Abstract
Biophilic architecture happens to be a holistic approach to utilizing the best nature-based systems, and the current applications of biophilia include landscape urbanism, green city movement, and ecological infrastructure which happens to be one of the best applications. Throughout history, biophilicdeisgn was used to designate an image of opulence, grandeur and power. The Alhambra is the most prominent example of howbiophilic design was used as a representation of power by the rulers of the Alhambra. Alhambra palatine is the most admired as well as famous examples of Islamic heritage and architecture in Europe. However, in the 21st century, Biophilic design is more than just a technical format for aesthetics. The biophilic framework is now considerd as an advanced methodology for sustainability for the built environment. Sustainability is bound to be an elusive target until states can shift the entire focus on building a fulfilling relationship between humans and their natural environment
Introduction
Location
Alhambra Palace is located at a strategic point within the city, offering views over the entire meadow and the city, which have aided the rulers inhabiting the castle to gain a vantage point (EggletonL. , 2012). The fortress is surrounded by irregular ramparts, with its eastern side facing the Cuesta del Rey Chico and its southern side facing the valley of al-Sabika (Rabbat, 1985). The palatine fortress, the Alhambra, is a palace perched upon Sabika hill located in the city of Granada.
There are three main areas of the Alhambra, Medina, the Generalife, and the Citadel. The citadel area is for protecting the site and the medina is an area which provides accommodation for the administrative staff as well as the artisans. The Generalife is the summer palace which consists of pavilions, colonnades, and gardens. Analysis of the Palace indicates that there is a spatial order underlying the design patterns. This is a quality closely associated with Medieval Islamic Art.
History
Alhambra palace was initiated by Muhammad 1 in 1232 who was the very first sultan in the Nasrid dynasty. The majority of the construction of the palace took place from thirteenth to the fourteenth century and was completed at the end of the reign of Muhammed V, Sultan of Granada from 1353 to 1391 and reflects the architectural style at the end of the Nasrid dynasty (Willmert, 2018). The well-preserved fortress complex became archetypal to the “Moorish” architecture of the Western scholars at the end of the Nasrid rule (Irwin, 2004). The architectural style, common at that time, was a mixture of exuberant Moorish and Christian influences which has been known as the Nasrid style (Eggleton E. , 2011). Despite many subsequent alterations, specifically under the many Catholic monarchs, the castle remains symbolic both as a war trophy of the “Reconquista” and as a symbol of the long-lost golden era of the al-Andalus(Eggleton L. , 2012).
The fortress owes as much to its modern-day location in Spain as it does to the European travelers of the eighteenth century who had a huge part to play in its “rediscovery”. After the conquest of Spain by the Catholic Monarchs in 1492 the Alhambra underwent changes in its design. The Palace of Charles V, a Renaissance building commenced by the Emperor in 1526 is located on the hill of Assabica inside the Alhambra fortress. The projected Palace is a specimen of Spanish architecture, designed by Pedro Machuca, and has been characterized by Washington Irving as “an arrogant intrusion” (Calvert, 1904). Charles V installed his royal emblem on every surface and the square plan encloses a two-story circular courtyard. Doric order pilasters and rustication is articulated on the façade on the first story of the Palace (Eggleton, 2012).
There are distinct parallels between the Moorish design and that of the Renaissance, broadly speaking, the formal design of the Palace expresses a Roman and Renaissance style architecture which does not have the incorporation of landscapes or natural elements. Charles V has often been criticized for introducing the incompatible architectural element of the renaissance art within the existing Moorish design of the Alhambra (Abdelaal, 2018). Historians point out towards the tenacity of the rulers who, during a time when political negotiations were intense and warfare an ex veto, managed to produce some of the most phenomenal architectural buildings and sophisticated poetry within the region. The surge of culture within the Nasrid rule managed to leave its impact on the walls of the palace (Barker, 2016).
Style of the Alhmabra Palace
The Alhambra is a medieval Islamic monument in Granada Spain (figure4) that has been in existence for an extended period. The style of the palace was meant for religious rulers and persons belonging to the affluent class. The situation is evident through multiple structural designs and artefacts that were common with rich people such as rulers. In 1894, UNESCO declared the monument as a world heritage site, which is open for the public. People visit the site to observe and learn about its history and design.
