiple green walls strengthens the occupants connection to nature. 118

126 G. Focal Points - Vegetated walls - Reception desk with backlit graphics - Space for indoor play including a slide Figure 80. Indoor play area reminiscent of being outdoors. Greenwall adds life to the interior. (Retrieved from H. Materiality - The design incorporates colorful, fresh design elements that are eye-catching. - Vibrant color pallet derived from nature. - Office areas and non-themed conference areas in a toned-down neutral pallet. 119

127 Figure 81. Neutral colors of typical workstations. (Retrieved from Figure 82. Neutral colors of general conference rooms. (Retrieved from 120

128 - Linear Carpet to delineate space Figure 83. Linear carpeting to aid in wayfinding and space delineation. (Retrieved from - Spaces for lounge and play, incorporating energetic colors, soft furnishings and a slide - Whimsical themed rooms resembling the ocean or a hunting lodge - Introduction of plants to liven the interior. - Artificial turf resembling grass underfoot. 121

129 Figure 84. Plants and artificial turf brighten and bring life to a break room. (Retrieved from 122

130 3. Zapata and Herrera, Valencia, Spain A. Address: Paseo de la Alameda, 65, Valencia, Spain B. Firm Type: Law Firm C. Employees: 7 D. Area: 1,200 sf E. Design: Masquespacio, 2012 F. Site/Context: The building is located in the bustling city center of Valencia, Spain. The site is directly adjacent to a large city park. Paseo de la Alameda, 65, Valencia, Spain Figure 85. Street view. (Retrieved from Key Goals The goal of the Zapata and Herrera office was to convey the essential values of the lawyer s office while remaining elegant and sophisticated. With such a small footprint, functionality of the space was very important. 123

131 A. Floor Plan Figure 86. Floor Plan. (Retrieved from 1. Entry 2. Reception 3. Small Seating Area 4. Private Office 5. Administrative Area 6. Conference 7. Lobby 8. Storage 9. Restroom 124

132 B. Organizational Structure The small office is mirrored along its central axis. The center of the plan houses the entry, reception and administrative areas. The left of the plan is dedicated to private lawyers offices while the right is for shared spaces and conferencing. C. Entry Visitors enter the site through the main doors and are immediately greeted by a small waiting area and reception desk. Graphic signage behind the reception desk conveys the corporate identity of the law firm. D. Open Office The compact plan has been divided into three private offices. However, by using full length glass walls, the small space seems open and airy. Figure 87. Private offices exterior. (Retrieved from Figure 88. Private offices interior. (Retrieved from 125

133 E. Shared Spaces A central conference room serves as a shared meeting room for the lawyers to meet with clients. Other shared spaces include a lobby lounge, storage, and restroom. Figure 89. Lounge area. (Retrieved from Figure 90. Shared conference room open to the entry by utilizing glass walls. (Retrieved from 126

134 F. Administrative Spaces Centrally located, the administrative area maximizes space by utilizing an L-shaped desk that are positioned above storage lockers. Figure 91. Administrative space. (Retrieved from G. Outdoor/Indoor Spaces Windows are accessible from each office and conference room. Plants are incorporated into the interior to liven the space and increase connection with the natural environment. H. Focal Points - Reception desk at entry 127

135 Figure 92. View of reception. (Retrieved from - Art walls of decorative, overlapping frames in the conference room - Entry garden planters with living plants I. Materiality - Glass walls to open the space - Natural color palette that reflects a sophistication - Use of woods throughout the space that add warmth and color - Original wooden beams that have been salvaged and reused as tables, countertops and chair legs; Other recycled materials used throughout - Repetition of strips of wood painted in the company s colors of gray and black - Masculine elements that convey stability of the firm - Incorporation of living plants within the interior in various planters 128

136 Summary of Findings The biophilic workplaces studied often organize task areas and workstations around exterior windows to maximize daylight within the interior. Plants are a repeated element, whether small plantings or large green walls, that liven the space. Also incorporated in biophilic workplaces are areas for solitude, retreat and refuge from the general office area. To provide visual barriers among open offices, organic forms and partitions may be used to define the space and give order to the floor plan. Typical materials used in the biophilic workplaces seen are reclaimed woods and recycled materials, living plants, and glass glazing for transparency and light flow. Pops of color inspired by nature, both bright and muted, often contrast a neutral backdrop. Natural motifs and organic forms are also used to add whimsical interest, a lively and vibrant mood. 129

