RESTORATIVE

ENVIRONMENT
DESIGN
EDITED:
MARJUT NOUSIAINEN
HEIKKI LINDROOS
PETRI HEINO
KYMENLAAKSO UNIVERSITY OF APPLIED SCIENCES PUBLICATION 2016

Authors:

Marjut Nousiainen Interior architect SIO and Furniture designer

Heikki Lindroos Interior architect SIO, Kymenlaakso University of Applied Sciences
Petri Heino M.Sc.in Forest Products Marketing, Kymenlaakso University of Applied Sciences
Meri Valta Designer and Interior designer, Kymenlaakso University of Applied Sciences
Jukka Häkkinen University researcher, Docent, Visual cognition research group,
Institute of Behavioural Sciences, University of Helsinki

Idea and content: Marjut Nousiainen, Heikki Lindroos and Petri Heino
Translation: Henri Lindroos
Publisher: Kymenlaakso University of Applied Sciences
Copyright: Kymenlaakso University of Applied Sciences
Layout design: Mari Viiard
Photos: Meeri Heikkilä
Print: Grano Oy, Kouvola

ISBN (PB.): 978-952-306-161-3

ISBN (PDF.): 978-952-306-162-0
ISSN-L: 1239-9086
ISSN: 1239-9086
RESTORATIVE
ENVIRONMENT
DESIGN
EDITED:
MARJUT NOUSIAINEN
HEIKKI LINDROOS
PETRI HEINO

Kouvola 2016
Kymenlaakso University of Applied Sciences publications. Series A. Nr 76
CONTENT
Foreword 6
OUTLINING THE TOPIC 9
The eye rests in nature 10
The state of the modern world 12
INTRODUCTION 14
TAKING ALL THE SENSES INTO ACCOUNT 23
Vision 25
Hearing 27
Olfaction 31
Touch 34
Multisensority 36
Case 1: Sensory ergonomics 39
HEALTHY LIGHTING 42
Natural light 44
Artificial light 50
Case 2: Dynamic lighting 59
THE FORM AND CLARITY OF AN ENVIRONMENT 62
Design language 63
A clear and pleasant environments 68
Transformability of a space 71
Case 3: Transforming school buildings 74
MATERIALS 77
Surface materials 79
The overpowering wood 84
Case 4: Place for emotions 90
HEALTHY INDOOR AIR 93
Factors that influence the quality of indoor climate 95
Improving the quality of indoor air 98
Case 5: A building that is controlled with regard 102
to its indoor air
NATURE CONNECTEDNESS 104
Nature view 106
Plants 108
Case 6: Nature in a constructed environment 110
CLOSING WORDS 112
Sources 114
 FOREWORD
MARJUT NOUSIAINEN

Many natural environments

are restorative.
Picture: Meeri Heikkilä

6 RESTORATIVE ENVIRONMENT
Restorative environment supports the wellbeing of human beings. It reduces mental fatigue,
improves productivity and helps to relieve stress (1). Additional terms can be used to describe a
restorative environment, such as a healing, therapeutic, integrative and revitalizing environment.
Restoration, for human beings, is very much the same as stress relief (2). It helps the human
capacity for physical, psychological and social regeneration and reversion (3).
Many natural environments are restorative, but also interior environments can be experi-
enced as such, if they are designed delicately. However, one can often sense that a constructed
environment has ceased caring. Usually other objections than those aiming at wellbeing are
guiding the design of environments. It is a challenge to find a fit between all the demands and
systems of a constructed environment, and also reach an end product that appeals to everyone.
The restorative qualities of an environment are often left unprioritized, the result of which is
that our environments can even be detrimental to our health. The need for restorative design is
born out of this phenomenon, and also from the gap that has been formed between nature and
the human being.
The human being has distanced itself from nature, for instance, because of the evolution
in technology, and also because of information and population growth (4). The majority of our
day is spent indoors in spaces, which very seldom give support to our wellbeing. Many children
spend less time outdoors than their parents did in their childhood (5). Experiencing nature in
childhood helps in children’s development, and establishes a healthy connection towards nature
for the rest of their lives. Without this connection we do not experience ourselves as being a part
of nature. We should recreate the harmonic relationship towards nature, in order to understand,
respect and enshrine it more deeply. This is possible through restorative thinking and design. We
can restore this connection to nature by creating healthy and comfortable spaces where nature
is present in its many forms, as scenery, as plants, shapes, lights, sounds, materials and scents.
Restorative thinking also improves sustainable thinking, and the need to treasure and conserve
the environment, which is vital to us.
This book seeks to awaken the reader and remind about the importance of our environment,
perhaps in a novel way, and provide guidelines and tools for designing restorative environments.

RESTORATIVE ENVIRONMENT 7
 The eye rests in nature.
Repovesi national park
Picture: Meeri Heikkilä

8 RESTORATIVE ENVIRONMENT
OUTLINING
THE TOPIC
JUKKA HÄKKINEN
HEIKKI LINDROOS

RESTORATIVE ENVIRONMENT 9
 THE EYE We made a family trip to the woods for the weekend. It was
wonderful to walk and eat in the crispy autumn weather,
amidst the incipient of the autumn foliage. When the evening

RESTS IN came we all felt renewed and relaxed. I work in a research

group that studies the visual perception of sceneries and

NATURE
because of this I immediately began to ponder over my
experience from the perspective of perception psychology:
why is the experience of nature relaxing? Does science have

JUKKA HÄKKINEN anything to say about this?

