Biophilia informed the design of Google’s Gradient Canopy building in Mountain View, California, which achieved Living Building Challenge Petal certification.

The Power of Biophilia: Designing Buildings That Heal People and the Planet

METROPOLIS’s Winter issue explores how biophilic design continues to advance human well-being while evolving into a regenerative framework for buildings, ecosystems, and the planet.

“UNFORTUNATELY, MODERN SOCIETY has insufficiently supported the human need to affiliate with nature,” Yale University Professor Stephen Kellert wrote for METROPOLIS in 2015. Distilling decades of research into a succinct article titled “What Is and Is Not Biophilic Design,” this pioneering thinker emphasized the value of biophilia to human well-being. “We are just beginning to find that these environmentally impoverished habitats foster fatigue, symptoms of disease, and impaired performance, and the simple introduction of natural lighting, outside views, and vegetation can result in enhanced health and productivity.”

In the decade since he wrote those words, biophilic design has expanded its ambitions. Its promise of reconciling buildings and nature has captured the attention of architects and designers worldwide. And a network of experts in science, sustainability, design, and architecture are urging the adoption of biophilic design not just as a way to make people healthier, but to help other life and planetary systems recuperate and regenerate. “We’re moving beyond buildings that mitigate harm toward architecture that performs like an ecosystem,” writes Erin Rovalo, vice president of community at Living Future and one of the seven leaders who helped us answer the question “What’s Next in Biophilic Design?

As we begin to consider this larger scope for Kellert’s ideas, we’re also rediscovering that early attempts to make buildings more sustainable ended up looking a lot like biophilic design. When CannonDesign took on the task of renovating California’s first large-scale sustainable building it found that the innovative architect Sim Van der Ryn had relied heavily on nature-inspired systems and natural materials in 1981 to help the 330,000-square-foot Gregory Bateson Building perform: a night flush system for heat; operable louvers; and a plant-filled, un-air-conditioned atrium. “In short, more than 40 years ago, the Bateson Building was designed to foster biophilia,” our reporter Lydia Lee writes.

Designed by Studio Gang, Harvard University’s David Rubenstein Treehouse anchors the Enterprise Research Campus with its mass-timber structure.

It’s this kind of thinking about both the experience of natural systems and their tangible interactions with buildings that has been finely engineered in 3XN’s design of the new Sydney Fish Market or harnessed in the form, materiality, and spirit of the Studio Gang–designed David Rubenstein Treehouse at Harvard University.

Inside the Treehouse, exposed beams and glulam columns frame a network of platforms, bridges, and stairs. Photos: © Jason O’Rear courtesy Studio Gang

In fact, just look at the 42 winners and ten honorable mentions in the 2025 METROPOLIS Planet Positive Awards and you will see how biophilia in fact suffuses all the work architects and interior designers are doing today to make a positive impact in the world. Ten years after we first had the privilege of publishing Kellert’s ideas, METROPOLIS is gathering all our best reporting and coverage of the design approach he championed in an updated version of “What Is and Is not Biophilic Design.” You can find his original essay as well as project case studies, reporting, and thought leadership at metropolismag.com/biophilic-design.

Inspired by his vision, we can remake the built environment into something more nurturing, sustaining, and organic to this planet’s systems. Happy New Year!

Read every story from our 2025 Winter Issue:

Features

Biophilic Design

Planet Positive Awards 2025

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