137 Case Studies & Precedent Analysis: Private Spaces 1. Translucent, Writable Walls Figure 93. Translucent, writable wall surface. (Retrieved from Translucent, writable wall surfaces allow for both varying degrees of visual privacy and acoustic privacy. Visual transparency can be tailored to suit the needs of the workplace, while acoustic separation will aid in eliminating distraction from office noises and employee conversations. Glass walls can also be used as a writing surface to aid in visual cues and written communication between collaborative colleagues. 130

138 2. Decorative Panels Figure 94. Decorative panels. (Retrieved from A plane of visual separation can serve to divide an office space for privacy. The panels can function to draw intrigue, yet allow employees to see if someone is busy or should not be disturbed. They also allow natural light to penetrate through an office while still offering a sense of privacy. 131

139 3. Flooring Boundaries Figure 95. Flooring Boundaries. (Retrieved from Lines and materials can be placed on the floor to suggest separate activities or experiences. Border lines on a floor plane to delineate space can create powerful partitions that can be used to change behaviors or define boundaries. Visual cues from these lines create visual boundaries that separate one space from another. 132

140 4. Soft Boundaries Figure 96. Soft boundaries. (Retrieved from Soft boundaries can be used to partition open plan spaces. The elimination of walls and solid partitions in offices is thought of as one of the most significant steps in creating a flexible, collaborative space. When walls are gone, boundaries become even more important. By using furniture as a soft boundary between spaces, a transition space is created that serves as a buffer. High backed large scale furniture can also provide a sense of privacy and added acoustic absorption. 133

141 5. Hiding Places Figure 97. Hiding Places. (Retrieved from Hiding places offer much needed break from an open office setting. The more extroverted a work environment, the more needed are passive spaces to get away. Hiding spaces may be in stark contrast to the rest of the office environment, smaller in scale and laid back to provide a comforting atmosphere. It should also be tucked away from the rest of the office. Few offices incorporate hiding spaces but employees need a quiet place to find solitude. 134

142 6. Quiet Zones Figure 98. Quiet zone phone booth. (Retrieved from Dedicated quiet zones, such as sound-proof phone booths, are more frequently being incorporated into the open office setting. They offer a place where employees can 135

143 privately have phone conversations. While this idea of dedicated, quiet zones is still new to corporate office design, workplaces that incorporate this feature may help their employees find a balance between public and privacy in the office. 7. Heads-Down Space Figure 99. Heads-down space. (Retrieved from 136

144 For concentrated, individual work, small work spaces can be incorporated into the office to meet the needs of work styles. Private areas, whether pods, carousels, or enclosed rooms allow for acoustical and visual screening out of distraction which allow for more privacy and focus. Summary of Findings Spaces designed for privacy often address the need for visual and acoustic isolation within an interior environment. The spaces seen in this precedent study may be used to visually block or screen out others, while some methods are used to give signals not to be disturbed in the form of proxemic boundaries. Private spaces are often used to eliminate distractions associated with open floor plan settings. To balance private and public areas in the interior, there has been an emergence of spaces for escape (quiet zones and hiding places) to allow for a break and comforting respite. 137

145 Research Conclusions and Limitations Through surveys, interviews, site observation and precedent analysis, insight was given into the contemporary designs for the creative class open-office and the application of Biophilic Design within the workplace. Research revealed how the environment can be supportive of the phases of creativity, as well as how the elements and attributes of nature can be incorporated within the interior. Through exploration of creative workplaces and perceived connection to nature, understanding was given to placetype program offerings, programmatic requirements, functional analysis and spatial organization, overall aesthetic, use of materiality, and special design considerations of similar interior precedents. Restrictions to research included limited numbers of precedent studies, observations, survey responses and interviews due to time constraints and coordination. However, information was garnered in an effort to better understand environments supportive of enhanced creativity, whilst incorporating principles of Biophilic Design to reduce stress and mental fatigue for those with low stimulus-screening abilities. 138

146 Site Selection and Analysis Site selection was based on research of creative class workers with the highest ranked stress levels of Of those ranked advertising agencies and public relations firms, and the top US firms from each category were selected for analysis of their existing site and facility to determine the buildings existing connectedness to its natural setting. The creative companies were then ranked to determine which site was least biophilic in context to its site as seen below: Positive Score Negative Score Selection Criteria Grey Group, New York, NY Wieden+Kennedy, Portland, OR Waggener Edstrom, Bellevue, WA Edelman, Chicago, IL Transportation + Area Amenities (Neighborhood Walkability) Interior Features (Access to Daylight, Views, Materiality) Place Based Relationships (Proximity to Parks/Green Space) Figure 100. Site analysis ranking based on Biophilic Design (by author). 139