One known theoretical approach is based on evolution-
ary biology thinking. According to it a relaxing environment
is such where the human race has evolved. By thinking this
way, relaxing would result from the fact that our visual sys-
tem does not generate any cognitive struggle when oper-
ating in nature, because these mechanisms have evolved
to function exactly in this type of an environment. It is even
better for us, if we can observe others in an undisturbed
fashion and experience ourselves being in safety, because
then there is no threat of a surprising attack by a predator
in the bushes. Evolutionary biology would then explain the
high ground spot on top of a rock as a choice to have a break
and enjoy a snack.
How then does natural scenery differ from a con-
structed landscape? For one thing the basic properties, like
colors and shapes, are different. Thinking from this per-
spective, the visual system would have evolved in order to
observe the sets of shapes and colors that exist in nature.
Research on cognitive neuroscience supports this view. It
has been found that the visual properties of natural scenery
can be perceived in an exceptionally quick fashion.

10 RESTORATIVE ENVIRONMENT
 The findings related to the visual perception of natural sceneries are part of a long research tradition
where it has been shown that the visual system resolves the data in a picture in a particular order. Firstly,
the visual system perceives the simple things, like the outlines, the larger colored areas and moving things.
What follows is the perception of surfaces and objects, and finally, somewhat later, the meaning of objects
is processed. For example, if I am watching a football on a turf, first I perceive that curved outlines, then the
roundness, after a while I will recognize the ball-like shape and finally the meaning for the object being my
old familiar football. It takes just a short moment for all this to happen, only some fractions of a second.
Research has shown though that the perception of some of the features of a picture does not proceed
in the assumed order. One of these features is the naturalness of a picture. If the test subjects were given a
random picture and instructions to distinguish if the scenery was a natural or constructed, they were able to
tell the difference in a matter of two milliseconds. This is an extremely short time and the sorting out of data
happens much faster than the distinguishing the meaning of the picture. In other words, the test subjects
can distinguish a natural scenery much sooner from a constructed scenery than they can tell if it is a forest
or a field.
Researchers have been astonished in finding out that natural sceneries take this shortcut in the pro-
cessing of the visual system. This theory supports the view that the visual system has evolved to make
efficient assessments on the features of natural scenery. The fast distinguishing of natural scenery is based
on the outlining of statistical properties. The structures and colors of forest scenery, on average, are much
different from typical urban scenery, and the visual system exploits this by operating the information through
fast data processing routes.
Out of this a natural question arises, are all the patterns of the nature equally easily distinguished? Are
the grains of wood or the patterns on the surface of granite something that our visual system can perceive
effortlessly? At the moment we have no conclusion on the matter, but the topic should be certainly studied
more closely. That would offer an explanation for the results that imply relaxing effects of wood materials.
As a researcher on perception I am excited about the fact that the relaxing family trip to nature also
includes some basic phenomena of perception. A forest scenery can be observed with new eyes, because
among the patterns and colors of nature might hide in it some new research ideas for the study of perception
psychology. What is also exciting is the idea of the possibility to transfer at least some of the relaxing effects
of nature into the design of interiors that support human wellbeing.

RESTORATIVE ENVIRONMENT 11
 THE STATE Our constructed surroundings create the field for our every-
day activity. Our surroundings are becoming more and more
restless, as the forces that shape them are continuously

OF THE focused into fewer hands. This is a global development. We

should take the control over our lives, and our surroundings,

MODERN
more into our own hands. The decisions about what shapes
and colors we have around us come from a fewer sources.
The media is powerfully guiding our thinking and doing into

WORLD a predetermined and limited direction, by different means of

information technology. Maybe we have already surpassed
the boundary of the envisaged totalitarian society by James
HEIKKI LINDROOS Orwell (1903-1950), where all of our thinking and doing is
pre-designed.
A national and international design education is hum-
bly unknowingly implementing this concept, and without
understanding its dangers. The opportunity to influence our
surroundings is created by the fast and effortless transfer or
information. This is exploited by many authors to the benefit
their own interests. However, the digital transfer of infor-
mation is a two-edged sword. The opportunities created by
it can be efficiently utilized to our advantage by constructing
better environments and increasing awareness of the bene-
fits of such surroundings.

If we want to improve our living environment, everything begins with realization

though, as well as a multidisciplinary awareness of the situation.
Awareness of where we are.

