Out On A Limb by Helen Zouvelekis

As the weather turns, the time that I spend outside is inversely proportional to the time I spent dormant inside due to the frigid temperatures. I am creature of the outdoors, always have been. And my affinity for nature was bound to cross paths with my (at most times) outlandish creativity, especially when it came to constructing things of the physical nature.

It began with a tree house I built myself in the back yard of my parents home on the outskirts of Philadelphia by taking old 2 x 4’s and nailing them to an old maple tree in our back yard to fashion a ladder. The tree itself had a perfect perch for me and my friends and needed very little upgrading for a summer of mischief.

Things got interesting when I convinced my father to help me build a zip line from a neighboring tree to connect it to the perfect perch I had found. Though blamed for multiple injuries and trips to the hospital, this zip line served us well for over a decade until it was decommissioned in our teenage years, probably for the best.

As I entered architecture school, I was continuously reverting back to dwellings and structures built in nature. It became a great source of precedent. No matter the design problem, there was always a take away in the evolution of how the human species connected to nature. This had always been one of the truest forms of balance in my eyes; each constructed element is an outsider to the vast landscape with which it cohabitates. I was drawn to how something man-made could coexist, compliment, or even disrupt these environments. 

So, I thought I would share some of my findings over the years.


The Original inspiration - The Lost Boys Tree House

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Embryo Tree House by Antony Gibbon


Worlds Tallest Tree House in Crossville, Tennessee

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The connection we establish with remote and untouched areas of the earth fascinated me as a child and always will. I will always design with nature in my mind.  My aesthetic has certainly evolved from the 2 x 4 tree house, but rest assured, the original roots are still there.

 

 Drew Miller

Drew Miller

 
 

A Layover in Athensj by Helen Zouvelekis

Countless destinations require a layover that many travelers find frustrating or try to avoid all together. However, my husband and I viewed our stop in Athens as an opportunity to visit a new city on our way to Santorini for our honeymoon. We had just over 24 hours to spare and were determined to squeeze in as much culture and sightseeing as we possibly could before the relaxing week ahead. Here are some tips, tricks, and photos of how we made the best of our short time in Athens.

 Amphitheater on the Way Up to the Acropolis

Amphitheater on the Way Up to the Acropolis

The Subway

Athens is home to a number of unique Metro Stations that second as museums. It is virtually impossible to dig anywhere in the city and not run into ruins—the Metro stations were no exception and they showcase the artifacts found. Take the subway even just for fun to see the incredible cross sections through ancient Greek and Roman roads. Even on the way to a station you are likely to stumble upon some relics or historic structures. My favorite part of the city were the ruins peppered into such unexpected places. We realized that we were completely surrounded by history.

 Metro Station Artifacts

Metro Station Artifacts

 Metro Station Cross Section Through Ancient Roads

Metro Station Cross Section Through Ancient Roads

 Ruins Along the Road (The subway tried to put a vent shaft here and instead found ancient roman baths.)

Ruins Along the Road (The subway tried to put a vent shaft here and instead found ancient roman baths.)

 Mosaic Fragments in a Park

Mosaic Fragments in a Park

The Sights

With so much to see, how could you possibly visit it all? My husband prepared a meandering walking path for us to reach the Acropolis while stopping at several sights along the way. We never said no to seeing something interesting along the route. I decided early on, at the beautiful tiny church across from our hotel, that we would stop and walk through every single church we saw (I have a thing for churches, see my previous blog!). No photos were allowed inside, but these are some seriously gorgeous buildings with intricate brickwork, perfectly stained glass, and luxurious artwork. When we finally arrived at the Acropolis, we were surprised by how much of the city we had explored!

 Ekklisia Agia Dynami Church

Ekklisia Agia Dynami Church

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The Acropolis

Our last stop in the daylight was the Acropolis, knowing we would be tired if we had gone there first. One of our tricks was to buy a multi-sight ticket when we visited the Olympic Stadium earlier in the day, which had a much shorter ticket line. As a result, we were able to skip the line at the Acropolis and start walking up immediately. We took our time and stopped to sit in the amphitheater to take in the views. It’s quite the uphill climb! And wow was it worth it. You really can’t go to Athens without visiting the Acropolis, but don’t spend your entire day doing it. There’s so much more to see!

 The Erechtheion - Porch of the Carytids

The Erechtheion - Porch of the Carytids

 Amphitheater and View of the City

Amphitheater and View of the City

 Parthenon Re-Construction.