The city hosts a rich architectural and cultural history that has continuously changed to modern times. Eggleton (2011, 9) claims that the city qualifies to be a monument as it houses different histories and practices of people who occupied it during the early Christian and Islamic rules. The monument’s structural and architectural designs (figure 5) have a natural feeling that has been re-envisioned multiple times by its occupants to modern-day. Built on a hill, the feature observes a biophilic style, which is evident in its architectural designs. For example, it has gardens, water pools, fountains, and mimics of natural light in most of its palaces.
The Alhambra complex has two describable entities remaining today, the Court of the Lions and the Court of the Myrtles. Court of the Lions was built in the reign of Muhammad V during the time of 1354 to 1359 and has been paralleled with the Villa Rustica. The architectural style common at that time was a mixture of exuberant Moorish and Christian influences which has been known as the Nasrid style (Eggleton E. , 2011). A pavilion project into the courtyard and the light domed roof has filigree walls. The oblong court is thirty-five meters in length and twenty meters in width with white marble colonnade and colored tiles.
The Court is situated at the heart of the Palace, and the main living units surround the court and turn outside while receiving the sun, view, and light from the garden of the courtyard. When one moves through the space, physical involvement with water is induced due to the integration of small water channels and fountains which engage the human body with an element of water. The main technique for the decoration of the walls of the courtyards in the Palace is created through the dado tiling used to cover the bottom and upper part of the wall in the Court of the Golden Room. The stucco art which is covering the muqarnas in the Court of the Lions has different colours such as gold, green, blue, white and red. There is a consistency of the natural elements and themes in historic architecture which points towards the fact that biophilic design is a phenomenon contributing towards codification of history, neural sciences, and human intuition. This shows that contact with natural elements and nature itself is essential for a vibrant existence specifically for those living in urban areas (Jorge, 2018). The natural colour tones create a material connection with nature and reflect the local geology to create a sense of the place (al-Rhodesly, 2018).
The surface of the pool in the Court of the Myrtles serves the function of a mirror, reflecting the biophilic design in the architecture itself. This creates an admirable visual effect. There isarabesqueornamentationofthedifferentvarietyfoundwithinAlhambra.Theseincludegeometric starsandroseswhichrun intoeachotheranddevelopthedesign.Thebestexampleofbiomorphic designpatternsistheornamentalepigraphswhichareinterwoveninthesurfacedecorationsinthe porticos of the Court of the Myrtles because the ornamentalepigraph patterns are reminiscent of nature thus projecting the design element of naturally occurring shapes in nature (al-Rhodesly, 2018).
Biophilic Design
The term ‘Biophilia’ was first coined by a professor at Yale University who defined the biophilic design as being affiliated with the inherent need of human beings to associate with natural designs within the built environment. Thus the goal of the biophilic design is that an environment is created which consists of elements that promote well-being and contact between human beings and nature. Over the years, architects, have published different works which include a unique form of approaches for realizing the transition of biophilic design from theory to application in building design. Biophilic design happens to be a holistic approach which utilizes the engineering principles, design cues, and nature-based systems to support well-being improved health and performance which can be measured through self-rated biometrics, personal mood as well as work quality.
Since the beginning, the hunting and gathering societies shared what humans today have, the need to connect with nature for obtaining necessities and for gaining mental peace. While analysing the existing literature one stumbles upon the idea that biophilia developed and has its origins within the understanding of the evolution of human beings (Söderlund, 2015). Human species developed biologically in adaptive response to the natural surroundings and not the artificially created forces. Thus, the human mind and body evolved with the bio-centric approach and not through technological advancement (Gullikson, 2010). The main hurdle which humans today have to experience between themselves and nature is the paradigm of development and design of the structures and artificially built environment (Söderlund, 2015). The biophilic design thus addresses not only the problems and deficiencies in modern landscape practice and building but also provides a new method for creating a positive experience for humans with nature (Kellert, 2018).
The term Biophilia has its roots in Greek literature means “love of life”. The Biophilia Hypothesis proposed by Wilson indicated that there is a need within people to connect with the complex geometrical forms in their surroundings just like they require air and nutrients (Price, 2018). Thus, sprang the Biophilic architecture, giving innovation to way architectural spaces are used and paved the way for the dialogue between the need for humans to connect with nature and the patterns as well as natural forms. There are geometrical features such as the scale-invariance and fractals which provide a notion of self-similarity as well as symmetry for people to indirectly connect with natural elements (Ramzy, 2015).