12 RESTORATIVE ENVIRONMENT
 If we want to improve our living environment, every-
thing begins with realization though, as well as a multidisci-
plinary awareness of the situation. Awareness of where we
are. By utilizing the findings of scientific research on our
environments we can guide our awareness into the right
direction. Our own generation might already be late in the
process, but our resources should be concentrated to the
upcoming generations of designers, that in the future, take
the responsibility for our living environments. The purpose
of this book is not to give ready-made answers and concepts
but through research findings and examples to guide our
awareness towards a better result in terms of the design of
our living environments.
The quantity of things around us is sufficient, but
quality and environmental friendliness are hopefully going
to improve significantly in the future. An environment that
supports mental wellbeing includes opposites, is func-
tional, esthetic and safe. A good environment is consistent
of situations that are of different lengths, interlaced and
consecutive. It should not be formed only from fashionable
factors that are trendy at the time, which often tends to be
happening. True interior architecture and design create an
environment where we feel that we ourselves are in control
of our own lives. That creates safety in our environment. All
of this can be influenced by restorative design, and that way
being aware of our situation in respective environments.

The amount of things around us is sufficient.

Picture: Andreas Gursky
 INTRODUCTION
MARJUT NOUSIAINEN

14 RESTORATIVE ENVIRONMENT
Our living environment has a huge impact on our wellbeing. According to research we actually
spend about 90 % of the day indoors. Instead of restorativeness, the design of these spaces is
guided by other factors, such as practicality, efficiency and economy. Design should also con-
sider use of the space and the end user and his or her needs. What often is ignored is how much
our living environment influences our mood, health and behavior. A constructed environment can
impact us positively by supporting our wellbeing, but what is important is how it can also impact
us negatively, for example, by increasing depressiveness, use of pain medication and recovery
time. Designers, as the creators of our living environments, have a huge responsibility. All the
choices we make, such as materials, lighting, forms and colors, affect us, without us noticing,
and they shape our spatial experience. There are many essential factors of an indoor environ-
ment affecting human wellbeing that are presented in this book. At first however, we process
some of the theories that have resulted to restorative thinking, as well as health-, development-,
and learning environments, where restorativeness is particularly important.

According to research we spend up to about 90% of the day indoors.

The relevance of an indoor environment is significant to our wellbeing.

Picture: Morguefile.com

RESTORATIVE ENVIRONMENT 15
 There lies an incredible power in nature. We humans need
nature around ourselves for us to feel good. Watching and
experiencing nature has proven positive effects for humans.
For example, viewing natural scenery can relax the mind and
a walk in the woods can make everyday worries become for-
gotten. The nature revitalizes and assists in stress recovery.
Humans also feel better in a constructed environment where
nature is present. The design of a constructed environment
should therefore happen on the conditions of nature and in
conformity with it. This type of responsive architecture sup-
ports health and wellbeing mentally and physically.
One explanation for the restorative effects of nature is
Restorative environmental design = the need that human beings have for connecting with nature.
responsibility of nature + This phenomenon is also called by the term biophilia hypoth-
responsibility of wellbeing esis. Throughout the history of human evolution we have
developed in nature and in direct connection with nature.
Large scale constructed environment is still something new
to us. We need some form of a connection to nature for us
to function and develop well. When we humans distance
ourselves from nature, we feel ill and become mentally
fatigued. Often we seek a natural environment to recover
from these effects. Biophilic design aims at strengthening
this connection between humans and nature. (6.)
The design of restorative environments also includes
a responsibility for sustainable development. Ecology and
economical, social and cultural factors are also linked to
sustainable development (7: 10). Restorative design should
avoid and minimize the effects that construction has on the
planet as well as on humans. Environments that support

16 RESTORATIVE ENVIRONMENT
wellbeing cannot be created in opposition of nature, but with
respect to nature and on the conditions of nature. Everyone
should take responsibility for our environment and for our
future. The principles of sustainable development are nowa-
days on the surface. Humans and our worldview is changing
towards more environmentally conscious and construction
is becoming more responsible. However, sustainable devel-
opment should not be only focused on minimizing environ-
mental damage, but also on supporting human wellbeing.
Professor of social ecology, Stephen R. Kellert, has united
sustainable development and biobhilic design under a
term Restorative Environmental Design, which includes
the notion of responsibility for our environment together
with the responsibility for human wellbeing (5). Restorative
design simultaneously supports wellbeing, nourishes the
soul, connects us with nature and time, and respects nature.
Restorativeness of nature has been studied already
since the 1980´s. There are two theories that have inspired
the majority of research on restorative environments there-
after. One of them is Attention Restoration Theory (ART),
which is one way of understanding restorative environments
and the revitalizing effects of nature. The other one is based
on the research of Roger S. Ulrich and his colleagues,
according to which the viewing of nature influences humans
positively, particularly in a stressful situation, such as when
we are located in a hospital. The research of Ulrich is mainly
focused on hospital environments, which has largely given
birth to Evidence Based Design (EBD). EBD is a design move-
There lies an incredible force in nature
ment for healthcare environments that support wellbeing. Picture: Meeri Heikkilä

RESTORATIVE ENVIRONMENT 17
 Many other later studies have supported the idea that natural environments have restorative
properties in comparison with urban environments. (3: 8.)