Parthenon Re-Construction.

 Olympic Stadium Columns

Olympic Stadium Columns

The Nightlife

Forget the bars, ruins look even better under the moonlight! Most cultural sights are formally closed after dark, but you are still able to observe through the fences. There’s still so much to see even if you can’t get in. We strolled around the city casually stopping every now and then for a drink or snack at the outdoor eateries.

 Gate of Athena Archegetis in the Moonlight

Gate of Athena Archegetis in the Moonlight

The Hotel

 Hotel with a View...with Wine!

Hotel with a View...with Wine!

If you’re only there for a night, why not splurge a little on that hotel with a terrace and a view of the Acropolis! We skipped the fancy dinner with a view and took a bottle of local wine back to our picturesque balcony. We sat there for hours listening to the sounds of the city after enjoying a fabulous meal at an unassuming restaurant across the street.

We loved Athens so much that we wished we'd spent less time relaxing in Santorini and more time exploring the city. So, the next time you are considering a layover, look at it as an opportunity to visit a new place. You really can do so much in 24 hours!


 Julia M. Libby

Julia M. Libby

 
 

How to Calculate Workplace ROI by Helen Zouvelekis

Return on investment (ROI) is a fundamental financial formula and/or performance metric, which is used by companies to measure the amount of return on an investment, relative to the investment’s cost.

To calculate the formula, it is often easier and more straight forward when the investment and cost amounts are known, fixed and/or based on something tangible. It becomes increasingly more difficult to calculate the formula when the investment and cost amounts are either unknown, variable and/or based on something intangible. With that said, how does a company then go about figuring out the ROI of its workplace, regardless of it being a newly designed and built workplace or an existing one that has been renovated?

Let’s look at a couple of examples.

ABC Company wants to make renovations to an existing workplace and one of the main features it wants to install is a new energy-efficient lighting system. The company can use ROI to determine if the investment in the new lighting system makes sense, because the investment and costs are known (i.e., the cost of the lighting system and the historic and projected electric bills).

Now, let's suppose ABC Company wants to design and build a brand new workplace and fit it out with plants, standing desks, brightly colored painted walls, bike storage racks and a host of other amenities. How does the company calculate ROI on items like these when only half of the formula amounts are known? Yes, the company knows the investment cost of the plants, desks, paint, racks, etc., but not the return (benefit) aspect of each.

So, now what? It’s at this point that a company needs to know about another quantifier or qualifier known as employee engagement. 

 NYC Model Agency

NYC Model Agency

Some people simply define employee engagement as happy, satisfied employees, but it really goes much deeper than that. Engagement is really defined as the emotional commitment the employee has to the organization and its goals. This emotional commitment means engaged employees actually care about their work and their company. They don't work just for a paycheck, or just for the next promotion, but work on behalf of the organization's goals. But then one might ask, how does an employee get to this level?

 MarketAxess, UK

MarketAxess, UK

People who study and research engagement, and there are many, often site about a half dozen criteria which drive engagement, and one that stands out more often than not is value. When an organization can show it truly values its employees this is when engagement soars. Value can come in many different shapes and sizes but, in today’s business world, what seems to resonate most with employees (and talent recruits) is the workplace and what an employer is willing and/or wanting to put in that space for its employees and/or how it is designed from the onset.

Whether it’s a variety of work space options (e.g., private, collaborative, free, activity-based, etc.), lighting, acoustics, furniture, colors, textures, branding or amenities (e.g., bike racks, showers, cafeteria, napping pods, lounges, etc.), all of this has a perceived value by employees and, as it has been proven, an affect on how employees conduct and think about their work. How employees conduct their work then can be directly correlated to other factors which are closely associated with engagement, such as employee productivity, turnover and absenteeism. Essentially, one factor feeds into another.                                          

Because it is always a prudent exercise for a company to determine the ROI of an investment, strategy, idea, etc., as it relates to the workplace, a company just needs to keep in mind that ROI is only half the equation ( no pun intended).

 Roger Marquis, Business Development Director

Roger Marquis, Business Development Director

 

 

AБC by Helen Zouvelekis

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As the season of final critiques and thesis projects approaches design students this year, I decided to share some of my own work that began in school. 

During one of the sophomore studio sessions, my professor brought in a series of watercolors where he explored different patterns. The idea was to set up a grid and a series of rules to follow. However, when completed, the pattern is believed to read as random and unpredictable. In this process, the artist is completely out of control with the final results. For me the rhythmic process of counting grids and applying color became therapeutic, similar to knitting, but in a 2-D form of paper and paint. To make it more personal, the subject of the paintings I chose was the Russian alphabet.   