147 As depicted in the chart above, Wieden+Kennedy of Portland, Oregon had the least biophilic building in relation to the site and will be selected for the design component of this thesis. Further details on the Portland site will be outlined below. Weiden+Kennedy was analyzed for the following site selection criteria: Site Selection Criteria Physical Analysis Area Overview Transportation Overview Major Air, Train + Highway: Area Amenities and Attractions Walkability Demographics and Social Context Building Overview Population and Density Average Income Educational Achievement Occupation Average Age Building Overview Year Built Height and Area/Floor Construction Type Interior Features Interior Tenant Features Accessibility and Safety/Egress Environmental Features Average Climate Solar Study of Site Place Based Relationships Proximity to Green Space and Parks Views Outdoor Access to Rooftop, Atrium, or Plazas Figure 101. Site selection criteria (by author). 140

148 Wieden+Kennedy 224 Northwest 13th Ave Portland, OR Figure 102. Area map (by author). Transportation Overview Major Air, Train + Highway: Street Access: NW 13 th Ave and NW Everett St ; Major nearby roadways: Interstate 405, W Burnside st, NW Broadway, NW 12 th and 14 th Ave Public Transit: Easily accessible to the NW 11 th and Glisan, Everett & Couch, NW 10 th and Glisan, Everett & Couch light rail stations.; Nearest Airport: Portland International Airport 14.1 mi 141

149 Area Overview Pearl District Figure 103. Area amenities. (Image retrieved from Area Amenities and Attractions Restaurants, Groceries & Coffee Bluehour Jinx Kitchen & Lounge Shiraz Grill & Bar Oven & Shaker Rogue Public House Mellow Mushroom Andina Vault Cha Cha Cha Taqueria 142

150 Trader Vic s Portland Holden s Bistro Whole Foods Market Ma & Pa Market Parsa Market Northwest Farmers Market Caffe Umbria Bryways Café Starbucks Coffee Verde Cocina Barista Brewhouse Studio Places of Interest Parks + Recreation North Park Blocks Jamison Square O Bryant Square Campbell Fountain Tanner Springs Park Future Park Museum of Contemporary Art Couch City Park Jeld-Wen Field Oregon Nikkei Center Lovejoy Columns Gates to Chinatown Tikitotemoniki Totems Jefferson Street Park Pioneer Courthouse Center of Art & Photography Walkability Score: Walk Score: 98/100 daily errands do not require a car Transit Score: 88/100 Close proximity to 38 buses, 6 rail lines 143

151 Figures 104 a-c. Street Views (Retrieved from 144

152 Figures 105 a-d. Street and area views (Retrieved from 145

153 Demographics and Social Context Population 14,950 Population Density 14,773 people/mi² Average Household $22,185 Income Annual Payroll $1.071 billion Educational Achievement Occupation Average Age K-12 Nongrad High Scholl Graduate Some College Associates/Bachelors Graduate Professional Mgt./Professional Service Sales/Office Farm/Fishing/Forestry Construction/Maint. Production/Transportation Unemployed 37 (male) 32 (female) 13.8% 21.2% 22.4% 27.3% 11.3% 48.6% 16.6% 25.2% 0% 1.9% 7.8% 11.8% Figure 106. Census data. (Retrieved from 146

154 Building Overview Figures 107 a-b. Exterior views. (Retrieved from Built Renovated in Height Six Stories Floors Ground Level Floors 2-6 Rentable Area (not in scope Street level retail) 185,000 = approx. 30,800 / floor 147

155 Figure 108. Stacking diagram. (Retrieved from Construction Concrete Block Construction Stuccoed Exterior Concrete Slab Floors Poured concrete atrium (93 ft tall) lowered into building from above during renovation Glulam Frame Beams for additional seismic reinforcement Column Spacing approx. 25 feet on center 148

156 Figure 109. Building model. (Retrieved from Features Complete Structural Upgrades Addition of a Multi-Purpose Penthouse New Utilities New Windows New Elevators and Cabs Historic Façade Restoration Outdoor Rooftop Space Central Atrium Space with Skylights Energy Efficiency BEST Award,

157 Figure s 110 a-b. Interior Atrium views. (Retrieved from Interior Tenant Features High Ceilings Concrete Floors Ceiling Exposed to Structure Exposed Glulam, Structural Beams Windows/Views to Exterior Light-Filled Central Atrium Natural Daylight 150

158 Figures 111 a-f. Interior tenant space views. (Retrieved from 151

159 Accessibility and Safety Third Floor (Typical) Figure 112. Tenant floor plan color overlay by author. (Plan retrieved from Egress Path Exit Stair ADA Compliant Restroom Path through Atrium Elevators Life Safety: Passenger Elevators: Full-building sprinkler system is installed. 4 cars 152