ATTENTION RESTORATION THEORY

Nature captivates Rachel and Stephen Kaplan and their colleagues have shown in their research that spending time
in nature can quickly cure mental fatigue. They make a clear distinction between constructed
our attention
environments and nature and their respective demands for perception and concentration. Accor-
delicately. ding to their theory, an urban city environment wears us down mentally, because it demands us
Viewing nature continuing direct concentration and perception. Before long our capacity to focus our attention is
does not demand worn down. This fatigue can be a result of exposure to traffic, advertisement, information over-
any struggles and load, watching television and overly burdensome work or study. Mental fatigue manifests itself
direct concentra- as difficulties to concentrate, stress, negative emotions, irritability, indecisiveness, impatience,

tion, but it is at its mental inertia and damage. (1; 4; 9; 10.)

Attention Restoration Theory suggests that nature and restorative environments can help
best as carefree,
us to revive from this fatigue, and to offer rest, because nature captures our attention more
relaxing and delicately. Viewing nature does not demand any struggles and direct concentration, but it is at
fascinating. its best carefree, relaxing and fascinating. As we watch the movements of nature, such as the
swish of leaves in the wind or the movement of the surface of water, our mind rests. In addition
to the fascinating character of nature, for example, a momentary leave to nature can be reviving.
(4; 9; 10.) The support of nature is particularly important in healthcare-, developmental- and edu-
cational environments, such as hospitals and schools, where humans are often most receiving,
or responsive.

DESIGNING HEALTHCARE ENVIRONMENTS

Healthcare environments such as hospitals, rehabilitation centers and nursing homes are build-
ings that are intended to treat and cure the sick, and support wellbeing. Initially also healthcare
environments per se were considered as having an impact on the recovery and wellbeing of

18 RESTORATIVE ENVIRONMENT
patients. Since then, after the evolution of technology, hos- Akershus University Hospital, Norway
C.F.Møller Architects
pitals have developed into large, unnatural and often inhu- Picture: Torben Ekesrodt
man facilities that can be stressful and unsuitable for the
mental needs of hospital patients, visitors and the staff. (11.)
A hospital environment is often characterized by the sight
of endless corridors, shiny surfaces, colorlessness and the
smell of disinfectants. For a long time the design of health-
care environments has focused on efficiency, hygiene and
practicality, instead of restorativeness. The needs of the
patients have not really been considered. (12.) During the
past couple of years a new awareness about the significance
of nature has begun to rise. The trend in healthcare build-
ings has been towards a healthier, more caring and patient
centered direction (13). Already in the 1800’s, Florence Night-
ingale, a pioneer in healthcare, realized the significance of
comfort in healthcare environments. She wrote notes about
her observations on how the qualities of environments, such
as colors, shapes and light, affect the mental and physical
wellbeing of her patients. (14:74.)
Evidence Based Design was born in USA in the 1980’s
for the design of healthcare environments that are maximiz-
ing the wellbeing and functions of patients, relatives and the
staff. The purpose is to create pragmatic design solutions
that are based on the findings of research. Research in this
case is often comparative and is based on the experiences
of patients about different elements of their environment.
In 2004, already over 600 different type of studies had been
done on the effects of healthcare environments on patient
outcomes (15).

RESTORATIVE ENVIRONMENT 19
 Stress can A majority of studies is based on stress factors that are often central for the wellbeing of

slow down patients. Stress is a psychological and physiological reaction to a situation that is a threat to
wellbeing. There is a lot of evidence on how badly designed spaces negatively affect the well-
the patients’
being of patients; they create stress and complicate the recovery process. This is manifested as
recovery. anxiety, helplessness, passivity, insomnia, depression, high blood pressure, weakened immune
system functionality and increased use of pain medication. (11.) Hospitals are often very stressful
places for patients, relatives and the staff. Things that cause stress in healthcare environments
are often noise, dazzle, lack of windows, a confusing environment and the lack of privacy (13.) A
stressful healthcare environment can make the stress that is induced by the illness or the injury
even worse. Stress slows down the recovery of patients. Also the stress experienced by the staff
can have a negative impact on the treatment and thus on the overall wellbeing of patients. (11.)
Healthcare environments should psychologically increase the wellbeing of patients. Many
studies show that well designed spaces reduce anxiety and pain, and also decrease blood pres-
sure (12). Evidence based design aims to reduce the stress of patients and help them recover
from stress, and thus contributing to their overall recovery. Stress can be reduced, for example,
by increasing social support, the of control, connection to nature, and positive stimulus, as well
as by striving to avoid any negative stress factors in a physical environment. Evidence based
design also aims at returning the patient back to the center of the hospital environment and
attention. It also highlights the individuality and privacy of patients and suggests the use of pri-
vate rooms for patients. A well-designed healthcare environment is not neutral or too dominant,
but harmonic. In such an environment the nature is present, all the senses are nursed, one can
regulate his or her own environment and it is free of stress-factors (11). Restorative reforms can
be justified also from an economic perspective. Faster patient recovery times, increased satis-
faction and lower amounts of hospital infections and accidents lead to economic savings. (13.)

