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1 Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 An Exploration of Biophilia and Its Implications in Design of the Built Environment Exemplification in a Site Specific Design for a Corporate Retreat Laurie K. Taylor Follow this and additional works at the FSU Digital Library. For more information, please contact lib-ir@fsu.edu

2 THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE, AND DANCE AN EXPLORATION OF BIOPHILIA AND ITS IMPLICATIONS IN DESIGN OF THE BUILT ENVIRONMENT EXEMPLIFICATION IN A SITE SPECIFIC DESIGN FOR A CORPORATE RETREAT By LAURIE K. TAYLOR A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2007

3 The members of the Committee approve the thesis of Laurie Taylor defended on October 26 th, Peter Munton Professor Directing Thesis Lisa Waxman Committee Member Approved: Eric Wiedegreen Committee Member Eric Wiedegreen, Chair, Department of Interior Design Sally McRorie, Dean, College of Visual Arts Theater and Dance The Office of Graduate Studies has verified and approved the above named committee members. ii

4 For my parents, Roger and Pam Taylor. Without their love and support I would not be the person that I am today. iii

5 ACKNOWLEDGEMENTS I would like to thank Peter Munton for all of his guidance and advice through this process. He has been an important part of my academic achievement and for that I graciously thank him for all of his help. I would also like to thank Dr. Lisa Waxman and Eric Wiedegreen for their time and valuable contributions to this project. A special thanks is also needed for my friends, family and most of all Freddie who have supported my throughout my academic journey. I feel very blessed to have you all in my life. iv

6 TABLE OF CONTENTS List of Tables... vii List of Figures... viii Abstract... xi 1. INTRODUCTION... 1 Purpose of the Design Thesis... 3 Brief Description of the Design Problem... 3 Design Concept... 3 Goals for the Project REVIEW OF LITERATURE... 5 Introduction... 5 Search Techniques... 5 Biophilia... 5 Evidence of Biophilia the Benefits of experience with Nature Implications for Design of the Built Environment Biophilic Design Corporate Retreats Chapter Summary DESIGN PROGRAM Project Description The Psychological and Social Context The Site Facility Operation and Organizational Structure Target User and Clientele Image and Character Type of Construction and Materials Analysis of Individual Space Requirements Sustainable Building Practices Codes and Regulations THE PROPOSAL Images of the Design v

7 Furniture and Finishes Perspective Renderings FINAL DISCUSSION OF THE PROJECT Building One: Meeting Spaces and Administrative Offices Building Two: Dining and Entertainment Space Bungalow Prototype Green Design Issues Conclusion REFERENCES BIOGRAPHICAL SKETCH vi

8 LIST OF TABLES Table 2.1: Valuations of Nature... 7 Table 2.2: Biophilic Building Characteristics Table 2.3: Types of Corporate Retreats Table 3.1: Building One: Lobby and Meeting Spaces Table 3.2: Building Two: Dining and Entertainment Spaces Table 3.3: Bungalow Prototype vii

9 LIST OF FIGURES Figure 2.1: African Savanna Landscape... 9 Figure 2.2: Umbrella Thorn Acacia Tree Figure 2.3: Picture of natural scene used in study Figure 2.4: Abstract picture used in study hospital room Figure 2.5: Restorative Environmental Design Figure 2.6: Drawing of giant corona-crowned jellyfish Figure 2.7: Art nouveau interior by August Endell, Elvira House Figure 2.8: Fractal patterning found in nature. Chou Romanesco Figure 2.9: Close-up of the Chou Romanesco cabbage Figure 2.10: Charles and Dorothy Manson House Figure 2.11: Frank Lloyd Wright s Fallingwater at Bear Run Figure 2.12: Fallingwater, interior living room and hearth Figure 2.13: J.M. Tjibaou cultural Centre, New Caledonia Figure 2.14: Interior of J.M. Tjibaou Cultural Centre, New Caledonia. 31 Figure 3.1: Map of Metro Atlanta in relation to Lake Sidney Lanier.. 35 Figure 3.2: Lake Sydney Lanier Figure 3.3: Shoreline and islands at Lake Lanier Figure 3.4: Ariel view of site along Lake Sydney Lanier Figure 4.1: Preliminary Site Plan Figure 4.2: Preliminary Sketch Building One: First Floor viii

10 Figure 4.3: Preliminary Sketch Building One: Second Floor Figure 4.4: Preliminary Sketch Building Two: Dining and Entertainment 46 Figure 4.5: Preliminary Sketch Bungalow Prototype Figure 4.6: Final Site Plan Figure 4.7: Site plan illustrating Building One and Two Figure 4.8: Building One: Meeting Spaces, First floor plan Figure 4.9: Formal Meeting Space: Furniture Option One Figure 4.10: Formal Meeting Space: Furniture Option Two Figure 4.11: Building One: Second Floor Plan Figure 4.12: Building Two: Dining and Entertainment Space Figure 4.13: Floor Plan of Bungalow Prototype Figure 4.14: Elevation of Bungalow Prototype Figure 4.15: Reception Area Figure 4.16: Office Areas Figure 4.17: Formal Meeting Spaces Figure 4.18: Informal Meeting Spaces Figure 4.19: Lounge / Break-out Space Figure 4.20: Dining and Lounge Areas Figure 4.21: Outdoor Furniture and Lighting Figure 4.22: Bungalow Prototype Figure 4.23: Pond View ix

11 Figure 4.24: Reception Area Figure 4.25: Informal Meeting Space Figure 4.26: Formal Meeting Space Figure 4.27: Exterior View Building Two Figure 4.28: Dining Area Figure 4.29: Bar and Lounge Figure 4.30: Outdoor Kitchen x

12 ABSTRACT For thousands of years our ancestors lived the majority of their lives outside of walls and solely depended on the natural environment to sustain life. Today, Americans spend 87% of their lives indoors within the confines of steel, wood and drywall, blocking out the natural world (Klepeis et. al, 2001). This thesis will explore the theory of biophilia, the idea that human beings have an innate and evolutionarily based affinity for the natural environment. This thesis will examine the effects the natural and built environment have on human health and well-being. The emphasis of the thesis is to understand and utilize, in a design, how the built environment can connect people with the natural world. The culminations of research lead to the development and design of a corporate retreat facility for corporate groups. The goal for the design will be to create a connection between the natural environment and the users as well as to unify the built environment with the natural environment. The retreat facility will also be designed to encourage socializing, creativity and collaboration. The design will accommodate corporate groups of up to fifty persons and will provide sleeping accommodations, food service and meeting spaces. xi

13 CHAPTER 1: INTRODUCTION In present day society, the majority of modern building practices have separated people from the natural world, in turn cutting off access to the positive benefits contact with nature can provide. The human need for nature is not a new idea, but one that has been ignored and pushed aside in modern times. Causes of this separation from nature are a result of modern day industry and growth. Constant development that has occurred over the last 100 years, specifically the results of the Industrial Revolution, has significantly damaged and degraded the natural environment (McDonough and Braungart, 2002), and has served to disconnect humans from the natural world (Kellert, 2005). As a result, many of the current environments we have built around us are often devoid of natural features, green spaces, natural light, and ventilation (Kellert, 2005). Lack of daylight, fresh air, and exposure to natural processes has begun to take its toll on our physical health and well-being. Until recently most research on the built environment has concentrated on the negative aspects of building design such as poor lighting, inadequate ventilation and climate control as well as chemical off- gassing which has resulted in the sick-building syndrome. Sick building syndrome usually occurs when the ventilation system is inadequate and materials and finishes such as paint, plastics, and wall coverings emit harmful fumes. Buildings with these problems have been known to cause building related illness, physical ailments that include respiratory and skin disorders and chronic fatigue (Kellert, 2005). In the modern day world humans live and depend on the built environment. Americans spend approximately 87% of their lives within the confines of walls and in many cases blocking out contact with the natural world (Klepeis et. al, 2001). An essential role in interior design and architecture is to provide environments that sustain occupants safety, health, physiological 1