160 Environmental Characteristics Average Temperatures On average, the warmest month is July. On average, the coolest month is December. December is the average wettest month. Average Precipitation Figures 113 a-b. Area climate. (Retrieved from 153

161 Solar Study February 26, 2013 Sunrise Specified Time Sunset The thin orange curve is the current sun trajectory. The light yellow area around is the variation of sun trajectories during the year. The closer a point is to the center, the higher is the sun above the horizon. 8:30 am 12:30 pm 5:30 pm Figure 114. Solar Study. (Retrieved from Solar Averages 9:25 am dawn 9:55 am sunrise 3:25 pm solar noon 8:54 pm sunset 9:24 pm dusk 154

162 Place-Based Relationships Figure 115. Placed-based relationships map (by author). Views 155

163 Figures 116 a-c. Views. (Retrieved from Relationship of Interior Atrium Space to the Building 156

164 ` Figures 117 a-c. Interior Atrium views. (Retrieved from 157

165 Rooftop Access Figures 118 a-c. Rooftop views. (Retrieved from 158

166 Project Overview The objective of the design proposal is to design a creative workplace environment for the client, Wieden+Kennedy, which fosters innovation, and is environmentally supportive for those with mental fatigue and reduced attention from high workplace stimulus. By incorporating elements of Attention Restoration Theory and Biophilic design, the design should be restorative to emotional and cognitive wellbeing, allowing for better productivity and enhanced creativity. Introduction to Client: Facility Vision, Mission, Values and Objectives Wieden+Kennedy is a full-service, creatively driven advertising agency based in Portland, Oregon with satellite offices in New York, Sao Paulo, London, Amsterdam, Delhi, Shanghai and Tokyo that has grown into one of the largest independent advertising agencies in the world (Wieden+Kennedy, 2013). The client aspires to be more than just an ad agency, with each office unique in its own culture. The headquarters in Portland houses over 400 employees, services eleven clients (ex. Nike, Coca-Cola, Google, ESPN, Proctor and Gamble), and hosts open-to-the public events on a weekly basis (Wieden+Kennedy, 2013). Wieden+Kennedy organizational structure is centered around a project-based work process and heterarchic management style with informal organization of labor or status within the workplace (Elefante, 2008). Each office functions as a semiautonomous agency, adapting W+K culture to local forms (Elefante, 2008). This 159

167 autonomy filters down into functional work areas of the Portland headquarters, based upon client accounts (ex. Nike or Proctor and Gamble), with each client driven account occupy its own quadrant - or quad of the buildings floors. Each quad houses its own group of creatives (ex. art directors, copywriters), account services (ex. directors, managers), and the studio who work in production to execute advertisements (ex. print media, film media, AV production/editing, interactive/digital accounts and general project designers) (Elefante, 2008). Wieden+Kennedy is a creative-led agency and this is further reflected in their organizational structure and work processes. Each quad has its own unique mix of creative minds where members of other departments may organically shift roles to lend their expertise to a project. W+K believes in creative independence, individual responsibility and focuses on freedom of expression and contribution of ideas in informal work setting (Elefante, 2008). The organizational structure at Wieden+Kennedy leads to an intensely collaborative, highly diverse and flexible work culture that is constantly adapting. 160

168 Concept Development While looking to strengthen the interior, constructed landscape to the natural environment, the concept for Wieden+Kennedy s corporate headquarters looks to a form of landscape design, Permaculture, and how it can be applied to the interior. Figure 119. Permaculture (Retrieved from Permaculture is a type of ecological design based on developing sustainable and self-maintained horticultural systems modeled from natural ecosystems. Emphasis is placed on promoting maximum benefit, useful connections and synergy between components of the design (Mollison, 1988; Holzer, 2012; Nicole, 2013). Core tenants of Permaculture Design include: + Minimize waste and energy input + Use renewable resources 161

169 + Design from patterns and layers found in nature: observing the relationship of nature s component parts: its tree canopy, understory of flora and fauna, ground cover, and network of organic matter below the soil level. + Incorporating diversity from guilds (symbiotic relationships between species - groups of species in nature that work well together, each providing its own set of functions) to provide a system that works in harmony. + Edge effect: observing the diversity, productivity and useful connections that take place between contrasting natural environments in an ecosystem (where ecosystems meet and overlap ex. where a wooded forest edge meets the open plains) + Zones: a way of organizing design elements in Permaculture design based on frequency of use and human interaction. Zones range from 1-5, with zone 1 being a house or settlement requiring the most human interaction to zone 5 being the wilderness. Zoning will be further outlined when defining spatial relationships and adjacencies. (Mollison, 1988; Holzer, 2012; Nicole, 2013). Concept Imagery In seeking concept inspiration imagery from nature, several outlining themes or characteristics emerged during a self-directed concept visioning session. 162