DESIGN OF DEVELOPMENT- AND LEARNING ENVIRONMENTS

Our surroundings shape us without us even noticing it. This has a particularly significant impact
on a young evolving human being. Children learn things about life and values from their environ-

20 RESTORATIVE ENVIRONMENT
ment that have a huge impact on their development and values later in their lives. That intuitively
highlights the importance of restorative qualities in development- and learning environments
such as daycares and schools. These types of environments are among the first relevant devel-
opment environments after home and the living environment. A child receives instruction, makes
friends and spends the majority of his or her time in a school. The school shapes the child’s
understanding of the world, of him- or herself and others. (16: 81.) A well-planned development-
and learning environment supports the progress, wellbeing, coping, learning, self-expression
and social relationships.
The purpose of a school building is to enhance learning. Its design is often guided by the ped-
agogical requirements. The schools of the past were very austere places where one acted as the
teacher told. There was not much room allowed for creativity, individualism and imagination. (17:
10 – 11). Also, many school buildings, and particularly the large ones, often separate the students
from the nature. Studying is often occurring indoors with books and computers. Studying is seldom
experiential and inclusive of nature. Many learning environments have thus evolved like hospitals,
into empty shell type spaces where daily activities are being carried out. (5.) A learning process is
nonetheless dependent on a physical environment. Children behave differently in different envi-
ronments. A school building therefore should support learning through its shapes, colors, lights,
materials, acoustics and its connection to nature (16: 81). Schools must create a safe and healthy
development- and learning environment for the children. As awareness of these things increases
the development- and learning environments are in many ways shaping into more restorative and
nature-friendly places.
The connection to nature in childhood promotes emotional and cognitive growth and creates a
sustainable, harmonic and respectable relationship with nature. The connection to nature can also
contribute the espousal of sustainable thinking. A human being, who is brought up as experiencing
of being a part of nature, feels nature’s restorativeness, understands his or her responsibility in
sustaining nature and develops with respect for nature. However, children encounter fewer and
fewer opportunities for contact with nature. Just a few decades ago children spent more time play-
ing in nature than nowadays. Development- and learning environments should, on their part, con-
nect children with nature and offer them opportunities to experience nature. Nature can positively

RESTORATIVE ENVIRONMENT 21
 influence the social relationships that are formed in develop-
ment- and learning environments. (5.)
A school environment must be an environment that sup-
ports wellbeing, learning and coping. In order to be that kind
of an environment it must have, for example, natural light,
natural scenery, plants and wooden surfaces. A school build-
Daycare Omenapuisto (Apple Park), Helsinki. Häkli Ky. ing must support children of different age, culture and sex,
Picture: Jussi Tiainen
and teachers doing their work. Interior solutions can be sup-
Tehtaanmäki School, Inkeroinen. Alvar Aalto portive of communality and sociality. The space in a learning
Picture: Meeri Heikkilä
environment must also leave room for creativity and imagi-
nation. Overly monotonous environments weaken the child’s
world of experience rather than enrich it. On the other hand,
an overly neutral environment can bore the mind, as an overly
multiform environment can interfere with attention.
There is a need in schools for different type of spaces,
such as classrooms that support direct instruction, participa-
tory workshop spaces, spaces reserved for quieting down and
spaces for social gatherings. All these spaces also function as
spaces for instruction. In comparison with old familiar class-
rooms, the new classrooms should have more workshop type
spaces that support active learning, by doing and interaction,
instead of passive learning, by listening and reading. Schools
should have combinable multipurpose learning spaces. A
restorative school environment supports all its users and is
flexible in terms of different needs and situations. Flexibil-
ity and versatility are essential things in the schools of the
future. In addition to educational activities, many schools
also function as community centers and diverse cultural and
recreational spaces. (17: 12 – 17.) A well-designed develop-
ment- and learning environment enhances social interaction,
is safe, create opportunities for self-expression and supports
wellbeing and sustainable development.

22 RESTORATIVE ENVIRONMENT
 TAKING
ALL THE SENSES
INTO ACCOUNT
MARJUT NOUSIAINEN

RESTORATIVE ENVIRONMENT 23
 We sense our environment with all of our body: by watching, listening, smelling and touching,
and in the case of small children often also by tasting. Taste however, from the position of expe-
riencing nature, is not the most relevant sense, but maybe indirectly. Instead, vision-, hearing-,
smelling- and touching senses should be considered in the design of a healthy environment.
All these senses have their role in achieving a nature experience and thus a constructed envi-
ronment should feed all of them. All our senses function simultaneously and in connection to
each other. In a natural environment, such as a forest or a park, all the senses are stimulated,
whereas in a constructed environment the experienced can remain one-sided. (18: 44 - 45.)
Forgetting one sensory experience in interior design can ruin the whole space, because even a
beautiful space can feel uncomfortable if there is a bad smell or bad acoustics. (19: 68.)
Our senses have evolved over time. In a present-day constructed environment different
senses are more dominant than in the past, in a natural environment. (20: 14.) The visuality of
the world has been pronounced and nowadays eyesight is the primary sense in terms of access
to information. Sight is active and by seeing one obtains an accurate picture of the environment.
On the other hand, hearing and olfaction are passive but more emotional senses and they usually
also draw more attention. Emotional senses evoke different type of feelings, more sensitively
than visual experiences, in good and bad. (21: 33) In addition to seeing, hearing and olfaction
we also sense the space around us by touching it. Touch is the most intimate of our senses, but
in comparison to other senses, it produces less information of our surroundings. As visuality
increases the importance of other senses has decreased, which unfortunately can be seen in the
design of constructed environments. In order to produce a holistic spatial experience we should
consider all the senses more equally. (20: 15.) At its best a spatial experience is multisensory.
Our senses must be both cherished and, in a good way, challenged by providing positive sensory
stimulus. What is most essential is that we strive to remove negative sensory stimulus and, in
right amounts, increase positive sensory stimulus. A space which feeds all of the senses can be
called sensory ergonomic and healthy.