Principles of biophilic design can be seen in the architecture of the Islamic era, in cities such as Damascus, Aleppo, Bagdad, and Cairo. Pointed out that in contrast to the building being viewed as a sculptural element, the traditional madrasa has characteristics of well-arranged interior spaces and exterior patterns that are integrated harmoniously in an interplay with natural elements (Abdelaal, 2018). Moreover, themes connected with natural elements can be found in historical architecture such as that of the Egyptian sphinx with stylized animals, and that of the acanthus leaves on the Greek temples. Thus, this representation of elements and plants as ornamentation represents the tendency and need of human beings to connect with nature (Kellert S. R., 2012).
There is a consistency of the natural elements and themes in historic architecture which points towards the fact that biophilic design is a phenomenon which has contributed towards codification of history, neural sciences, and human intuition. This shows that contact with natural elements and nature itself is essential for a vibrant existence specifically for those living in urban areas (Ancona, 2017 ).
The Alhambra and the Biophilic Design
There is a consistency of the natural elements and themes in historic architecture which points towards the fact that biophilic design is a phenomenon which has contributed towards codification of history, neural sciences, and human intuition. This shows that contact with natural elements and nature itself is essential for a vibrant existence specifically for those living in urban areas. The Alhambra Palace is the perfect example of the historic structure with the biophilic design because the architecture has beauty and functionality which connects people with natural elements. The Alhambra palatine is the most admired as well as famous examples of Islamic heritage and architecture in Europe. The biophilic design was achieved in the Alhambra palace through the architectural magnificence of the Generalife Palace, which is framed with a panoramic view of different landscapes that extend to different horizons.
Biophilic Design Patterns present in the architecture of Alhambra
Browning allocates the biophilic design into three main categories, the Natural Analogues, The Nature of the Space, and the Nature in the Space (Downton, 2017). There is a visual connection with nature in the design of the Alhambra palace, specifically in the Generalife Palace in which the panoramic views of the landscape is extended out to cover the horizon. The terraces, garden pavilion, and flowers, shrubs as well as plants cover the spaces (Browning, 2014).
Nature in the Space: Visual Connection with Nature
The visual connection creates a stimulating as well as calming experience for the viewers. This pattern is rooted in the idea of biodiversity as researchers claim that having visual access to various ecosystems and biodiversity is beneficial for the health of individuals. Kahn is of the view that viewing environmental elements in an office surrounding reduces the stress level (Ryan, 2014). The Alhambra observed visual connections with nature evident in the Generalife Palace. According to Amoeda et al. (2018, 376), the palace has panoramic views of the natural environment spanning to the horizon. The palace’s gardens are filled with flowers and shrubs, while plants cover its pathways as evident in (figure 6). The oblong pools are fitted with fountains and surrounded by shrubs, as evident in (figure 7) below.
Moreover, the Patio de la Acequia (The Court of the Water Channel (figure 8) and the Patio de la Sultan have are “magnificent” courtyards that enhance the palace’s biophilic design. Amoeda et al. (2018, 376) claim that visual connections with nature enhance positive emotions, reduce stress, and improve recovery rates and concentration. The presence of plants, shrubs, and flowers in the Generalife Palace made it possible for its architects to incorporate direct experience with nature into the Alhambra. The scenery may have served to reduce stress and increase mental engagement among dwellers of the palace.
Direct experience of nature
Direct experience of nature includes the actual contact with natural phenomena such as water, animals, plants, light, natural landscape, and weather. Indirect engagement comprises of natural colour, evoking nature, simulations of natural air and light, and images of nature (Kellert & Calabrese 2015, 11). Notably, people use colour to locate water, food, and other primary resources, making it an essential natural element. The use of natural colours in built environment consists of the utilization of pigments that consider earth tones such as rocks, soil, rainbow, sunset, animals, sunrise, and plants (Downtown, 2017). An evocation of nature includes the use of representations that do not occur literally in the environment but imply specific natural principles. A building can have shapes that evoke specific animal qualities. For instance, the Sydney Opera House has wings that imply the qualities of a bird.
Non-Visual Connection with Nature
This pattern involves auditory as well as olfactory sense simulation through sound patterns and the main objective is to provide environmental elements using scent, touch, and taste to some extent. The main design considerations include prioritizing natural sounds over the artificial urban sounds. The best example of Non-Visual Connection with Nature is that of Calat Alhambra in which these fourteen patterns can be seen.
The architecture of the Alhambra supports the nonvisual experience through the connection of indoor as well as outdoor spaces between natural landscape and buildings. There are solar heat penetrates, sounds of nature and myrtles along with fragrant plants within the palace which create the exquisite stimulation for senses. The non-rhythmic sensory stimuli is present in order to circulate the natural sensory stimuli and to attract the attention of the viewers by relieving their psychological stress.