170 Figure 120a-e. Concept imagery. The images illustrate reoccurring patterns found in nature as seen in the detail of a leaf, underside of a mushroom or an insect s wing. From a micro to macro-level, nature incorporates tessellations, or repetition of geometric shapes, as well as voronoi, or natures way a naturally occurring organizational phenomena of cellular patterns and nesting of orders (Open Greens, 2011). In looking to the repetition of ecological patterns found in nature, the organization of zones found in Permaculture and the overlap and edge effect can be highlighted. Utilizing more man-made, structured forms in zone 1 and increasing visual detail and complexity in zone 5, the spaces and parts within the nested whole will gradually become more natural, tessellated and wild. 163

171 Programming As previously mentioned in the client introduction, Wieden+Kennedy s current programmatic requirements are largely based on their organization into accounts, or quads within the buildings floor plan. Listed in the table below are the requirements for quads one through four on a prototypical floor which will be the scope of this design: QUADS ONE FOUR Room No. Description Size/SF Qty. Net SF Creatives: Creative Director Creatives: Art Director Creatives: Copywriter Account Services: Account Director Account Services: Account Manager Account Services: Account Executive Account Services: Account Planner Account Services: Market Research Account Services: Account Project Manager Studio: Print Media Studio: Film Media Studio: AV/Production & Editing Studio: Archiving and Distribution Studio: Interactive/Digital Accounts Studio: WK12 Apprentice Studio: WK5 Project Designer Net SF Subtotal 8,080 Circulation (30%) 2,424 Gross SF 10,

172 During the site and client analysis phase, requirements were determined for shared spaces and square footages allocated to each type are as follows: SHARED SPACES Room No. Description Size/SF Qty. Net SF 501 Work Area Informal Open Breakout Resource Library/Archives Copy/Print Lab Mail Area Storage/Supplies Filing Server Small Conference Think-Tank/Individual Zones Break Area Dining/Communal Space Recreation Lounge Spaces / Refuge Atrium Gallery Greenscaping 2500 ** 2500 Net SF Subtotal 11,469 Circulation (30%) 3,441 Gross SF 14,910 ** Greenscaping to be distributed throughout the prototypical floor. Total SF: 25,414 Figure 121a-b. Programming and spatial allocation by type (by author.) 165

173 Space Allocation and Adjacencies When determining space allocations and adjacencies for the programmatic requirements of the design, the concept of Permaculture serves as a main driver of spatial distribution. Looking to the core tenant of zone, organizing design elements based on frequency of use and human interaction. Zones range from 1-5, with zone 1 being a house or settlement requiring the most human interaction to zone 5 being the wilderness (Mollison, 1988; Holzer, 2012; Nicole, 2013). The figure below outlines the five zones found in Permaculture: Zone 1 House, dwelling or settlement Zone 2 Essential resources, tender crops, outbuildings/structures and areas needing continual access Zone 3 Occasionally visited areas that still form part of the system; commercial production Zone 4 Wild food foraging, wood cutting for fuel Zone 5 Wilderness, areas to observe and learn; wildlife moves freely. Figure 122. Permaculture zoning (by author). 166

174 Translating Permaculture zoning into the interior environment, the zones relate to the client program as follows: PROGRAMMING Zone 1 The Settlement Quads 1 4 Open Work Area Informal Breakout Zone 2 The Woodshed Resource Library/Archives Copy/Print Lab Mail Area Storage/Supplies Filing Figure 123. Permaculture and Programming (by author). Zone 3 The Farm Small Conference Think-Tank/Individual Zones Zone 4 Wild Food Foraging Break Area Dining/Communal Space Recreation Lounge Spaces / Refuge Zone 5 The Wilderness Recreation/Informal Gathering Lounge Spaces/Refuge/Nomadic Work Atrium Gallery Greenscaping ** ** all zones 167

175 Space Planning and Organizational Analysis To further define and delineate Permaculture zones within the floor plan, the focus will be on one quadrant of a typical floor while including the central atrium. Seen below is a key plan which references the areas to be additionally explored: Figure 124. Key plan (by author). 168