My first attempts had obvious grids and predictable patterns while the letter itself had its own life.  

But as time went by, I began adding more layers and playing with monochromatic color palettes, trying to capture as many different color shades as possible.

Later on, I found it to be an opportunity to hide the letter form in the pattern.

This pattern-making exercise still continues, and I am planning to complete all 33 letters in near future.

 

 Maxim Belyaev, Designer

Maxim Belyaev, Designer

 
 

The Office: A Historical Perspective by Helen Zouvelekis

The first offices can probably be traced back thousands of years to the ancient world where civilizations administered to the needs of their citizens, organized and stored growing quantities of information, and managed the daily operations of their municipalities. Many ancient civilizations had significant population centers that were hubs of political, military, and administrative infrastructures which must have been managed by sizable bureaucracies.

In the middle ages, the concept of the office as a workplace was best represented by the chancery, which was responsible for the writing of official documents. Churches, monasteries, kingdoms, and regional city-states required centralized workplaces to manage the production of these documents and the keeping of records. These medieval offices housed notaries, secretaries, and clerks that produced charters, writs, laws, and tax records.  

 Medieval Scriptorium

Medieval Scriptorium

For hundreds of years until the exploration of the New World, much of the population was involved in farming, the manual trades, and craft guilds. With the rise of colonialism, global trade, and mercantilism, the need arose to administer to new governmental and economic organizations, such as The Bank of England and The East India Company. These organizations had the first purpose-built office buildings to house their administrative employees and manage the paperwork of running a business.

Merchant Office

East India House, London

The rise of industrialism, urbanization, and world trade in the 18th and 19th centuries brought about a sea change in the development of the workplace. Factories, mills, railroads, banking, oil, shipping, and insurance companies needed an increasing amount of space to house operations, executive offices, and clerks. Technology played a major role in the development of office spaces. At the end of the 19th century, the invention of the light bulb, typewriter, dictaphone, and telephone changed how the workplace functioned. The first steel framed office towers with elevators were constructed providing multi-floor offices. However, what was happening within these buildings with regard to office design was anything but inventive. Taylorism, a scientific method of production management used for maximizing the efficiency of machines and workers espoused by industrial engineer Frederick Taylor, was universally applied to office layouts. Linear rows of desks were packed tightly to maximize efficiency and overseen by management in private offices. Little regard was given to ergonomics, acoustics, or comfort.

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Frank Lloyd Wright designed some of the first modern open office environments with custom office furniture as early as 1904 in the Larkin Building in Buffalo, NY and later for Johnson Wax in Racine, WI in 1939. Although the buildings themselves were innovative, very little changed in the rigid hierarchical and regimented rational behind the office layouts that remained the norm throughout the early part of the 20th century. 

 The Larkin Building 1904 Buffalo, NY

The Larkin Building 1904 Buffalo, NY

 Johnson Wax Building 1939 Racine, WI

Johnson Wax Building 1939 Racine, WI

However, as construction technology evolved, the design of offices adapted to more generous column spacing, fluorescent lighting, electrical and telecommunications distribution, and air conditioning. The post WWII era ushered in a new emphasis on social democratic values and a more egalitarian management approach through the influence of principles called Bürolandschaft (office landscape) promoted by the German design group Quickborner. The idea was to foster a more interactive workspace with a more organic layout than endless rows of desks. Workstations would be grouped based on need and separated from each other by plants and file cabinets.

Bürolandschaft Concept 1965 Osram Sylvania, Munich

Around the same time, Robert Propst, under the direction of George Nelson at Herman Miller research, was evaluating modern office design in the 60’s. Propst consulted with behavioral psychologists, anthropologists, and mathematicians at Michigan State University. His research led to the conclusion that the open office environment actually impeded communication and negatively affected worker performance. The solution Propst conceived and George Nelson executed was called Action Office. This is the first modular, panelized, contract furniture system. The system was designed to give workers heads down privacy when needed. The flexible, semi-enclosed design consisted of 120 degree angled panels that also allowed communication with colleagues.