14 comfort, psychological well-being, and productivity (Kim and Rigdon, 1998). Fortunately, in the last fifteen years the design community has slowly begun to address these issues by designing their environments with human health and well-being moved to the forefront of their design process. Recent research cited in this review has shown that contact with natural environments and features can have a positive impact on human health and wellbeing. It is now the responsibility of designers, architects, and urban planners to start fostering a relationship between people and nature by harmonizing the built environment with the natural environment. The human connection with nature and can be traced back to the beginning of our species and how our ancestors survived and deeply depended on the natural environment for survival. Biophilia is the theory that humans have an innate or evolutionary-based affinity for nature. It is the belief that we have a connection and a reliance on nature that has as been passed along throughout evolution (Wilson, 1984). According to Wilson (1984, 1993) contact with nature is essential to human health and well-being. Based on this theory, a framework has been developed that will reconnect humans and nature within the built environment. This framework is biophilic design, which incorporates organic design and vernacular design principles to interior and exterior architecture. Biophilic design seeks to create a positive connection between people and the environment as well as promoting health and well-being (Kellert, 2005). It is important to note that biophilic design is not a design fad or trend but a design philosophy based on biological theory and supported by data from both psychological and health research. It is imperative to understand that the concept of biophilia coupled with harnessing the connection to nature covers a range of benefits relating to psychological well-being, stress reduction, cognitive functioning, productivity, human development and social behavior (Heerwagen, 2001). The culmination of this research will lead to the development and design of a nature oriented corporate retreat facility. The goal for the design is to create a connection between people and the natural environment and by unifying the 2

15 built environment with the natural environment. The retreat facility will also be designed to encourage socializing, creativity and collaboration. Purpose of the Design Thesis The purpose of this design thesis is to understand how the built environment can connect people with nature, as well as provide a positive physical and psychological experience. More specifically, this thesis will explore the role and applications of biophilic design in the context of designing for the connection humans have with nature. The thesis will also examine the effects of contact with nature on human health and well-being. Evidence-based design principles will be applied to a design project, specifically a corporate retreat facility. Brief Description of the Design Problem The project will involve the design of a corporate retreat facility for groups of up to fifty persons. Using biophilic design methods, the proposed site will be evaluated and the author will develop a design solution that will connect its users to the natural environment and promote physical and psychological well-being, socialization, creativity and collaboration. The design for the facility will include indoor and outdoor meeting spaces, dining and entertainment facilities as well as sleeping accommodations. The chosen site for the facility provides a diverse natural landscape, which will assist in the designs restorative quality. Design Concept The proposed design is for a corporate retreat facility located along the banks of Lake Sydney Lanier approximately 40 miles northeast of Atlanta, Georgia. The Retreat at Lake Lanier will be an upscale, sophisticated executive level facility that will cater to corporate groups from the Metro Atlanta area as well as other areas of South-eastern United States. The design will cater to the corporate workplace whose goal is to get away from the hustle and bustle of the 3

16 office to a place that encourages focused meetings and creative brainstorming as well as group leisure activities. Often a company or part of a company will hold retreats to take time to seclude itself from usual operations for a specific purpose, such as building trust in fellow employees, gaining a new perspective on the business or strategic planning. The main goals for the design will be to harmonize the facility with the natural environment which will in turn promote a positive connection between the guests and nature. Goals of the Project The primary goal for the project will be to connect its users to the natural environment while promoting ecological conservation, positive health, and wellbeing. The design will also provide opportunities for socialization, relaxation, as well as isolation. To accomplish this, the design for the facility will take cues from existing natural elements of the site and incorporate interior and exterior biophilic design features. 4

17 CHAPTER TWO: REVIEW OF LITERATURE Introduction This chapter represents a review of literature that will examine existing research on the human connection with nature and its benefits to human wellbeing. Existing research studies on the physical and psychological effects of experience with nature will also be examined. The review will also discuss design considerations for incorporating nature into the built environment. The review of literature will be organized into the following headings: (a) biophilia, (b) evidence of biophilia, the benefits of experience with nature, (c) implications for design of the built environment and (d) corporate retreats. Search Techniques Numerous literature sources were cited within this review. Primary sources consist of journal articles, magazine articles, dissertations, and books. A few secondary sources were also helpful and used throughout this review. Articles were obtained by researching manually and by computer database searches including Jstor, Informedesign website hosted by the University of Minnesota, Google Scholar and Science Direct. Resources were located from Florida State Universities Strozier and Dirac libraries as well as Florida A & M University s architecture library. Keywords used to search articles for this review include biophilia, biophilic design, restorative environments, psychological and physical effects of nature, organic design, and vernacular design. Biophilia The concept of biophilia was developed by E.O. Wilson, a Harvard biologist, who defines biophilia as humans having an innate tendency to focus on life and lifelike processes (Wilson, 1984, p.1). He refers to biophilia as an emotional and evolutionary based connection humans have with the natural world. According to Wilson, our affinity for natural environments stems from a 5

18 deep rooted evolutionary history (Wilson, 1984). The human connection to nature is linked to our own human nature because our species developed over time within nature. In short, the brain evolved in a biocentric world, not a machine-regulated world (Wilson, 1993 p. 32). What Wilson has suggested is that biophilia is a set of complex learning rules that have been ingrained in our genetic history and that the need to relate to natural processes is biological and is essential to our physical and mental well-being (Kellert, 1993). The notion of biophilia is meant to compel us to look to the very roots of motivation and understand why, in what circumstances and on which occasions, we cherish and protect life (Wilson, 1984 p ). Years before Wilson coined the term biophilia, psychologist Erich Fromm theorized that people have a passionate love of life and all that is alive; it is the wish to further growth, whether in a person, a plant, an idea, or a social group (Fromm, 1973 p. 366). Fromm emphasized a passionate love of life, whereas Wilson s biophilia goes much deeper than just a love of natural life. Biophilia encompasses our physical, emotional, and intellectual need for nature and lifelike processes. It is an important need in human development to affiliate with the diversity of nature. This biological need to connect to nature has an effect on human conditions such as intellectual capacity, emotional bonding, aesthetic attraction, creativity and imagination (Kellert, 1997 p. 6). In summary, Stephen Kellert, co-editor of The Biophilia Hypothesis (1993) has suggested that biophilia is: 1. Inherent or biologically based 2. A part of human evolutionary development 3. Associated with human physical health 4. Likely to increase mental well-being and personal fulfillment 5. A basis for the human conservation of nature The need for nature is not only material or exploratory but is directly related to our emotions, aesthetic values, and cognitive functioning. Even when we fear or reject nature (biophobia) and even harm nature, it is in a way, part of 6