176 Figure 125. Enlarged floor plan and Permaculture zoning(by author). 169

177 The zones of Permaculture are embodied in the design of the Wieden+Kennedy office as the Settlement is a metaphor for the open work area and dedicated employee workstations. Valuable resources utilized by employees on a daily basis are translated into the Woodshed, or print lab, archive, storage and necessary supplies located within each quadrant. The Farm, or zone designated commercial production, is interpreted into areas such as small, informal break out spaces, conferencing areas and think tanks. Wild Food Foraging becomes an area for break and dining centrally located within the atrium. Lastly, the Wilderness is defined as an informal gathering, lounge space that can be utilized by some employees for nomadic work, away from their dedicated workstations. To further delineate and define the zoning of Permaculture and its application within an interior environment, zone 1, the Settlement, is the most structured area, organized and following a sense of regularity in the plan as defined by an area that is man-made. As users move across the spectrum of zoning within the plan and into zone 5, the Wilderness, interior architectural features become less structured and reflect patterns, processes, colors, materiality and forms found in nature that are more organic, unexpected and untamed. Volumetric Sketches As mentioned in the previous section, as the zones of Permaculture are expressed within the interior environment, interior features and forms will become more organic as users move into zones outside of the Settlement, or open work area. Seen 170

178 below is a preliminary sketch of ceiling elements as they relate to the established zoning. Figure 126. Preliminary sketch of ceiling to define Permaculture zoning (by author). The open workstations located in zone 1, the Settlement, are more structured and regular. As other zones overlap, such as a filing system of necessary resources, zone 2, at the end of each chain of workstations and south of plan, ceiling planes 171

179 become more irregular and tessellated in form, reflecting an organic qualities found in nature. The Wilderness area is suggestive of the most natural and untamed area, where its ceiling is defined without restraint by varying heights of acrylic panels, mimicking the irregular forms and patterns of the tree canopy. Other preliminary ideations were explored through volumetric sketches to define how space, form, and repetition of patterns could inform elements of the interior landscape. Other delineation of zones investigated were how to create architectural privacy and refuge within the interior to create a sense of visual screening and secreted, landscaped places. Figure 127a-b. Preliminary sketches exploring architectural privacy (by author). 172

180 Color Color inspiration was derived from natural flora found in the area of Portland, Oregon. By looking to native plant species such as the Snowberry, Indian Plum, Gold Lace, Pitcher Plant, and various stonecrops indigenous to the client s site, the color palette was well informed, derived from colors of the region. Figure 128a-d. Flora (by author). Figure 129e-i. Portland flora. Figure 130. Color palette (by author). Utilizing a digital color selection tool to extract colors from flora imagery, the palette was further defined with pantone colors to create a split complimentary color scheme which is dynamic and visually appealing. 173

181 Materials, Textures and Patterns After defining a color palette inspired by the native flora of Portland, Oregon, material, texture and color selection was developed to include indigenous species of wood such as the reclaimed Douglas Fir, vegetation and flora from the region giving living texture to the interior, and textiles that reflect a natural quality, such as wools and cottons. The natural materials chosen for the space give warmth to the interior and provide a sense of age, change and patina of time. Figure 131. Material, texture and pattern selection (by author). Selection of materials, textures and patterns is also integral to defining zones and privacy by defining soft boundaries. Seen above (middle left) is a carpet tile whose gradation from a flaxen field color to varied hues of green aids in the delineation of zones, from the more structured work area to areas designated for informal breakout 174

182 and social gathering spaces. Similarly, the 3D-textile system depicted above (top right) can be used to define space and give visual and acoustic privacy, separating zones and defining boundaries within the interior landscape. FF&E Selections: Furniture and Lighting Development Furniture for the Wieden+Kennedy office include selections that incorporate the repetition of geometric forms and tessellations found in nature. Materiality chosen for furniture selections are intended to reflect warmth, given from rough hewn woods, stone and natural fibers. Figure 132. Furniture selections (by author). Lighting selected for the interior should similarly reflect modern interpretations of patterns and forms found in nature. Shown (right) are selections that address various layers of lighting, from general, ambient lighting to decorative and task lighting. Figure 133. Lighting selections (by author). 175

183 Proposed Design Solution Focal Points and Project Visualization Zone 1: The Settlement open work area The open work area serves as the house, or shelter, for each individual within the workplace. The Settlement is the most frequented and structured area within the Permaculture system. As nearby zones move farther out from the Settlement, they will become increasingly more natural and wild within the built environment. Figure 134. The Settlement (by author). 176

184 Zone 2: The Woodshed print lab, archives, storage and supplies Essential resources and supplies needing continual access are housed at the Woodshed. The area serves as a central location for an employee print lab, a library of print media archives, and tools essential to enhanced productivity. Figure 135. The Woodshed (by author). 177