 Herman Miller Action Office I 1969

Herman Miller Action Office I 1969

However, the system was better suited for professional offices and subsequently Action Office II was developed to appeal to a wider range of companies. This system, commonly referred to as a cubicle, gave rise to the cubicle farm which dominated office design through the 70’s and 80’s. Corporations reaped the benefits of a cheap, modular design that maximized square footage and saved on real estate costs. Although widely popular and co-opted by other furniture manufacturers, the cubicle was derided for its dehumanizing effect and its deleterious impact on collaboration. Along with the rise of computers tethering workers to their desks and widespread adoption of email, workers now connected virtually instead of interacting face to face. The office was becoming less of a collaborative work environment and more cloistered.

Cubical Farm 1980’s

In the 90’s, the dot com boom in Silicon Valley brought about a new workplace style that borrowed from the collaborative and social nature of college life and the hacker culture. Conforming to the suburban office typology prevalent in the Silicon Valley, tech companies competed for new young talent with amenities such as foosball, pool, and ping pong tables. The campus approach became the calling card of these unconventional office environments.

 While many of these early dot coms went bust, a company culture of social interaction became a popular concept for new corporate offices. 

While many of these early dot coms went bust, a company culture of social interaction became a popular concept for new corporate offices. 

New design concepts, such as touchdown spaces, cubbies, hot desking, and hoteling, also started to emerge in more traditional companies with employees that are not in the office full time. These trends also had the intended consequences of saving on real estate costs, which were soaring. In fact, studies have shown the average square footage per worker has dropped from about 500 sf in the 1970’s to about 150 sf in 2017, and the trend is still going lower.

Bolstered by the advances in telecommunications, the internet, and faster computers, many workers became more mobile. Work could now occur at home, in a coffee shop, or in different parts of the office. Eschewing bland, confining cubicles, corporate work styles saw a change back to the open office environment of earlier eras with benching systems and open meeting areas. However, there has been a backlash against purely open environments due to the detrimental effects of noise on concentration and decreased productivity. Current design trends include providing varying work environments, such as open collaborative areas and private spaces, to meet the needs of varying work modes, and to accommodate generational differences of the Baby Boomers, Gen X, Gen Y, and Millennials who are all in the workforce at the same time.

 Sony Music - Red Distribution, Designed By Spacesmith

Sony Music - Red Distribution, Designed By Spacesmith

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Current office design trends include informal communal spaces, focused work areas, and collaborative meeting spaces. Sustainable design, biophilic design, and wellness initiatives, such as adjustable desking and circadian lighting, are all components of successful workplace strategy. Co-working, activity based workplace (ABW), data driven design, adaptable workspaces, and physical and psychological wellness are driving the evolution of the workplace ecosystem.

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 Abrams Books, Designed By Spacesmith

Abrams Books, Designed By Spacesmith

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What will the future bring? Judging from the past, future office design will most certainly be influenced by technology, but the needs for human social interaction will always be a principal factor in any successful office design.

 Marc Gordon, AIA, Partner

Marc Gordon, AIA, Partner

 

 

 

 

A Different Way to Think About the Workplace by Helen Zouvelekis

Ask people, how do you define your workplace, as a piece of real estate or as a communication tool, most would respond real estate. Makes sense, doesn’t it? A workplace sits within a physical building (real estate), and the building sits on a physical parcel of land (real estate), so it would stand to reason that the workplace should be defined as a piece of real estate. But, what if you looked at workplace from a different perspective?

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Day in and day out, the corporate workplace is where employees, as well as clients, prospects, talent recruits, suppliers, etc., assemble and do what more than anything else? They communicate. Look in the corner office, open workspace, conference room, lobby, hallway, cafeteria, elevator or even the rest room, from one location to another, and everywhere in between, people are writing, talking – communicating. As a communication tool, the workplace, which includes its design, furniture, equipment, décor, lighting, plants, acoustics, technology, etc., helps to shape, inform and facilitate communications between employees and others. The workplace also serves as a conduit by which a company’s brand gets communicated.  

If a company is concerned about how effectively and efficiently its employees communicate with one another, as well as with most anyone else, then from the leadership on down it must take an honest and open look at it how the workplace is designed and functions. While the workplace may physically be considered a piece of real estate, its purpose and function are much higher than that, and should be defined as such.


 Roger Marquis, AIA Associate, Business Development Director

Roger Marquis, AIA Associate, Business Development Director

 
 

Creative Placemaking by Helen Zouvelekis

Growing up in suburban America as a third generation child from a melting pot of western European immigrants didn’t lend itself too well to picturesque, detailed, or highly spiritual rituals when it came to dining experiences or family gatherings. Mostly our family passed down a handful of recipes prepared and served up simply to satisfy hunger, used in rotation, with very little deviation or integration of contemporary western and non-western practices. Nevertheless, this was the standard of dining throughout my childhood and it set my dining bar low from an early age. Now as an adult, and after starting a career in design, I see the more thought out, curated, and aesthetically pleasing dishes, dishware, and table settings as something desirable.