19 our need to relate to the natural environment and life. The notion of biophilia asserts that human fulfillment is intimately dependent on our relationship with nature (Kellert, 1993). Stephen Kellert has developed nine fundamental values that reflect our relationship with nature. They are not instincts but rather a group of learning rules that effect human development. He refers to them as the utilitarian, naturalistic, ecologistic-scientific, aesthetic, symbolic, humanistic, moralistic, dominionistic, and negativistic valuations of nature (1993, p.43). Each of these values indicates the human dependence on nature as basis for survival as well as physical and psychological well-being (See table 2.1.). Table 2.1 Valuations of Nature Value Definition Function Aesthetic An emotional response to the physical beauty and attraction of nature. Dominionistic The tendency to control and manipulate nature Humanistic An emotional response to care for and become attached to nature Moral and spiritual connection to nature. Moralistic Emphasizes right and wrong behavior toward the natural environment. Naturalistic The satisfaction we obtain from direct experience with nature. Negativistic The fear and dislikes we have with nature. Scientific The study of biological processes and observation of nature. Symbolic The tendency for humans to use nature to communicate thoughts metaphorically. Utilitarian The material gain that humans benefit from the exploitation of nature, either for desire or need Adapted from (Kellert, 1993, 2005) and (Kahn, 1997) Inspiration, harmony, peace and security Mechanical skills, physical power Bonding, sharing, and companionship Order and ethics Curiosity, outdoor ability, physical well-being Security, safety and protection The imperative want to obtain knowledge, observation Communication, psychological development Physical sustenance and security 7

20 The nine values offer support of the biophilia hypothesis but do not constitute proof of biophilia. The values are meant to provide a basic connection in the relationship between human development and our dependence on nature. To this point the notion of biophilia has been theoretical for the purpose of explaining the idea. However, there is a growing body of empirical evidence that supports biophilia and the human benefit from contact with nature (Kellert, 2005). The Savanna Hypothesis For ninety-nine percent of human history, people have lived as huntergathers, completely dependent and closely involved with other natural organisms. Based on evolutionary information, humans lived and evolved on the savannas of East Africa, a land distinguished by certain features (Kahn, 1997). According to ecologist Gordon Orians, during this vast amount of time the human brain evolved and psychologically adapted to certain features of the landscape. He argued that our long history in the African savannahs has stayed with us throughout evolution. He hypothesized that humans have a genetic predisposition to like and find environments with characteristics of the savannah landscape because it contains key features that aided our ancestor s survival and well-being. These specific landscape features became essential to survival. See Figure 2.1 These features include: 1. Open grasslands with open vistas that provided ease of movement. 2. A wide diversity of plant and wildlife that provided food. 3. Hills and vistas that provided easy surveillance of weather or encroaching animals or other hazards. 4. Shallow bodies of water that provided food, water and bathing. The bodies of water also acted as a barrier against predators or enemies. 5. Clusters of trees with low trunks and large canopies allowed for climbing as well as a place for refuge (Heerwagen and Orians, 1993). 8

21 Figure 2.1 African Savanna Landscape (Maion, 2007) Based on this hypothesis, Kaplan and Kaplan (1989) have examined and summarized research conducted by Balling and Falk (1982). Subjects from the United States were asked to rate five different types of biomes or natural environments. The subjects were third graders, sixth graders, ninth graders, college students, adults, senior citizens, and professional foresters. They were shown twenty slides, four slides of each environment: a rain forest, mixed hardwood forest, boreal (northern temperate) forest, East African savanna, and desert. Balling and Falk hypothesized that the younger children would innately favor the savanna environment over the others because they had not been exposed to this type of environment. The results showed the strongest preference for the savanna was found among the two youngest groups. They rated the savanna much higher than any other environment. However, the other groups favored the savanna, but the difference was not as distinguishable. Balling and Falk were able to determine that people have an innate or evolutionary affinity for savanna based on the fact that the children who had never been exposed to the savanna landscape preferred it over the others. 9

22 However, it is important to note that differences could be found based on experiences across a life span (Balling and Falk, 1982). Orians and Heerwagen (1993) have also conducted studies and found that people even have a preference for tree shapes that have a layered canopy and trunks that branch close to the ground similar to those found in the African savanna. See Figure 2.2. Figure 2.2 Umbrella Thorn Acacia Tree ( istockphoto.com/nico Smit, 2007) Grant Hildebrand, author of Origins of Architectural Pleasure (1999) concludes that such settings (the African savanna) allowed us to thrive all our surroundings until the last few millennia-comprised entirely natural material; they were places of sheltering and edible green and growing things, of water of prey and predator, the seasons, sun and storm thus it is easy to see that we prefer natural scenes (p.15). Evidence of Biophilia The Benefits of Experience with Nature A large body of research has confirmed the hypothesis that contact with nature can lead to increased mental health and psychological well-being (Kaplan, 1989, 1998; Hartig et. al 1996; Ulrich 1983, 1990, 2003; Barnes and Cooper- 10

23 Marcus, 1995). To determine the benefits of experience with nature, it is essential to determine the types of contact we have with the natural environment. The contact is not limited to only a natural environment or landscape but could include the simple notion of nature. Examples of this are reading a book about nature, viewing art, or listening to a story. Each of these activities connects people to nature as long as they affect human emotion in some way. According to Kellert (2005) there are three types of contact we have with nature: direct, indirect and symbolic. Direct contact involves immediate experience with natural processes such as hiking through a forest, swimming in a stream or mountain climbing. Direct contact usually involves a person immediately within a natural environment. Indirect contact involves some kind of human intervention or control such as mowing a lawn, viewing an aquarium or gardening. Symbolic contact does not require any physical contact with natural processes or organic life forms. It involves a symbolic or metaphoric encounter such as depictions of landscapes in art or photographs or the use of organic patterns and forms in either decoration or architecture. Whether we are affected directly, indirectly or symbolically, there is mounting evidence that each kind of contact affects us positively and contributes to human well-being (Kellert, 2005). The following will examine the current research available on the benefits of experience and contact with nature. The focus of the review will be on psychological restoration and attention, recovery from stress and illness and productivity. Restoration and Attention According to environmental psychologists Rachel and Stephen Kaplan, (1989) the contact with the natural environment can have a psychologically restorative effect on people. They call these types of settings restorative environments. Restorative environments whether they be in the context of nature or the built environment, incorporate elements that function therapeutically by reducing cognitive fatigue and alleviating stress. These environments provide opportunities for rest, recovery, contemplation, and isolation. Kaplan and Kaplan (1998) pointed out that all stress is not created equal. They 11

24 distinguished a difference between stress and mental fatigue. Stress involves preparation for a particular event that could be threatening or harmful such as preparing to have surgery. Mental or cognitive fatigue on the other hand, arises out of hard cognitive work such as long hours at work or studying. Excessive worrying can also cause cognitive fatigue. The worn-out feeling we get is usually not a physical effect but rather mental fatigue (Kaplan and Kaplan, 1998). According to the Kaplans, mental fatigue is caused by constant paying attention. For a mentally fatigued person, paying attention to something uninteresting is burdensome, but attending to something of interest poses no particular challenge (1989, p.179). In developing their theory of restoration they cited psychologist William James s (1892) first distinctions of the types of attention. According to James (1892) there are two types of attention, involuntary attention which is attention that requires no effort and voluntary which requires an effort of concentration. The Kaplan s now refer to voluntary attention as directed attention. Involuntary attention occurs when the mind is fascinated or excited by something and requires no effort by the person. Directed attention on the other hand requires the individual to force themselves to pay attention. It is this type of attention that causes mental fatigue (Kaplan and Kaplan, 1989). The Kaplans have hypothesized that a preferred environment is thus more likely to be a restorative environment. Since nature plays such a powerful role in what is preferred, in general terms there is a theoretical basis for expecting natural environments to be restorative (1989, p.189). In order to better understand the qualities of restorative environments, the Kaplans, in their published works The Experience of Nature (1989) and With People in Mind: Design and Management of Everyday Nature (1998) developed four basic properties that help in achieving a restorative experience or the relief of mental fatigue: being away, extent, fascination and compatibility. Being away. Being away implies involving oneself in cognitive content different from the usual (Kaplan and Kaplan, 1989, p.189). Being away requires that the individual be in a place other than the source of the mental fatigue. Traditionally people think of being away as a physical change in place but 12