A restorative environment nourishes all the senses.

24 RESTORATIVE ENVIRONMENT
THE SIGNIFICANCE OF VISION TODAY

Sight is our dominating way of sensing. A large part of

VISION
our body’s sense receptors is focused on our eyes and we
understand and estimate the world mainly by seeing it. (21:
33; 22: 266.) The world today is, above all, visual and the
dominating position of vision has been further improved by
advancements in literacy and electric light. In former days,
there were fewer tasks that demanded a sharp vision. Other
senses were often more important than vision when opera-
ting in murky conditions. (20: 22 – 23.)
Vision is a cognitive sense, which makes the environ-
ment a distant perceptible object. By seeing we can inves-
tigate and reveal facts about our environment, but we only
receive a superficial experience of the space around us.
Many visual elements, such as patterns or colors, we can
touch and sense only with our eyes. By offering pleasing
views only for our eyes, we often leave our other senses
cold. This happens unfortunately often in constructed envi-
ronments. Although architecture should feed all the senses,
it is often understood only through visual perception. Sight
can be considered as the overpowering sense, but it does
not provide an emotional connection as strong as the other
senses. Our memories, imagination and dreams are left
unmoved in a purely visual environment. When we have
strong feelings, for example as we kiss, we often close our
eyes. We do this because otherwise there would be too many A restorative visual environment
distractive sensual stimuli, and seeing could actually dis- is clear, relaxing, harmonic
rupt our feeling. (18: 22, 50.) and interesting.

RESTORATIVE ENVIRONMENT 25
 A VISUALLY PLEASING ENVIRONMENT

We all need beauty around us. A healthy environment is not only beautiful but also
visually interesting and peaceful. There is no room for stress inducing visual ele-
ments, such as devices, wires, mess, dazzle and indistinctiveness. On the other hand,
a healthy environment must be harmonic by its colors, patterns and massing, and
also provide positive stimuli, such as art, nature, music or activities. Art is a wonder-
ful positive distraction, which can take our attention away from unfortunate things,
relieve stress and lift our mood. Collecting art is a subjective effort, but for example
in hospital environments, use of natural sceneries and performance art are, in gen-
eral, experienced as more calming than the use of abstract art. At worst, abstract
art can be disturbing and even increase stress. On the other hand, art that expresses
nature can function as positively as authentic natural scenery does. (12:23.)
Art that depicts nature can In designing a room one should consider the application of it. Do the tasks that
be calming in the way of a are performed in the room require concentration, or should there be an objective to
real natural scenery.
Picture: medium.com/@dustin take the thoughts away from the procedures? In schools, concentration as well as
alertness is required from students. In hospital environments positive stimuli can,
for a moment, take the patient’s thoughts away from the health problem, whereas
the hospital staff can yearn for a more concentration-supportive environment. A
healthy visual environment is therefore at its best appeasing as well as intriguing in
a positive way. Attention should also be given for the fact that where in the room the
subject’s gaze is mostly directed at. For example, in hospitals where patients spend
the majority of their time lying on their backs, there should be a focus on what the
patients see on the ceiling.
A healthy visual environment is most of all harmonic and peaceful. In a healthy
vital environment there is a lot to look at. Many natural environments, for example,
are environments that fit the criteria. A healthy visual constructed environment is
unambiguous but simultaneously smooth from its outlines and pleasing for the eye.

26 RESTORATIVE ENVIRONMENT
Picture: Meeri Heikkilä

HEARING

RESTORATIVE ENVIRONMENT 27
 THE SIGNIFICANCE OF HEARING IN TODAY’S WORLD

A space can also be experienced by listening to it, although a hearing experience is not nec-
essarily as direct as a visual experience would be. All spaces have different types of acoustic
environments and all the materials that the space is consisted of can be heard from the tone of it.
Hearing assists in imagining and defining the atmosphere of a space. A space can be measured,
to some extent, only by listening to it. For example, an echo gives an idea of the size and features
of a space because large spaces are often resonant and small spaces often even too quiet. (18:
54 ; 19: 68.)
With motorization and industrialization the role of the sense of hearing has changed. Now-
A restorative adays there are more sounds, from multiple sources simultaneously, and they intermingle into
acoustic envi- obscure background noise. (20: 19.) Our constructed environments are full of unwanted noise,
ronment is soft which covers required audio information and causes stress to us (24: 122). Noise has multiple
and pleasant. negative effects and it can cause, among other things, attention disorders, digestive disorders,
increase blood pressure and make falling asleep more difficult. (25: 102). At worst, loud noise
also causes hearing damages or voice disorders, for example, to teachers who have to raise their
voice and speak amidst the loud noise levels (25: 98; 26: 10). The noises coming from traffic and
machines cover the significant noises of nature that are so full of life.