185 Zone 3: The Farm small conference areas, think tanks Small conferencing areas and think tanks allow employees access to an environment that supports both individual and group productivity. The Farm supports small group gatherings, but also serves as a quiet, comfortable area for focus and concentration for individuals. Abstracted forms suggestive of tree branches provide varying degree of visual privacy and refuge needed for idea incubation and reflection. Figure 136. The Farm (by author). 178

186 Zone 4: Wild Food Foraging break area, dining The break and dining areas provide employees with a place to commune with fellow coworkers. This area allows users to engage in collaborative, social learning while providing brief downtime as an agenda-less retreat from the traditional workplace. The central atrium is an ideal location for Wild Food Foraging as it provides a mainstreet that supports the illumination and sharing of knowledge. Figure 137. Wild Food Foraging (by author). 179

187 Zone 5: The Wilderness informal gathering, lounge, nomadic work A place where wildlife moves freely the Wilderness provides employees with an area where they can explore, observe and learn. Whether used for nomadic work or an informal gathering place for chance encounters, the Wilderness suggests that users are immersed within the forest under a canopy of trees, and provides an area to unwind, for reflection and cognitive escape. Figure 138. The Wilderness (by author). 180

188 Concluding Remarks This thesis investigation challenges how interior design can to improve the openoffice for creative class workers through the application of Attention Restoration Theory and Biophilic Design. Due to the extreme shift toward open-plan offices in contemporary settings, there is an important need to address the negative environment-behavior implications for workers with special cognitive needs while maintaining balance between individual tasks, collaborative tasks and the multi-faceted phases of creativity. The project aim was to create an environmentally supportive workplace, fostering innovation and improved productivity for those with mental fatigue and reduced attention from high workplace stimulus. Through the application of findings from relevant literature, surveys, interviews, site observations and contemporary precedent analyses, a thoughtful design model was developed to create an interior landscape restorative to positive mental health, worker performance and enhanced cognitive wellbeing. Utilizing Permaculture zoning to inform programming and spatial allocation of activities within the interior, designers may influence the types and frequency of interaction within the workplace, allowing for better regulation of behaviors and use of space within the plan. The Permaculture model informs an essential spectrum of interior characteristics, from highly structured and ordered to natural and organic forms, which give meaning to activities and zones within the interior. A biophilically designed workplace, inspired by natural landscapes, ecological systems, forms and processes may better foster productivity, restore attention and promote creativity, allowing for mental relief and vital soft fascinations within the built environment. 181

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196 Andrea Rosen Gallery - Andrea Zittel - Press Release. (n.d.). Retrieved January 29, 2013, from Area views. (JPEG Image). (2013). Area views by Walk Score. Retrieved from At work. (2013). [photograph]. At work by Sauder School of Business. Retrieved from Atlassian II Offices. (n.d.). Retrieved January 29, 2013, from Atlassian Offices / Studio Sarah Willmer ArchDaily. (n.d.). Retrieved January 29, 2013, from Atlassian. (2013). [floor plan]. Atlassian by Jasper Sanidad. Retrieved from Atlassian. (2013). [photograph]. Atlassian by Jasper Sanidad. Retrieved from Bing Maps. (n.d.). Retrieved January 29, 2013, from 743gobroadfphumem2khvlw7ml8dkb3h3kcgsoxz1369 Biophilic Design. (2013). [photograph]. Biophilic Design by The Horticultural Society of New York. Retrieved from 189

197 Building model. (JPEG Image). (2013). Building model by Allied Works Architecture. Retrieved from Businessman in field with thought bubble. (2013). [photograph]. Businessman in field with thought bubble by Jon Feingersh. Retrieved from Citizen Office: Vitra.com. (n.d.). Retrieved January 29, 2013, from Conflict in Eighties Style Office Cubicle. (2013). [photograph]. Conflict in Eighties Style Office Cubicle by Ryan Lane. Retrieved from %2fn2IKqSSi3E5tVXXu5tu8UlqvMLsqoMbZuo5ZvqvsbnGWy Co-workers discussing ideas. (2013). [photograph]. Co-workers discussing ideas by Chris Strong. Retrieved from tv2ma7u56uf%2bd%2beufpr5%2fdkqoinqtroyktevxuxbfoxzf Dandelion. (2013). [photograph]. Dandelion by Amber Aiken. Retrieved from Deliverables. (2013). [photograph]. Deliverables by Quest Global. Retrieved from Demographics. (2013). Demographics by U.S. Census Bureau. Retrieved from 190