25 getting away can also be achieved conceptually by allowing the mind to wander or day dream. A person could pause and look out a window for a moment and still have the feeling of getting away. Although it is important to note that in certain instances being away can add to one s mental fatigue, for example, being in an unfamiliar place which may evoke fear of the unknown. Being away can occur when one takes a vacation from their ordinary busy work schedule to spend time in a quiet ocean side cottage. Another example of getting away would be for the busy grad student writing a thesis paper to stop and take a quick walk through his or her garden to water plants or prune trees. Even if the time of being away is short there is still a distinctiveness and separateness from the current tasks and both can promote restoration (Kaplan and Kaplan, 1989, 1998). Extent. Extent is the sense of being in a whole other world-either physically or perceptually. It encompasses the imagined as well as the seen, it is a promise of continuation of the world beyond what is immediately perceived (1989, p.190). There are ways to accomplish a sense of being in a large place when boundaries are not present. Modern zoos, for example, are designed as total emersion experiences. They are designed to have a great extensiveness such as the African savanna. Extent can also be imagined and influenced by knowledge and fantasy (1998). An example of how we can create extent in the mind is by going to the theater and watching a story played out. We create a world beyond what is presented. We begin to imagine the characters living and going beyond the story that is being told. Extent within a natural setting can promote restoration by giving the individual a feeling of being somewhere very different or out of their ordinary environment. Fascination. Fascination derives not only from interesting things or places, but also from processes such as thinking, doing, and wondering. It assists us in keeping our attention focused. In a natural setting, things like pattern, light, water and breezes are all examples of elements of nature that fascinate and keep our attention. These types of fascinations are considered undramatic or soft fascinations. Other types of fascination are more dramatic such as watching a storm or an erupting volcano. These fascinations 13

26 are so powerful one cannot think of anything else (1989). Nature is full of soft fascinations that permit a reflective mood and that in turn can promote cognitive restoration (Kaplan and Kaplan, 1989, 1998). Compatibility. Compatibility is achieved when a person s inclinations match the demands imposed by the environment as well as the environmental supports for the intended activities (Hartig et.al, 2003, p.110). People often experience nature high in compatibility because it can provide opportunities that people can relate to, most of which are related to survival, for example, fire building, hunting or fishing, gardening and observing wildlife (Kaplan and Kaplan, 1989). In conclusion, mental fatigue will always be a factor in human life and finding ways to recover is made available by restorative experiences and environments. Total submersion in a natural environment seems to be the most restorative although it is not to say that the design of built environments cannot promote restoration as well. The following studies revealed the benefits of open green space to human well-being and cognitive restoration. Terry Hartig (1996) and colleagues conducted a study that explored the restorative effects of parks in urban settings. The study involved three groups of college students who were recruited to perform difficult and mentally fatiguing tasks. The students were randomly divided into three groups one group took a walk in an urban park, another group walked in an urban area dominated by buildings, cars and activity. The third group was left in a comfortable room listening to music and reading for the same amount of time. When the groups returned they were given a proof reading assignment as well as a survey. The study revealed that the students who took the walk in the park performed better on the assignment as well as reported having better concentration and felt intellectually and emotionally restored after their return. This contrasted with the other two groups in the study where lower emotional restoration and attentiveness occurred (Hartig et. al 1996). In another study, researchers found that subjects who were placed in a room with a view of a natural landscape had a decline in blood pressure not found in subjects sitting in a windowless room. In 14

27 both studies the subjects all recovered better from attention demanding tasks (Hartig et.al, 1996). Recovery from Stress or Illness The positive effects from contact with nature or natural views have proven to be greatest when people are experiencing high levels of stress or are confined to situations like hospitals, prisons and work environments. In these cases frequent direct, indirect or symbolic contact with nature continues to have a positive physical and psychological effect on human well-being (Ulrich, 2003). Several studies of patient groups have consistently shown that simply looking at environments dominated by greenery, flowers, or water as compared to a built environment that lacks natural elements is significantly more effective in promoting recovery from stress and illness. It has been found that simple objects such as aesthetically appealing greenery or flowers for hospital patients can have calming and healing effects. One study revealed that in-room vegetation and access to gardens within hospitals increased positive feelings such as pleasantness and calmness as well as reducing negative emotions such as fear and sadness (Barnes and Cooper- Marcus,1995). Although many studies involve direct contact with nature, there have been studies that prove indirect and symbolic contact can have positive effects as well. One of leading studies regarding recovery was conducted by environmental geographer and psychologist Roger Ulrich (1983). The study explored whether a room with a view influenced wellness and recovery. The investigation involved twenty three patients who were all recovering from gall-bladder surgery. The patients were divided into two types of rooms, one with a window view of trees and the other type of room with a window view of a brick wall. It was found that the patients with the tree views had shorter postoperative stays, had fewer negative evaluative comments from nurses, took fewer moderate and strong analgesic doses, and had slightly lower scores for minor post surgical complications (Ulrich, 1983 pg 421). 15

28 A similar study by Ulrich (1990) investigated 160 short term hospitals patients recovering from heart surgery and their reactions to wall art. The patients were divided into three types of recovery rooms. One room contained a picture of a natural scene of water and trees, (Figure 2.3) the second room had abstract art, (Figure 2.4), and the third room contained blank walls. Figure 2.3 Picture of natural scene used in study. (Ulrich, 2003) Figure 2.4 Abstract picture used in study hospital room (Ulrich, 2003) 16

29 Ulrich observed that the patients in the rooms with pictures of natural scenes had less anxiety and required less pain medication. At the other end of the spectrum, the patients whose rooms contained abstract art reported higher levels of anxiety. Ulrich also reported that some patients became so distressed by the abstract art that they ripped them from the walls and attempted to destroy them (Ulrich and Lunden, 1990). Productivity Recently, evidence has been built on the benefits of exposure to nature in the workplace. Studies have shown contact as indirect as a landscape picture or a decorative motif has been shown to enhance well-being and productivity within the work environment (Kellert, 2005). Environmental psychologist Judith Heerwagen and James Wise (2001) conducted a study with the Herman Miller furniture company to determine if interiors designed to evoke features of the natural environment enhance creative and cognitive performance of the people who worked in the spaces. They designed three identical workstation cubicles; the only difference among them was the fabric on the panels. One station contained gray fabric another with a geometric fabric pattern and another with a digital image of a savanna landscape. The subjects performed tests that measured cognitive functioning, memory, and creative problem solving. The researchers found positive connections between the workers in the natural image workstation and of the creative problem solving scores. Although they were unable to find any correlation with memory, they were able to conclude that creative problem solving and emotional functioning can be manipulated through the application of visual images to vertical surfaces of workstations (Heerwagen, 2001). In another study conducted by Rachel Kaplan (1993) found that office workers who had a window with views to nature felt more patient and had a better overall satisfaction than workers without visual access to nature or to those with a view of the built environment. 17