A PLEASANT ACUSTIC ENVIRONMENT

One of the most important features of a space is its acoustic environment. A restorative acoustic
environment is soft and pleasant. There is not too much noise or echo and its acoustic conditions
boost the activities that the space is designed for. (26: 9.) Soft noises are generally experienced
as healthier than echoing noises. Noises from traffic, industry and other human sourced noises
are experienced as unpleasant (21: 157). Therefore, for example, it is good to not locate hospitals
close to noisy traffic routes. As noises from traffic can cause stress, sounds from nature can also
help to relieve it (24: 112). Research has shown the amenity of the sounds of nature. For example
the singing of birds, the ripple of waves, the whoosh of the wind and the rustling of leaves are

28 RESTORATIVE ENVIRONMENT
experienced as pleasant sounds. (21: 157.) In a healthy constructed environment one could there-
fore make use of the sounds of nature as audio recordings played in the background. Also silence
can have significant healing effects. Silence contains in it a feeling of eternity, something that is
pursued by human beings. However, silence is not unambiguously pleasing, but it can also be
associated with the feeling of emptiness. Silence is often relaxing, but on the other hand sounds
can denote life, and by the same token silence can denote death. (19: 126; 21: 159.)
The experience of an acoustic environment is always personal. Situational factors and per-
sonal preferences influence the evaluation of the acoustic environment and the tolerance for
noise. During nighttime we need a quieter acoustic environment than during daytime. Also, the
individual feeling of control influences the tolerance for noise. Research has shown that people
tolerate noise better if they themselves can control the source of it. (26: 10 – 12.)
Noises often bring to mind memories of places. Spaces constructed for different purposes
sound completely different. A home, a hospital and a school all have their own specific acoustic
environments. A home environment is hardly ever loud and echoing. Hospitals and schools on
the other hand can be very noisy places. Environments that are full of life in general have no
room for background noise, such as radio and television. However, in some environments, such
as open offices, it is required to have some steady background noise to cover any distractive
sounds, such as a speaking voice coming from the neighboring workstation (25: 98; 26: 158 – 159).

ACOUSTIC DESIGN

A healthy acoustic environment is created with acoustic design by influencing the insulation and
materials of the building. Acoustic design often covers four sections, which largely overlap with
each other; room acoustics, construction acoustics, noise prevention and vibration insulation.
Room acoustics influence how the sound behaves inside a room. Construction acoustics influ-
ence the soundproofing between different spaces. Noise prevention prevents the emergence and
spreading of noise. Vibration insulation aims at insulating the vibration resulting from different
devices in a building. (26: 25 – 25.)
Soundproofing is characteristic to tight structures, which prevents noise from transferring

RESTORATIVE ENVIRONMENT 29
 from one space to another and from outside to inside. With
soundproofing wall-, floor-, and roof constructions and
windows one can create a tranquil environment that is pro-
tected from internal and external noise. In addition to the
formerly mentioned, the choice of surface materials also
defines the acoustics of a room. With room acoustics the
aim is to control the transfer of sound, its reflection and
attenuation, inside a space. Materials that soak up sound
attenuate any sounds created inside a room. Taking this
into consideration, one should use sound absorbing surface
materials, particularly in large or noisy spaces. Especially
good room acoustics are needed in spaces where speech-
and musical presentations are being held. In performance
rooms, such as classrooms, one should be able to speak
Innofusor: Acoustic wall panels so that the listeners can clearly hear what is being spoken,
Pictures: Innofusor
without burdening the voice of the speaker. These types of
spaces should have reflective surfaces that direct the voice
of the speaker towards the listeners, as well as absorbing
surfaces, that decrease the echoing inside the space so that
one can understand the speech. In designing room acous-
tics one should take into consideration the need of reflective
surfaces, the shape of the space and the necessary absorb-
ing surfaces (26: 46, 158 – 159). When designing challenging
projects the design of an acoustic environment and noise
control demand cooperation between the architect and pro-
fessional acoustics specialists.

30 RESTORATIVE ENVIRONMENT
THE ACOUSTIC ENVIRONMENT OF A HOSPITAL

Hospitals are often very loud places, because of the oper-

ations performed there and the devices used there. Hos-
pitals also often have an echo, because of the many hard
and sound reflecting surfaces. Loud noise in healthcare
environments causes stress to patients as well as the staff
and thus impairs patient outcomes. Other symptoms may
include headache, irritation, sleeping problems and com-
munication disorders. (12; 27: 44.) Use of shared rooms in
hospitals intensifies the problems associated with sound.
Offering single rooms for patients can reduce that problem.
The acoustic properties of hospital rooms can be further
enhanced by installing sound absorbing materials into the
ceiling and by trying to eliminate the sources of noise. (28:
285.) There should be an effort to reduce everyday noise and
instead fill the hospital with pleasant and relaxing sounds
from the patient’s home environment and from nature. Many
studies have shown that pleasant music that the patients
themselves can control reduces anxiety, pain and stress (12).
Sairaalahuoneiden akustisia ominaisuuksia voidaan entis-
estään parantaa asentamalla kattoon ääntä absorvoivia
materiaaleja sekä yrittämällä eliminoida melun lähteitä.
(28: 285.) Jokapäiväistä melua pitäisi pyrkiä vähentämään ja
täyttää sairaalaympäristö sen sijaan miellyttävillä, potilasta
rauhoittavilla äänillä kotiympäristöstä ja luonnosta. Useat
tutkimukset ovat osoittaneet, että miellyttävä musiikki, jota
potilas voi itse kontrolloida, vähentää ahdistusta, kipua ja
stressiä (12).