Thermal & Airflow Variability
There is thermal as well as airflow variability within the palace which makes the spaces in the fortress invigorating, refreshing and alive. The Hall of Comares is the best example of the “Venturi effect” in which air is circulated rapidly throughout the space creating cross ventilation. The Alhambra observed direct contact with nature through the creation of thermal and airflow variability. According to Amoeda et al. (2018, 376), thermal and airflow variabilities are changes in airflow, relative humidity, and air and surface temperatures that imitate the natural surroundings. The aura created by design generates a refreshing, alive, active, comfortable, and invigorating feeling. In the monument, the wall height provided a natural cooling against the intense sun rays. The situation created an indirect illumination at the higher parts, which spread to the lower parts of the interior. The design prevented the influx of heat in the rooms by manipulating direct sunlight while still achieving the required level of ventilation and illumination (Amoeda et al 2018, 377).
Additionally, ventilation in the rooms was achieved by structural placement of the windows that created a stack effect and venture effect. Structural placement of the windows refers to the accurate position of windows. For example, the variation in air pressure and density between the lighter warm air and heavier cold air created a stack effect in the Tower of the Captive and the Tower of the Princess. The Hall of Comaress (Figure 9,10) achieved natural ventilation by rapid air circulation in spaces where cross-ventilation creating a venturi effect. The air ventilation was necessary to enhance human comfort and productivity. According to Kellert & Calabrese (2015, 12), natural ventilation can be achieved by operable windows and or complex engineering strategies. Therefore, by engineering the windows to allow cross ventilation in the Alhambra (figure 11), its architects achieved a biophilic design that allowed the circulation of natural air into the interiors of the buildings.
Presence of Water
The presence of water created compelling as well as captivating presence. The best example is that of Alhambra pools as there is the presence of water in the Court of the Lions design and the Water Stairway which is one of the most breathtaking designs of the Generalife. The presence of water (figure 12) encouraged the connection of nature with the Alhambra’s design. Amoeda et al. (2018, 379) claim that water promotes the experience of a place through touching, hearing, and seeing. People develop a captivating and compelling feeling. The Alhambra has multiple watercourses comprising of canals, water stairs, bannisters, basins, and fountains created in different geometric forms. For example the Court of Myrtles has a reflective pool with pools that gurgle water, creating a calm relaxing, and quiet sound that generates a wonderful sense (Amoeda 2018, 379).
Dynamic & Diffuse Light
Dynamic light effect creates the experience of intrigue and drama within the viewers and buffers a sense of calm.
Connection with Natural Systems
These are the interactive designs such as the integrative educational curriculum, community gardens, horticulture designs in which the use of materials is that which engages the viewer. This form of connection with nature can be seen in the Alhambra palace as well in the ceilings of the Throne Room and in the roof of the Balcony of Dar Aisha.
Natural Analogues
Natural Analogues in the Alhambra
The natural analogs of the Biophilic design are the non-living, organic vocations of nature that are indirect. These include the colors, shapes, patterns as well as materials which manifest natural elements in the form of artwork. These biomorphic forms and patterns can be seen throughout Islamic ornaments which were used for decorative purposes and are present in the architectural decorations in the palace as well. There is arabesque ornamentation of the different variety found within Alhambra. These include geometric stars and roses which run into each other and develop the design. The best example of biomorphic design patterns in Alhambra is the Balcony of Dar Aisha which is considered as one of the most enchanting corners of the palace. Moreover, ornamental epigraphs are also present on the perforated screens and panels (al-Rhodesly, 2018).
Indirect Experiences with Nature
The Alhambra also achieved a biophilic design by incorporating natural analogues into its structural designs. The above elements are incorporated into structures designs creating a mimicry of the natural environment.
Biomorphic Forms & Patterns
The Alhambra has multiple biomorphic forms and patterns that enhance individuals’ connection with the cosmic world through imagination (Gonzalez 2003, 262). In relation to the Islamic decorative ornaments (figure16,17), the cosmic world is made up of three dimensions that include nature, the universe, and human beings. (Amoeda et al. 2018, 381). The Alhambra represents the cosmic beauty through epigraphic and geometric decorations throughout the palace. According to Amoeda et al. (2018, 382), natural geometries are evident through geometric flower decorations and patterns that fill the walls of the monument. For instance, the Balcony of Dar Aisha (figure 18) presents one of the most spectacular epigraphic compositions and spectacular decorations. In this case, walls are filled with geometric representations of flowers, star wheels, and puzzles.