30 Implications for Design of the Built Environment In Stephen Kellert s book Building for Life: Designing and Understanding the Human-Nature Connection (2005) he argues that the greatest mistake of our time is the assumption that the built environment can exist independent of the natural environment. The result of this is the design of buildings and developments that abuse and degrade people s experiences of nature, fostering alienation and destructive environmental practices (p.92). As a result of this practice, there has been widespread land degradation, soil, water and air pollution and depletion of natural resources. The current answer to this problem has been the implementation of sustainable design practices or green design. Sustainable design is design that is has a low impact on the environment by pursuing energy efficiency, using renewable energy, reducing resource consumption, reusing and recycling products and materials, lessening waste pollution, employing non-toxic substances and materials, protecting indoor environmental air quality, and avoiding habitat destruction and loss of biodiversity (Kellert, 2005). This practice is also known as low environmental impact design. According to Kellert (2005), low environmental impact design has lessened the impact on the natural environment but has failed to foster a connection between people and nature in the built environment. He suggested that with today s technology and knowledge of the benefits of the connection with nature, we can minimize harm to the environment as well as enrich the mind, body and spirit by promoting experiences of nature within the built environment. He refers to this practice as restorative environmental design which incorporates sustainable design practices as well as reconciling and harmonizing the natural and human environments (2005, p. 4). His solution is the combination of low environmental impact design as well as biophilic design principles. His definition of biophilic design is the incorporation of organic design and vernacular design. Organic design involves the use of shapes and forms that reflect natural elements and processes and can be achieved through the use of natural light ventilation, materials and nature-based decoration and ornamentation. Vernacular design 18

31 refers to attachment to place by connecting history and culture of that place into the built environment. Kellert (2005) has proposed that the implementation of restorative environmental design low impact environmental design and the two dimensions of biophilic design, organic and vernacular design can (1) sustain the natural habitat and systems on which our existence relies (2) foster biophilia, our innate tendency for nature and (3) connects people to place, a necessity for human well-being (Kellert, 2005). For this review, the focus will remain on biophilic design. Organic Design Vernacular Design Low Environmental Impact Design Biophilic Design Restorative Environmental Design Figure 2.5 Restorative Environmental Design Restorative Environmental Design Stephen Kellert (2005) posed an important question if people are not emotionally and intellectually attached to the buildings, landscapes, and places around them, will they be motivated to sustain these places? Will a building s occupants be motivated enough to spend the time, money and energy to restore these places over time (p.124)? It is his opinion that unless buildings can positively connect users with the experience of nature then they will certainly abandon these places over time. He argues that even the most sustainably designed building, regardless of its technologies and its reduced impact on the 19

32 environment, will one day become obsolete to its users unless it can foster an innate connection with people and nature. Biophilic Design Biophilic design can be implemented in a variety of ways within the built environment. It can connect its users directly, indirectly or symbolically through a building s exterior features, interior space, decoration and exterior landscapes. The focus of biophilic design within the built environment is to tap into the evolutionary affinity that people have with nature to promote physical and psychological well-being (Kellert, 2005). Environmental psychologist Judith Heerwagen argued that the human brain is constantly reverting back to its survival instincts of seeking out the things and places that help survival such as - food (plants, flowers, and animals) shelter, light, water and fire. It is important to understand what attracts people to these types of features so that they can be introduced into the built environment (Heerwagen, 2003). In short biophilic design can be achieved through the use of natural lighting, natural materials, natural ventilation, forms that mimic nature and views of nature (Heerwagen and Hase, 2001). The central idea of biophilic design is that buildings are habitats for humans. For more insight, environmental psychologist Judith Heerwagen used zoo design as a comparison. For decades, animals in zoos were kept in small concrete and chain-linked cages. Over time, zoo keepers began to wonder why their animals would not flourish. The animals often showed erratic behavior such as pacing, aggression and withdraw. Eventually animal psychologists began to discover they were not flourishing because they were removed from their natural habitat. Today, zoos are designed to mimic the animal s natural habitat so that they may have free range within an environment that closely resembled their natural habitat. Zoo visitors are kept at a distance so as not to disturb the animals. In addition animals are given the choice to be on view or retreat out of sight if they wish. Since these changes have been made in zoo design, animals have been playing, mating, and acting more like they would in their natural 20

33 habitat. Heerwagan suggested that designers and architects can learn from zoo design and begin to design buildings and interiors as habitats for humans. She suggests that buildings should be designed based on survival needs and wellbeing. Designs should be built around our primitive preferences and our connection to nature (Heerwagen, WBDG). Although there is less evidence in some of these characteristics, Heerwagen has developed a list of biophilic building features that can be applied to interior and exterior architecture (see Table 2.2). Table: 2.2 Biophilic Building Characteristics Key Dimensions Prospect (ability to see into the distance) Refuge (sense of enclosure or shelter) Water (indoors or views) Biodiversity Sensory Variability Biomimicry Attributes and Qualities Brightness in the field of view (windows, bright walls) Visual Distance Horizon/sky imagery (sun, mountains, clouds) Strategic Viewing locations View Corridors Canopy effect, lowered ceilings, screening, branch like forms over head Variations in light levels (darkness suggests refuge) Enclosing surfaces Glimmering or reflective surfaces Moving water Symbolic forms of water Varied vegetation indoors and out (trees, plants, flowers) Windows positioned to frame views of nature Nearby outdoor areas with vegetation and animals Changes that affect the senses Color, textures, temperature, air movement, natural light variation Design derived from nature Natural forms, patterns and textures Fractal characteristics 21

34 Table: 2.2 Continued Key Dimensions Attributes and Qualities Incorporation of décor, artifacts, objects, spaces, whose Playfulness primary purpose is to delight, surprise and amuse. Discovered complexity Enticement Information richness that encourages exploration. Curvilinear surfaces that gradually open information to view Adapted from (Heerwagen & Hase, 2001) Prospect and refuge. Prospect and refuge refers to the primitive survival behavior of to see without being seen (Appleton, 1975). Geographer Jay Appleton (1975) proposed this theory of landscape aesthetics and argues that we inherit these territorial behaviors from our hunter-gather ancestors. Refuge refers to a safe place of concealment or shelter and prospect is the ability to see into the distance. Symbolically, refuge represents enclosure and can be referred to as small and / or darker spaces whereas prospect represents openness and brightness (Moore and Pftzenmeir, 2001). In architecture and interior space, refuge can be achieved by creating spaces that cover and protect but provide views to adjoining spaces. Refuge can be created through, lowered ceilings, canopies as well as partial enclosures. Without refuge one can feel on display which can cause discomfort or unrest. Prospect can be created by offering distant views from the place of refuge such as views to the outside or down a corridor or to an adjoining space. Prospect can also be achieved by brightly colored walls, art or varied lighting (Heerwagen, WBDG). Research conducted by Heerwagen and Orians as cited in Children and Nature (2002) found that young children are more likely to engage in creative play activities when they are in environments that provide prospect and refuge. Enticement and mystery. Nature is full of mysteries and complexities that are discovered through experience of the senses. Enticement is the desire to know more or to explore and expand knowledge, a crucial part of human development (Kellert, 2005). In the built environment one can be enticed to 22

35 explore by complex details or spatial variety. The built environment can also entice the user with peril, the desire for mystery, excitement and danger. Peril can be achieved by features such as cantilevered balconies, catwalks, obscured or curved pathways as well as variations in height (Kellert, 2005). Water. Water that is incorporated into the built environment can be effective in fostering a connection between people and nature as well as having positive psychological effects. Some of the most successful designs that incorporate the use of water are those that mimic water in its natural state such as waterfalls which obey the laws of gravity as opposed to up shooting fountains which seem to deny it. Water reacts to all of the senses: sight, sound, touch, and even smell (Moore, 2005). The appropriate use of sounds of water can produce satisfying results. Designers can use sound to connect people to the natural flow of water which can be relaxing or block out undesirable noises by creating white noise. The reflective properties of water can be used to relieve feelings of claustrophobia and can even expand spaces to make them feel larger (Moore, 1994). Sensory variability. Sensory variability involves elements that activate the human sense of sight, sound, smell and touch. All of which have evolved from our survival instincts; life supporting elements such as water, fire and sun are also experienced this way (Heerwagen, 2003). The natural environment is full of sensory experiences that can be incorporated into the built environment. In design, the senses can be enticed with texture, changes in light, color, temperature and natural ventilation (Heerwagen and Hase, 2001). A study conducted by Judith Heerwagen and colleagues, found that workers valued natural sunlight in their workspaces because they like the variations in light throughout the day, as well as being able to detect changes in the weather (Heerwagen, WBGD). Organic form. Nature is not rectilinear or straight. Patterns, forms and fractals are constant sources of inspiration for design within the built environment and are key to understanding organic design. Architects and designers study and take inspiration by observing nature and living organisms such as plants, 23