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As summer slowly approaches, I for one am getting excited about hosting outdoor dining events in my newly procured backyard. Something that I am most excited about, aside from the company of friends, is the potential for creative place-making, scene-setting, and the manufacturing of aesthetically pleasing dishes, sides, desserts, and beverages. More recently, I’ve been on a mission to rediscover a lost passion for culinary aesthetics and the many joys that come with the art. I like to think of this art broken down into five categories:

THE FOOD

Produce, spices, grains, meat, etc., for their natural colors, textures, sizes, and shapes.

The Food.jpg
 

THE COOKWARE

Ceramics, cast irons, stainless steels, etc., simply for their well crafted, minimalistic, and tactile nature.

 

THE DISHWARE

Porcelains, ceramics, silverware, coppers, etc., for their ergonomically driven design, added textures, minimalistic shapes, and sizes. 

The Dishware.jpeg
 

THE PRESENTATION

An assemblage of ingredients to formulate the perfect, mouth-watering, and instagrammable plate of healthy-ish fare.

 

THE CONTEXT

Great lighting, landscape, and the articulation of the other previously mentioned four categories.

The Context.jpg

Now when planning events centered around food and/or beverages, no expense should be spared when selecting or piecing together all the ingredients that will make the experience that much more enjoyable. Starting with trips to the farmers market for those colorful tasty textures that will ultimately make up the meal, investing in beautiful dishware to compliment and contrast those ingredients, as well as adding a satisfying level of tactical ephemerality to the dining experience.

Finally, to create that ultimately enjoyable dining experience, invite the best of company, gather your favorite plants, incorporate some nice textured furniture, create a playlist, and plan for a day with some beautiful lighting.

Here's to a beautiful summer filled with memorable dining experiences!

 Charles Lent, Designer

Charles Lent, Designer

 
 

Marketing's Role in Workplace Design by Helen Zouvelekis

The more I read and learn about corporate workplace design, the more I’m fascinated by the research and analysis that goes into the development of a design and the reasons why certain materials, colors, textures, furniture, fixtures, etc. are proposed and/or selected.

But, as I delve deeper into this subject matter, the former marketing professional in me starts to wonder and ask, what’s marketing’s role in all this? Does marketing even have a role? While there is little doubt that a company’s marketing team plays a major role in the development of retail store design, shouldn’t marketing also have a say in the design of the company’s workplace?

At a time when the interactive experience between customer and brand has become the focal point of most any marketing strategy or mix, regardless of marketing vehicle or medium (e.g., traditional/digital, in-store/out-of-home, mobile/experiential), for the two reasons below, this “experience” should also play out in the corporate workplace, and why marketing needs to be involved in the design process. 

The first reason deals with people external to the company, such as clients, prospects, service providers and/or talent recruits. When these people visit a company’s workplace they should feel an immediate sense of the brand and its persona (i.e., personality, attitude, mission, vision, essence, aspirations, etc.) through the design of the workplace. This goal or objective is very much the same as when a marketing team works to project an impression of the brand and its persona through a commercial, brochure, website, event, package, mobile app, etc. The only difference is the medium which, in this case, is the physical location of the company’s office space.  

The second reason deals with people internal to the company, the employees themselves. Because employees are often viewed as the greatest of brand ambassadors, it stands to reason that the brand and its persona should be a part of the very environment which surrounds employees from day to day – the corporate workplace. Sure the placement and use of corporate logos, names and colors works to personify the brand but, in reality, this thought process is too simplistic. Brands have many different layers, components and complexities, and it’s only through the design of the entire space, by way of lighting, shapes, materials, colors, fixtures, accessories, layouts, etc., can the brand and its persona be brought to life within the confines of the workplace.

Based on the above, it should be easy to recognize that marketing, the group that created the brand and its persona to begin with, really needs to be included in the workplace design process from the onset. Anything less than this, and a company does itself a disservice and will fail to capitalize and/or leverage its full brand value and potential.

 
  Roger Marquis

Roger Marquis

 
 
 

Spacesmith to Participate in Workplace Week by Helen Zouvelekis

Spacesmith is pleased to announce its participation in Advanced Workplace Associates’ Workplace Week – a week-long program of events that spotlights New York’s most innovative, creative and dynamic workplaces while raising money for children and young people in need.