198 Exterior Views. (JPEG Image). (2013). Exterior Views by Unico Properties. Retrieved from Gwinnett Environmental Heritage Center. (2013). [floor plan]. Gwinnett Environmental Heritage Center by Building Data Energy. Retrieved from tfiles/project_825/firstfloorplan1_small.jpg I Like, I Wish, How Might We? bootcamp bootleg [beta]. (n.d.). Retrieved January 29, 2013, from Innocad. (n.d.). Retrieved January 29, 2013, from Integrating Biophilic Design. (2013). [photograph]. Integrating Biophilic Design by Peter Fabris. Retrieved from n_- RISclc3uVkXrs/mtime: /sites/default/files/imagecache/article_image_ sized/article/news-web/nature1.jpg Interior atrium view. (JPEG Image). (2013). Interior atrium view by Allied Works Architecture. Retrieved from Interior tenant space views. (JPEG Image). (2013). Interior tenant space views by Allied Works Architecture. Retrieved from Interior tenant space views. (JPEG Image). (2013). Interior tenant space views by Allied Works Architecture. Retrieved from 191

199 Ippolito Fleitz Group - Project - Headquarters schlaich bergermann und partner. (n.d.). Retrieved January 29, 2013, from Ippolito fleitz group - (n.d.). Retrieved January 29, 2013, from &CFTOKEN= cfm John Cantrell. (2013). [photograph]. John Cantrell by LinkedIn. Retrieved from Kiva. (2013). [floor plan]. Kiva by Studios Architecture. Retrieved from Kiva. (2013). [photograph]. Kiva by Sharon Risedorph. Retrieved from Low angle view of Peachtree Center. (2013). [photograph]. Low angle view of Peachtree Center by Tetra Images. Retrieved from Microsoft, Amsterdam: Sevil Peach. (n.d.). Retrieved January 29, 2013, from Microsoft. (2013). [floor plan]. Microsoft by Paul Ott. Retrieved from x946.jpg 192

200 Microsoft. (2013). [photograph]. Microsoft by Paul Ott. Retrieved from Milestones. (2013). [photograph]. Milestones by Steelcase. Retrieved from Steelcase/PublishingImages/milestone%20mobiles%201968%20pix.jpg My 17cm section scars. (2013). [photograph]. My 17cm section scars by Ly Wylde. Retrieved from News WorkClimate. (n.d.). Retrieved January 29, 2013, from Note pad and pencil on gray background. (2013). [photograph]. Note pad and pencil on gray background by Gregor Schuster. Retrieved from Office Design Innovations - Design Portfolio - Innovations IOR Group. (n.d.). Retrieved January 29, 2013, from Pearl district map. (JPEG Image). (2013). Pearl district map by Pearl District Business Association. Retrieved from Perkins + Will. (2013). [floor plan]. Perkins + Will by Perkins + Will. Retrieved from 193

201 Rooftop views. (JPEG Image). (2013). Rooftop views by Allied Works Architecture. Retrieved from Schlaich Bergermann und Partner. (2013). [floor plan]. Schlaich Bergermann und Partner by Archello. Retrieved from 2_2311.jpg Schlaich Bergermann und Partner. (2013). [photograph]. Schlaich Bergermann und Partner by Zooey Braun Photography. Retrieved from Soft Boundaries. WorkClimate. (n.d.). Retrieved January 29, 2013, from Soft fascination. (2013). [photograph]. Soft fascination by Martin Barraud. Retrieved from Stacking diagram. (JPEG Image). (2013). Stacking diagram by Allied Works Architecture. Retrieved from Stephen Kellert. (2013). [photograph]. Stephen Kellert by Yale University Press. Retrieved from 2bff7b35f8572a3c263078a0287ae31d61ffeb22.jpg?s=4 Street view. (JPEG Image). (2013). Street view by Google. Retrieved from STUDIOS Architecture: Kiva. (n.d.). Retrieved January 29, 2013, from 194

202 Textures of Nature. (2013). [line drawing]. Textures of Nature by Justin Buckwell. Retrieved from Views. (JPEG Image). (2013). Views by Allied Works Architecture. Retrieved from Weiden Kennedy area climate. (JPEG Image). (2013). Weiden Kennedy area climate by the Weather Channel. Retrieved from Weiden Kennedy area solar study. (JPEG Image). (2013). Weiden Kennedy area solar study by the Sun Calc. Retrieved from Weiden Kennedy floor plan. (JPEG Image). (2013). Weiden Kennedy floor plan by Allied Works Architecture. Retrieved from Zapata & Herrera «Interior Design «+ Quespacio Design: Interior Design + Communication + Marketing. (n.d.). Retrieved January 29, 2013, from 195

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