36 trees, shells, roots, scales, flowers and even animals. Although there is not a lot of evidence or research on organic shapes and forms there are some indications that people respond positively to organic forms and curvilinear spaces (Heerwagen, 2003). Inspiration of form can be taken literally in the form of ornament as in Art Nouveau and Roman architecture or symbolically as with the works of Gaudi. Drawings and illustrations of plants and animals from the turn of the century similar to this drawing of a jellyfish (Figure 2.6) found in Ernst Haeckel s Art Forms in Nature (1904) inspired the Art Nouveau movement. Designers such as Hermann Orbrist, August Endell (Figure 2.7) and Louis Comfort Tiffany drew inspirations for interiors and ornamental details (Pearson, 2001). 24

37 . Figure 2.6 Drawing of giant corona-crowned jellyfish (Haeckel, 1904) Figure 2.7 Art nouveau interior by August Endell, Elvira house, Munich 1897 (August Endell, 2006) Fractals. Fractal geometry refers to the natural shapes, patterns, and rhythms found in nature. A close observation of elements found in nature will reveal a strong progression of self similar-details. Objects such as trees, leaves and snowflakes all have shapes within them that have similar infinitely cascading shapes. Take for example, the Chou Romanesco a type of cabbage, the first (Figure 2.8) shows how that the self-similar patterns break down in some scale. The second (Figure 2.9) shows the tiny structures near the top level spiral. As the spirals get smaller and smaller approaching the vertex, the spirals that make them up have less and less detail (Walker, 2005). Designers, architects and engineers have now used fractals as a design tool used to describe the complexities of objects found in nature and apply them to the built environment. Fractals can be applied to a building design as rhythm and textural progression (Pearson, 2001) or the actual structure of the building can be calculated and 25

38 designed using fractal dimensions. The result will not be a building that looks like something found in nature but will have the same level of progression and complexity found in natural objects. Figure 2.8 Fractal patterning found in nature. Chou Romanesco (Walker, 2005) 26

39 Figure 2.9 Close-up of the Chou Romanesco cabbage (Walker, 2005) Organic Design Organic design is a philosophy of building design or architecture that elicits affection for nature. The concept emphasizes shapes and forms that mimic natural features and the use of natural materials, lighting and ventilation (Kellert, 2005). Organic architecture is inspired by natural and organic processes, forms and systems. It is the thought that by designing and building from nature, by mimicking its beauty and harmony, the built environment will be more condusive and sympathetic to the human body, mind and spirit (Pearson, 2001). David Pearson describes this concept in his published work New Organic Architecture (2001, p.10): Nature is the fundamental and recurring inspiration of organic architecture. Living organisms, both in their outward forms and in their inner structures, offer endless ideas and concepts for design. Organic architecture works with metamorphosis (the process of growth and change), and the notion of design from within, whereby each design starts from a seed concept and grows outward, changing in form. More than this, a building is seen as an organism, an indivisible whole and humans are seen as part of nature, not above her. Architect Frank Lloyd Wright first coined the term organic architecture when referring to his philosophy of design. His design philosophy was that buildings and landscapes should relate to the features of their site and that their integrity should be true to their nature. For Wright, the most successful designs combined harmony and symmetry that were often found in the natural world (Kellert, 2005). Some of his best examples of organic architecture are his Prairie style homes, (Figure 2.11) which incorporated large overhangs, terraces natural light and were constructed of natural materials. The homes were designed with a close relationship to the natural environment of their site. They 27

40 were the first homes to make use of open floor plans and were some of the first instances where the inside and outside begin to relate (Wright, 1974). Figure 2.10 Charles and Dorothy Manson House (Wunsch, 2006) Fallingwater (see Figure 2.12) located in Bear Run, Pennsylvania, was a house designed by Wright in 1935 as a summer home for the Kaufman family. It is arguably the best example of Wright s concept of organic architecture, the building promotes harmony between people and nature through design so well integrated with its site that the buildings, furnishings, and surroundings become part of a unified design. The home was designed to look as though it grew from the hillside and over a waterfall. The house was built on the rocks next to the falls; cantilevered terraces extend over the falls and mimic the rhythm of the rock ledges. Interior spaces feel carved from the landscape with natural rock formations and framed views to the outside (Figure 2.12). Charles W. Moore (1994, p. 197) describes the home in his published work Water and Architecture: The house that Wright built for the Kaufmans at Bear Run is a masterpiece of organic architecture. the structure engages our sense of sight, sound, and touch and compels us to see, hear, and feel not only the architecture but also nature beyond. Fusions, counterpoints, and tensions lead us to 28

41 meaning of the place its connection to nature, its inhabitants, and the water. Today, Fallingwater stands as one of Wright s most popular designs and is visited by many thousands each year. The home s popularity is accredited to a powerful idea, the idea that people have a true affinity for natural environments and that nature and the built environment can be designed so that they harmonize together (Western Pennsylvania Conservancy, 2007). Figure 2.11 Frank Lloyd Wright s Fallingwater at Bear Run, Pennsylvania (Fallingwater, 2007) 29

42 Figure 2.12 Fallingwater, interior living room and hearth. (Fallingwater, 2007) In conclusion, organic design is rooted in the need for nature and the passion for life (Pearson, 2001). David Pearson (2001) perhaps describes it best when he stated, Inspired by the non-linearity and creative forces of natural and biological organisms, organic architecture is visually poetic, radical, idiosyncratic and environmentally aware; it embodies harmony of place, person and materials (p.9). Vernacular Design According to Merriam-Webster s (2007) dictionary, the term vernacular is defined as relating to a place, region, or country being the common building style of a period or place. In the context of design, vernacular architecture is a style developed by the place and culture of a particular region. Traditionally the style tends to evolve over time to reflect the environmental, cultural and historical context of the place (Richardson, 2001). Vernacular design should evoke a strong attachment to place with the user and should connect social and cultural traditions as well as the natural setting. Kellert (2005) explained there are four elements of successful vernacular design that include: Relate to the ecology of the place Connect with cultural and social traditions Fuse culture and ecology 30

43 Design should avoid placelessness and loss of identity One of the most successful and appropriate examples of vernacular design is Renzo Piano s design for The Tjibaou Cultural Centre in New Caledonia (See Figures). Piano conducted exhaustive studies into the culture and traditions of the region and enlisted the help of anthropologists of South Pacific culture. Piano (2007) found that there was no vernacular architecture for the region as their structures were built from perishable materials. This absence of a vernacular architecture allowed Piano the opportunity to research the culture and develop the first vernacular style for the area. The Centres, which lies on a narrow strip of land surrounded by water, features the ten cases or curved structures that soar from the ground all having different heights and functions. The cases are constructed of wooden joists and ribs that vibrate in the wind, and are meant to reflect the natural materials of the Melanesian huts. Piano s design is so successful because he did not borrow from the past but merely researched the local culture and was able to design something completely new (Richardson, 2001). Figure 2.13 J.M. Tjibaou Cultural Centre, New Caledonia (Piano, 2007) 31