Founded in 1992, Advanced Workplace Associates was the first true workplace consultancy in the UK bringing together experts in the fields of technology, workplace design, facilities management, business strategy and behavioral change management. Now, as the company expands into the US market, Advanced Workplace Associates plans to host its first event in New York from June 18-22.

The four main events of the week include:

  1. Ten Live Workplace Tours: 90-minute working visits to New York’s most leading-edge workplaces.
  2. Fringe Events: A series of interactive sessions hosted by supporting organizations and industry leaders.
  3. Workplace Week New York Dinner: A glamorous dining experience for 100 workplace leaders in one of New York’s most spectacular workplace dinning venues.
  4. The Workplace Trends Conference at Viacom in Times Square: In New York for the first time, the UK’s most influential and science-based workplace conference. The event is recognized for its 10-20-year trend forecasting and tackling work-related topics.

Spacesmith’s client, Abrams Books, will be included in the 90-minute Workplace Tours on Friday, June 22 at 8:30-10:00AM. During the tour, representatives from Spacesmith and Abrams will be on hand to discuss the design elements which went into creating the company’s new headquarters, which is located at 195 Broadway.

As much as this event is about all things workplace, it’s important to mention that a portion of the proceeds which Advanced Workplace Associates raises will go to support the I Have A Dream Foundation.

To learn more about Workplace Week (availability, tickets, etc.) please visit This is where ticket sales will be and more information on the whole program. https://www.workplaceweek.com/workplace-week/new-york/new-york-2018/  

Thank you and we hope to see you there!

 

In honor of spring, thoughts on the awe inspiring botanical world and its role in our workspaces and lives. by Helen Zouvelekis

Humans have been connected to, learning from, and fascinated by plant life for thousands of years. It was common for explorers and botanists to head out on voyages to make detailed maps and collect plant life from Brazil, Tahiti, and other exotic lands, filling greenhouse collections with bountiful, curated, living horticultural treasures. Most notably, English naturalist and botanist Sir Joseph Banks advised King George III on the Royal Botanic Gardens, Kew. By sending botanists around the world to collect plants, Kew evolved into the world’s leading botanical gardens.

The Palm House at The Royal Botanic Gardens, Kew. Top left-A leopard orchid.

Plants have been used as a means of healing for thousands of years. Today we think of chamomile tea to aid in relaxation or aloe vera for skin irritations. There is much to learn from the botanical world. It is especially important for those of us who live and work in cities and have little contact with nature.

It’s been proven that interaction with plant life reduces stress and enhances our experience, mood, and happiness.

 Royal Botanic Gardens Kew

Royal Botanic Gardens Kew

With the Biophilia I feature, The WELL Building Standard promotes the importance of our psychological need to be around natural elements and encourages innate human-nature interactions within a building or project. In addition to cleaning the air, plant life can add much needed color and organic beauty to a space. We are happy to see that people are catching on and plants are integrated into all types of projects ranging from Colombian coffee roasters, Devocion's Brooklyn coffee shop, to Melissa, the Brazilian footwear brand located in NYC's Soho neighborhood.

Beyond the ultra-modern flashy showroom, Melissa's ‘Green-Room’ is a more restrained dark environment meant for closer interactions with sales associates.

 Melissa’s Green Room

Melissa’s Green Room

 Cafe Devocion - Plantwall Williamsburg

Cafe Devocion - Plantwall Williamsburg

 Cafe Devocion 

Cafe Devocion 

Etsy’s DUMBO Brooklyn headquarters has over 11,000 plants installed. In addition to five large-scale living walls, botanic company Greenery NYC designed and installed low-maintenance growing systems for Etsy's workspace.

 Etsy's Brooklyn Headquarters

Etsy's Brooklyn Headquarters

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Our project for Bacardi-Martini Inc. includes the design of two terraces where strawberries, blueberries, mint, basil, and other herbs used in cocktail preparation are planted. The Bacardi-Martini employees delight in cultivating and enjoying the seasonal produce.

  Bacardi-Martini Inc. Terraces

Bacardi-Martini Inc. Terraces

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I dream of being surrounded by planted, edible, green space and flowers everywhere I go which is why I advocate for greening indoor environments including workspaces, restaurants, retail stores, NYC’s subway system, and of course, our homes.

 

 Ámbar Margarida

Ámbar Margarida