When I started to use biophilic design in my projects, clearly defined color palettes were not a part of the biophilic palette. At its essence, using a color palette was about using instinct to recreate the colors and the essence of the natural world within interior spaces. I needed to tap into what it is that colors do to us at an emotional level and to understand the peaceful, calming vibes that the hues of the natural world give us and use that in what I call “biophilic color design.” It is about much more than using random hues. The first picture that I ever took of a biophilic color palette was done for a family who had just moved into a house that looked out onto the most incredible park. They wanted their interior spaces to feel totally connected and harmonized with what was happening outside their windows. So I went on a mission. I was going to help them recreate not just the scenery outside but the colors and lights happening in it.
The Natural Spectrum in Biophilic Design Embracing a biophilic color palette means taking hold of the stunning, vast array of colors found in nature. These colors are not overwhelming, nor are they meant to be. Instead of choosing overtly bright and cheery colors, I find myself seeking an altogether different ensemble of colors—the subdued tones that provide a friendly backdrop to the realm of nature. Picture, if you will, the color of a tree’s weathered bark, the soft blue of a distant sky, or the tall grasses that unfurl along the banks of a softly rippling river. Now imagine these colors forming the mellow palette of your environment. While the natural coloration of these objects is rich enough, there is also something worth emphasizing about the way colors found in nature interact with one another. The greens found in the lush, dense foliage of a tree are not the same green that you’re going to find in the soft moss that lies at its feet. If you close your eyes and just listen for a moment, I guarantee you that the whispered secrets of your local forest will be far richer than any paint can of studio-sculpted green fluttering heartily in the key of E minor.
Color plays a crucial part in determining the emotions we express in a given space and is the most potent and immediate means of creating a particular atmosphere. Consider the color red, for example. It is often a signal of danger—it has a way of demanding your attention. Or think about the complete opposite: green, a color often found in places considered to be the most peaceful on earth, places where people go in order to enjoy a moment of serenity (like a park in the middle of a bustling city) or reconnect with nature and, by extension, themselves. In an office where the atmosphere is dictated by shades of khaki and taupe, experiments using components of Biophilic Design can help improve the quality of that poor workspace. “Biophilic Design is about getting nature into our built environments in a way that is meaningful and powerful,” said Julie M. Vesser, a former Colorado State University architecture graduate student.
I often use another approach when creating a biophilic palette, which is to borrow the colors of dawn and dusk. These times of day are thought to be universally calming, and for good reason. While the sun is actually at its most potent during the twilight hours when it is just below the horizon, it’s during these two times of day that we see the most serene and softest transitions in color. The combination of pale pinks, gentle lavenders, and warm golds really is bringing these two times of day indoors. And when they are paired with moisture-proof and durable materials, whether it’s lots and lots of wood or lots and lots of stone, the combination softens the space. In our bedroom project, we took the color for our functional wall right off the bat, and then the color topped off our headboard wall, which is a full slab of honey-hued onyx and otherwise unfinished.
Using a Light Touch With Color It can be very tempting to go all in with the biophilic theme: green on the walls, plants in every corner, and an overall look that screams “nature.” But too often, that desire to achieve a nature-inspired look results in spaces that are just as planned and styled as any other. Biophilic design, at its best, is as random as nature itself. The places we remember visiting—forests, parks, beaches—are filled with (or are at least framed by) color, and yet, even in the most vivid wild environments, color exists in layers and gradients. One of the first living environments I designed for an artist incorporated pseudo biophilia to tame the nature settings that frame her life in the studio. I used a limited palette of subdued tones—smoky grays, layered greens, and rich browns—that pay silent homage to being downed by muted, but ever-present, nature. But I also employed unexpected accents in palette that rivaled the colors found in the barrenness of even my most vibrant memories of the artists’ life.
Another key part of working with a biophilic color palette is natural light. I depend on copious amounts of daylight to show off the colors we select. There is no substitute for natural light and, in its absence, I must do my best to approximate the effect artificial light can achieve. Sunlight is the most variable of lighting conditions, and it is the condition we have to work with—ideally, of course!—in all of our designs. Short of that, what’s next? I have found that layering artificial warm light in combination with a biophilic palette of colors can work miracles. The spaces where we work and live can feel more organic and inviting, and daylight is our best friend in that regard.
The conclusion of this book is about my palette, my autobiographical palette that I use to curate my life. I want readers to understand what a powerful tool that is. I found this palette by necessity. After my mom passed, I had to dig deep and figure out what I wanted to do with the life that was left to me.
When making a biophilic color palette, there are no hard-and-fast rules to follow or looks to be achieved. It’s more about the vibe. Of course, woods, sky, and sunlight have dominant colors, but those colors can be quite complex. Most of us can’t help but be influenced by our surroundings. We merely observe—and sometimes—to great effect! When making a biophilic palette, I can hardly help but let the woods, the sky, and sunlight (not to mention my other senses) influence the colors I choose. The Subtle Sunlight THE MORE ONE STARES, THE MORE ONE SEES.
To infuse your space with biophilic design, start by walking outside. Notice the colors of nature that please you, and bring those shades into your space. If those colors alone don’t do the trick, add other layers of natural materials and colors within your space to give it that nature-evoking oomph, which is what the kind of design you’re attempting to create is all about. It’s a restorative and calming design principle. There are no hard and fast rules; the point is to feel at home in the space you’ve created.