44 Figure 2.14 Interior of J.M. Tjibaou Cultural Centre, New Caledonia (Piano, 2007) Corporate Retreats An offsite corporate retreat can be defined as an event, usually held at a resort or other location, in which executives or employees of a company gather for seminars and team-building activities (Campbell, 2006). The corporations choose a facility where their retreat will be held. These facilities include hotels, lodges, and conference centers. Retreats can be daylong or longer. Retreats that are longer than one day require accommodations and meal planning. Many corporations hold retreats for several reasons including: Strategic planning Teambuilding Creative problem solving Improving employee relationships and morale Taking time out of the daily routine According to Sheila Campbell, retreat organizer for 15 years and co-author of Retreats that Work (2006), it is best to hold retreats in an informal, natural setting with an outdoor component rather than a having conference style meetings. By taking the employees out of their usual everyday work environment they are able to think more creatively and be more productive. Table: 3 Types of Corporate Retreats (Campbell et al, 2006) 32

45 Type Executive Board and Board and Staff Single Department Interdepartmental Function Top managers attend without lower employees for strategic planning, teambuilding within the group, goal setting Board and staff attend to align the two groups, goal setting, team building One department from a corporation will attend for goal setting, team building, department strategizing Two or more departments in the same corporation retreat to plan on better ways of working together Chapter Summary This review of literature has covered various findings and explanations for the importance of human experience with natural systems and its positive effects on human cognitive functioning, stress and recovery and productivity. The review has also addressed biophilia, which begins to explain the roots of this genetic attraction with the natural world. Based on these findings, implications for the design of the built environment were discussed. This research emphasizes the need to better understand how to design environments that foster the human-nature connection. This review of literature will be used as a basis for the programming requirements and design process of a corporate retreat facility found in Chapter Three. 33

46 CHAPTER 3: DESIGN PROGRAM 1. Project Description The proposed design is located along the banks of Lake Sydney Lanier approximately 40 miles northeast of Atlanta, Georgia. The retreat facility will be an upscale, sophisticated executive level facility that will cater to corporate groups from the Metro Atlanta area as well as the south-eastern United States. The main objective for the design will be to harmonize the facility with the natural environment by incorporating biophilic and sustainable design principles. The design for the retreat will include meeting spaces, both formal and informal as well as dining, lounge and entertainment spaces. The design will also provide sleeping accommodations for up to fifty persons. 3. The Psychological and Social Context The psychological and social impact for the design for the facility is that it will foster a connection between the user and the natural environment. By connecting the users to the natural environment the design, will in turn, promote physical and psychological wellness as well as mental restoration from cognitive fatigue. The retreat facility will also serve its purpose as a meeting space that encourages socializing, creativity and collaboration. 2. The Site The site is located on the banks of Lake Sydney Lanier, approximately 60 minutes drive northeast of Atlanta, Georgia. The location for The Retreat was 34

47 chosen for its close proximity to Atlanta and Hartsfield Airport and its natural setting. The city of Atlanta was a key determinant in the selection of site because of its large and growing corporate community. Atlanta is ranked 3 rd in the nation among cities having the greatest number of headquarters for Fortune 500 corporations. Some of those companies include Home Depot, United Parcels Service, Coca-Cola, Bellsouth, Delta Airlines, and Sun Trust Banks. Their combined revenue in the year 2000 totaled $19 billion. From , many of these corporations created approximately 684,000 new jobs which put Atlanta in first place in the country for generating new jobs. Atlanta has the largest in-country migration in the United States; its popularity can be attributed to its diverse types of industry and work-force (Atlanta Chamber of Commerce, 2007) Figure 3.1 Map of Metro Atlanta in relation to Lake Sidney Lanier 35

48 (Atlanta Chamber of Commerce, 2007) Lake Sydney Lanier. Lake Lanier, named after poet Sydney Lanier, is a manmade lake in the foothills of the Georgia Blue Ridge Mountains. The lake was created by the completion of the Buford Dam on the Chattahoochee River in 1956 by the U.S. Army Corps of Engineers. The lake covers approximately 38,000 acres and has 692 miles of shoreline as well as 100 small islands. The main purposes of the lake is flood control and electric power, it is also a reservoir for drinking water for the Metro Atlanta area. The lakes secondary purpose is for recreational activities such as boating, fishing, camping, hiking, and other water sports. Many parts of the lake are a protected sanctuary for fish, animal, and plant life. Approximately 7.5 million people visit Lake Lanier each year for recreational proposes. The lake houses a number of marinas and two major resorts, Emerald Point and Pine Isle. Currently, Lake Lanier is owned by the US Army Corps of Engineers who regulate and manages development along the shoreline. The Corps have developed a Shoreline Management Plan which allocates Protected Shoreline Areas, Public Recreation Areas and Limited Development Areas. According to the Shoreline Management Plan, proper permits must be pulled and construction documents must be approved before any construction can begin within fifteen feet of the lake shoreline (US Army Corps of Engineers, 2007). Figure 3.2 Lake Sydney Lanier 36

49 (Lake Sidney Lanier, 2004) The site for The Retreat at Lake Lanier will be located along the banks of Lake Lanier in the small town of Gainesville, Georgia. The primary reasons for choosing this particular site are not only the beautiful natural environment but also the mild climatic conditions of the area. The property consists of approximately 13.5 acres of undeveloped land and approximately 2000 feet of shoreline. The area is currently zoned for either residential or commercial development. The site is heavily wooded with deciduous trees and shrubs and has a gently sloping topography towards the shore. The sites current infrastructure consists of two paved roads and numerous dirt pathways. The site is currently supplied with plumbing for sewage and electricity. Figure 3.3 Shoreline and islands at Lake Lanier (Young, 2007) 37

50 Figure 3.4 Arial view of site along Lake Sydney Lanier (Google, 2007) 3. Facility Operation and Organizational Profile Director. Oversees general operation Manager: Oversees facilities and staff. Internal Facilitator: Plans and facilitates activities for retreats. Receptionist/Office staff: Responsible for booking retreats, guest inquiries, check in/out. Restaurant Manager: Manages catering and serving staff. Chef: Prepares and plans all meals and catering, inventory. Sous Chef: Assists chef in preparation and inventory. Kitchen Staff: Assists in food preparation and clean up. Servers : Responsible for pre and post meal setup and serving food to guests Maintenance/Janitor: Responsible for maintenance and cleaning of the property and facility. Housekeeper and Staff. Responsible for daily housekeeping of the sleeping accommodations. Groundskeeper. Responsible for property grounds and gardens and plants 38

51 Valet. Responsible for parking and driving guests to sleeping accommodations 4. Target User and Clientele The primary users of the space will be corporate professionals who are employees of corporations holding the retreats at the facility. The users will be people of all ages, and backgrounds. 5. Image and Character The image and character of the exterior and interiors will reflect biophilic design principles. The structure will have an organic quality that will be dictated by and inspired by the chosen site. The shape and forms will also be dictated by the properties of the chosen building materials. 6. Type of Construction Materials The exterior of the buildings will primarily be constructed of local materials and sustainably harvested woods. The design will feature primarily natural materials in addition to concrete and some brick. Skylights and tinted glazing will be used extensively to provide a nature-oriented setting and to utilize natural light. The goal for the design will be to incorporate as many sustainable natural materials as possible. 7. Analysis of Individual Space Requirements The facility will be designed as small clusters of buildings joined together by covered walk ways, breezeways, and paths. There will be two main buildings the one for meeting spaces and one for dining and entertainment. The sleeping accommodations will be individual double occupancy bungalows spread throughout the property that will contain two bedrooms around a central common area. There will also be two smaller support buildings for laundry, housekeeping, 39