On the other hand, the epigraphs are interwoven with other surfaces(figure19), making the Alhambra rich in information. According to Kellert and Calabrese (2015, 12), people develop a positive feeling towards diverse and information-rich environments. For example, tourists are fascinated by reading ancient writings on monument walls provided they are legible and comprehensible (Garcia, 2017). The epigraphs in most of the Alhambra’s walls are placed above the tile decorations on the lower part of the walls, which make them more visible for visitors. Today, most of the structures have been renovated after abandonment for a considerable period since the 1700s. The palace has been termed as a world heritage monument by the United Nations Educational, Scientific, and Cultural Organization (UNESCO).
Biophilic Design Throughout History
The sense of attachment of human beings with their built landscapes happens to be the promise of biophilic design and the distortion of an individual’s values with that of nature in the digital age has only occurred because of conventional design. Furthermore, the distortion in the values also occurred because of the growing alienation and environmental degradation within the world. Thus sustainability is bound to remain a goal rather elusive until there is a shift in the ethical values with the natural world. Sustainability is bound to be an elusive target until we can shift the entire focus on building a fulfilling relationship between humans and their natural environment. This relationship is depicted in biophilic design, which can be seen in the Alhambra. Thus the successful application of the biophilic design relies solely on recognizing how one can remain productive, healthy, and maintain a meaningful connection with nature.
Angkor Wat present within Cambodia happens to be one of the largest religious monument which happens to be 162.6 hectares. The temple was built in the 12th century by Khmer King, and it was not dedicated to Vishnu which was the previous tradition but was rather the mausoleum for Khmer Empire. Angkor Wat uses the Khmer architecture and uses sandstone as the main building stone and has redented towers which have been shaped to look like lotus buds. The complexity and order pattern, which is a sensory element of the biophilic design that adheres to the special hierarchy matching that of natural surroundings (Hartley, 2014). The main design associated with complexity and order pattern, the fractal pattern can be identified in the vernacular as well as classical architecture from the column capitals of the art of Ancient Mayans, ancient Egypt, and Greece, the Hindu Temples, etc. The fractal pattern can also be seen in the Angkor Wat as there is high dimensional fractal artwork such as that of narrative scenes, extensive garlands, bas reliefs, decorative elements like pediments and devatas.
The madrasa and bimaristan design during the 11th century valued biophilic elements which can be seen in the Qubbat&-Bimaristan al-Sultan Qalawun of the 1283 A.D. In contradiction to the western conception of sculptural element of the biophilic design, the madrasa feature uses patterns that are well-arranged within the interior as well as exterior spaces that interplay as well as integrate the natural elements. The biophilic elements included within madrasa architecture includes water elements, daylight, clever manipulation, patterns, wood, and stone (Abdelaal, 2018). These features happen to be essential elements present within the biophilic architecture. The pattern, also known as the complex order happens to use a different form of strategies such as the scaling factor with the fractal geometries, hierarchical symmetry, bio-geometry, universal scaling, and connective symmetries. These patterns can be seen in the Muqarnas dome, which happens to be an Iranian architecture that can be seen in Erzurum Yakutia Madrasa that was built in 1310.
Biophelia in Modern Day
Biophilia started as a display of power and opulence as it was designed as not just a castle but like a mini city with the royal family being the center of attraction. The impressively large castle was constructed with a powerful exterior containing fortified structures that were meant to fend off attackers. The castle was built as a symbol of power and strengthened at a time when the Christian expansionism was at its peak in the 13th century as it threatened to overrun the Muslim rule in the state of al-Andalus.
Alhambra was not only considered as the priced jewel of the Granda but it was also the center of political power within the kingdom and Nasrid Palace was located at its core. The Alhambra Palace, during the Nasrid rule was meant to designate opulence as well as power. The palace was constructed to impress and it worked its charisma on most of the visitors from all over the world, particularly the Catholic Monarchs, Isabella and Ferdinand. Palace of Charles V within the Alhambra exudes majesty and power because of its impression of size, weight, symmetry and ornamentation which suggest authority and dignity. The opulent Moorish styled reception halls, royal quarters and reception halls part of the Nasrid Palace in the heart of Alhambra are a perfect blend of splendor and power. This is because the dazzling ornamentation of the columns and walls dazzles the eyes of the visitors. However, opulence alone is not sufficient to suffice for being the source of power (Eggleton E. , 2011). The other means through which the palace displays power include the disproportion and uncertainty of the layout of the Nasrid Palace communicates a sense of mystery regarding the ruler of the palace. Thus the visitors or the potential assassins will be disoriented by the narrow passages, blind alleys and rooms at odd angles.
Eggleton states that multiple generations of Christian monarchs chose to occupy the Alhambra palace demonstrates that it was considered as a site of immense power and opulence. This shows that the biophilic design implemented at Alhambra represents the ruler just like beauty, architecture, ornament, and the surrounding landscape represents power (Eggleton E. , 2011). However today, architects utilize technology to enhance people’s contact with nature. According to Lin, Egerer, &Ossola (2018), urban gardens provide urban dwellers with diverse animals, plants, and soils. The situation influences an in-depth comprehension of natural processes, such as pollination, climate processes, and pest control, which affect food production. The gardens also allow individuals to interact and engage in physical activity, reducing the risk of some lifestyle disorders such as obesity. Modern designs also infuse biophilic elements by creating plant walls, which enhance positive health among employees in urban places (Lin et al. 2018). For instance, the Pasona Group’s Office in Tokyo utilizes hydroponic technology to grow plants along the interiors and exteriors of its walls (figure 24,25).
Integration of shapes and patterns, such as water ripples, which mimic natural forms, have also gained popularity in giving building a wavy appearance. Glass walls and windows are used to incorporating space and light in most buildings. The materials allow buildings to utilize natural light as they reflect sun rays around spaces. For instance, Genzyme building in Cambridge incorporates natural light and space in its design. The above cases reveal that technology can be utilized to enhance biophilia as opposed to hindering its integration in the built environment.
Among the best practices architecture these days, there happens to be immense demand to reduce the number of carbon emissions which is a concern for developed countries where complex regulations, energy demand, and thermal studies have provided solutions for architectural designs. Thus developing countries these days are also opting towards architectural designs that lower the energy consumptions in buildings (Garcia, 2017). For example, the thermal condition of the desert in UAE is reduced using high technology design walls that happen to be built by Norman Foster in the Masdar Institute in Abu Dhabi UAE. Biophilic design can also be observed in the ceramic coating overlaying the structure made up of concrete of the Sydney Opera House which has been created by JornUtzon.
Furthermore, the handmade bricks building system at Turpan, China happens to allow moisture release as well as natural cross ventilation because of the clay, dry vegetation and earth mixed together in the bricks (Garcia, 2017). Furthermore, a building in Rio de Janeiro, Brazil known as the GuilhermeWeinschenck happens to compensate for heat through local vegetation which is used for lowering the temperature as well as release the built-up of moisture through balancing the levels of humidity inside the building. The Dockside Green community in Canada happens to be an example of biophilic design as it represents the non-rhythmic stimuli. The goal of the non-rhythmic sensory stimuli is to enforce the use of natural stimulus which can attract the attention and enhance the ability of the individual to connect with nature which can often be replenished from psychological and mental fatigue. The Dockside Green community design is responsible for rainwater management as well as habitat restoration which can lead to noises and buzz of insects, grass noise through swaying and noise of falling water as well as that of nearby animals that can be visible through windows, porches, and walkways.
Conclusion
The main objective of the biophilic design is to build an environment based on the positive natural aspect. The restorative environment design focuses on the relationship between humanity and nature within a world that is increasingly marred because of the psychological, social as well as environmental alienation. The sustainable designs tend to combine the efficiencies of biophilic design, which makes enhanced connections to complement nature with restorative environmental design. Implementation of Biophilic design at the Alhmabra represented grandeur, opulence, aesthetics and natural connection with nature. However,due to urbanization and development in modern times, this relationship has translated from a personal to a collective level (from houses / dwellings / palaces) to public parks through a transition of power and an increased densification of urban areas which would not allow for “wasted personal space”. Today, the construction industry utilizes technology to promote the design by the use of nature, space and light. Notably, further studies can be conducted to investigate how natural aspects can be integrated into building design from an early stage, where space and resources are limited to enhance human contact with nature. It is incumbent on architects to incorporate nature into the built environment to optimize its benefits in the future.
The aspects of biophilic design such as energy-saving concept, human health, enhancement of microclimates, and green building elements are in favor of making the biophilic design as sustainable. These aspects are now being implemented by states who wish to create sustainable environment and living.The energy-efficient concept in biophilic architecture asserts that passive biophilic design tends to have an elaborate system of insulations, which means that there is a low loss of energy and increased thermal comfort. The biophilic design embraces the green building elements that lower the damage on the ecosystem, whether it is the biophilic design within a city or a building.