52 storage, and maintenance. Special outdoors areas such as rooftop gardens, an outdoor kitchen, fire-pit and out-door amphitheater will be included. Table: 3.1 Building One: Meeting Spaces and Administrative Offices. Program analysis showing spatial requirements, furnishings, and equipment. Space Square Footage Function Furniture Requirements Lobby 500 sq. ft. Informal meeting/gathering Mixed seating Check in/ room Desk, chair, file storage Reception Area 120 sq. ft. assignments, facility information Restrooms Men/ Women 600 sq. ft. Restrooms Toilets, lavatories, ADA accessible Workspace for Director Desk, chair, credenza, file Director s Office 200 sq. ft. storage, chairs Workspace for Manager Desk, chair, credenza, 2 Manger s Office 180 sq. ft. and secretary guest chairs Office for 2 valets Work surface, 2 chairs Valet Office 80 sq. ft. Internal Facilitator s Office 150 sq. ft. Workspace for in-house retreat facilitator Desk, chair, credenza, file storage, round conference table, chairs External Facilitator s Office 150 sq. ft. Workspace for clients hired facilitator Desk, chair, round conference table, chairs Meeting Spaces for work Mixed seating, AV Meeting Spaces 2300 sq. ft. meetings/activities equipment 40

53 Table: 3.1 Continued Space Square Footage Function Furniture Requirements Furniture Storage 180 sq. ft. Storage of excess storage Clear floor space AV Storage 100 sq. ft. Storage of AV equipment Shelving Break out space, coffee, Computer station, chairs, Lounge 800 sq. ft. snacks, internet access, phones mixed seating, food storage Outdoor meeting space Aprox sq. ft. Informal meeting space Mixed outdoor seating Janitor s Closet 50 sq. ft. Storage of cleaning supplies/ equipment Shelving, floor sink HVAC / Electrical Room 75 sq. ft. Housing for mechanical systems HVAC unit, electrical systems Table: 3.2 Building Two: Dining and Entertainment Space. Program analysis showing spatial requirements, furnishings, and equipment for building two. Space Square Footage Function Furniture Requirements Lobby/Entrance 150 sq. ft. Entrance, over flow space Dining Area 1700 sq. ft. Dining space for guests up to 55 persons Outdoor Dining 900 sq. ft. Outdoor dining space Lounge 1500 sq. ft. Entertainment space with bar Mixed table arrangements, wait stations Mixed table arrangements Bar, bar stools, mixed seating, stage 41

54 Table: 3.2 Continued Space Square Footage Function Furniture Requirements Kitchen 750 sq. ft. Food preparation area Vendor specified equipment Restrooms Toilets, lavatories, 600 sq. ft. Restrooms Men/Women ADA accessible Chef s Office 150 sq. ft. Planning, workspace Desk, chair, guest c Employee Break Area 300 sq. ft. Break/Changing Lockers, benches, Room for servers table, chairs HVAC / Electrical Room 100 sq. ft. Housing for HVAC unit, electrical mechanical systems systems Table: 3.3 Bungalow prototype. Program analysis showing spatial requirements, furnishings, and equipment for sleeping accommodation. Space Square Footage Function Furniture Requirements Bedroom (2) 150 sq. ft. Sleeping area Bathroom (1) 100 sq. ft. Bathing, changing Common Area (1) 250 sq. ft. Meeting, socializing Terrace 80 sq. ft. Meeting, Socializing 1 double bed, dresser, 2 nightstands, table, chair, Toilet, lavatory, shower Mixed seating, kitchenette Mixed seating HVAC/Water heater 25 sq. ft. Housing for mechanical systems HVAC unit, electrical systems, water heater 8. Sustainable Building Practices The main goal for the design will be to connect users to the natural environment as well as promote and encourage environmental conservation. 42

55 The proposed design will address important issues that impact the environment by minimizing the use of air conditioning and energy consumption. The design will incorporate the use of natural light and natural air circulation through operable windows and ventilation as well as a system of skylights. Rainwater will be collected, reused and will be incorporated into a designed water feature. Open air corridors and gardens will minimize heat gain and promote air circulation. The design will also incorporate sustainable products and materials that reduce a negative impact on the natural environment and the indoor environment for the user. Only materials and adhesives with low emission levels of volatile organic compounds will be specified. Local wildlife and vegetation will also be preserved and recognized as part of the building site. 9. Codes and Regulations The site will be located in the outlying area of Atlanta and design and construction will adhere to the Southern Building Code Congress International guidelines as well as the Americans with Disabilities Act guidelines. Occupancy Classification and Loads The occupancy classification refers to the type or function of a building. The Occupant load refers to the number of people will be occupying the space. Occupancy classification: Assembly and Residential Occupancy load for Assembly classification: 15 sq. ft. per person Occupancy load for Residential classification: 120 sq. ft. per person Means of Egress At least 2 exits per building. Maximum travel distance of 75 feet to exit 36 Door Opening Dead-end Corridor no longer than 20 feet Exit signs visible Interior Finishes and Furnishings Floor finishes will meet Class I or Class II standards 43

56 Finish treatments and ceiling finishes will meet Class A requirements American Disability Act Guidelines Accessible entrance and signage indicating location of entrance One accessible public bathroom per building Accessible sleeping accommodations Doorways will have a minimum clear opening of 32 inches The restrooms will provide a 5 diameter turning circle Grab bars will be installed near toilet and in bathtub and showers Objects projecting from walls will protrude no more than 4 inches into walks, halls, corridors, passageways, or aisles Ground and floor surfaces along accessible routes and in accessible rooms and spaces including floors, walks, ramps, stairs, and curb ramps, shall be stable, firm, and slip-resistant 44

57 CHAPTER 4: THE PROPOSAL Images of the Design Images throughout this chapter consist of the site plan, floor plans, elevations, furniture and finishes and perspectives of The Retreat at Lake Lanier. Images are scaled to fit the page. All structures are conceptual and would be modified by architectural and engendering restraints. Figure 4.1 Preliminary Site Plan 45

58 Figure 4.2 Preliminary Sketch Building One: First Floor Figure 4.3 Preliminary Sketch Building One: Second Floor 46

59 Figure 4.4 Preliminary Sketch Building Two: Dining and Entertainment Figure 4.5 Preliminary Sketch Bungalow Prototype 47

60 Figure 4.6 Final Site Plan 48

61 Figure 4.7 Site plan illustrating Building One and Two 49

62 Figure 4.8 Building One: Meeting Spaces, First floor plan. 50

63 Figure 4.9 Formal Meeting Space: Furniture Option One 51

64 Figure 4.10 Formal Meeting Space: Furniture Option Two 52

65

66 Figure 4.12 Building Two: Dining and Entertainment Space 54

67 Figure 4.13 Floor plan of Bungalow Prototype 55

68 Figure 4.14 Elevation of Bungalow Prototype 56

69 Furniture and Finishes Figure 4.15 Reception Area 57

70 Figure 4.16 Office Areas 58

71 Figure 4.17 Formal Meeting Spaces 59

72 Figure 4.18 Informal Meeting Spaces 60

73 Figure 4.19 Lounge / Breakout Space 61

74 Figure 4.20 Dining and Lounge Areas 62

75 Figure 4.21 Outdoor Furniture and Lighting 63

76 Figure 4.22 Bungalow Prototype 64

77 Perspective Renderings Figure 4.23 Pond View 65

78 Figure 4.24 Reception Area 66

79 Figure 4.25 Informal Meeting Space 67

80 Figure 4.26 Formal Meeting Space 68

81 Figure 4.27 Exterior View Building Two 69

82 Figure 4.28 Dining Area 70

83 Figure 4.29 Bar and Lounge 71

84 Figure 4.30 Outdoor Kitchen 72