RESTORATIVE ENVIRONMENT 31
 OLFACTION THE SIGNIFICANCE OF OLFACTION IN TODAY’S WORLD

Olfaction is functioning all the time, with every breath we

take, also when we sleep (22: 24). We cannot regulate its
activities and we can not exactly focus our attention to it.
Nowadays olfaction has become our least needful sense,
A restorative although originally it was essential for our survival. (22: 58;
29: 11.) We can, for example, take the smell of our home for
scent environment
granted and focus our attention to the smells only if they
is mild, pleasant distract or please us. Nonetheless, olfaction is still a very
and clean. important sense, because we can quickly notice any changes
in a smell. On the other hand, we also become quickly tired
and easily get used to strong scents, and therefore after a
while, we fail to recognize the scents so easily. (29: 13, 15.)
We continually live amid an endless amount of smells.
The smell of a thing, an object or a person smells largely
influences its appraisal (22: 60). It is easy to reason if a thing is
good or bad based on its scent. Also, every space has its own
unique scent, which consists of all that a space is consisted
of. Positive scents also create a positive image of a space,
whereas negative scents quickly create a negative image of a
space (21: 161). It does not matter how beautiful a space is; if it
smells bad, we experience it as unpleasant, because a scent
is closely related to the air that we breathe (19: 68).
A strong scent can be very memorable and raise mem-
ories to mind. In our minds, it can take us back to a specific
place or time. (18: 58.) Scents as well as memories are linked
Herbs can be used in interior spaces to our emotions and a strong emotion linked to a scent leaves
as sources of pleasant scents.
Picture: Meeri Heikkilä a permanent engram. A scent often is a stronger way to bring

32 RESTORATIVE ENVIRONMENT
back a memory from childhood to mind, than a photograph. (29: 14 – 16.) Scents have a psychological
impact on us and therefore scents can also be used as a way to manipulate an atmosphere, or cover
behind it any other unpleasant smells (24: 42). Studies have shown that we react to a good scent uncon-
sciously. For example, based on one study a pleasant smell attached to a casino gambling machine
significantly increased the money that was spent on it in comparison to other games. (29: 13.)

DESIGNING A HEALTHY SCENT ENVIRONMENT

Scents impact a person’s behavior and feeling of wellbeing. Many of these types of scents are linked
to the natural environment. Nature’s scents are often mild, pleasant and clean. (29: 15.) In western
culture, natural scents, such as smells of flowers and fruits, are perceived as pleasant. On the other
hand, scents in a constructed environment, produced by traffic and industry, may be considered as
unpleasant emissions. (21: 161.) By choosing the right type of scents, a pleasant scent environment can
be created, even in a constructed environment.
The experience of scents is always subjective. Scent preferences are not inborn but learned (21:
161). Based on surveys, some scents, such as the smell of coffee or freshly cut grass, can be considered
even universally pleasant. According to one Japanese study, the green scents of plants also have stress
reducing effects on healthy humans. (29: 24 – 25.) Herbs and plants are often used in interior spaces
as the sources of pleasant scents, for example juniper and thyme can be used as room air fresheners
(7: 51). Research has shown that lemon has the strongest positive, energizing and mood lifting effect
(29: 15). On the other hand, lavender is capable of calming and relaxing a person. According to studies,
the smell of vanilla in hospital environments cools the emotions in a positive way, soothes the patient
and lowers stress. It is said that Rosemary increases alertness and attention in a school environment.
(29: 26.)
In a healthy environment one should not have strong distractive scents, such as the pungent smell
of chemicals or disinfectants. On the other hand, a healthy environment should be filled with pleasant
and moderate scents, such as the smells of herbs, plants or food. In a hospital environment patients
could be offered positive sensory stimuli in the form of scents, which evoke restful mental images,
for example, of a home or natural environment. Pleasant scents can be used in this way to decrease
anxiety and lift a person’s mood in a stressful environment.

RESTORATIVE ENVIRONMENT 33
 TOUCH THE SIGNIFICANCE OF TOUCH IN TODAY’S WORLD

The relevance of the feel of material has diminished in a

constructed environment as the significance of visuality inc-
reases (18: 34). However, the oldest and most important of
our senses is touch (22: 103). That what we touch and feel is
very individual, emotional and intimate. Our skin connects
as well as separates us from the outside world and through
that we feel, for example, the flow of air, the warmth of
things, humidity and texture. The feel of material influences
our spatial experience, eases orientation and assists us in
outlining the world three-dimensionally.

DESIGNING AN ENVIRONMENT
THAT FEELS PLEASANT

How a space feels is an essential criterion in evaluating

A restorative touch environment
the amenity of an environment. Touch makes things real to
is grainy, warm and natural. us. (21: 35.) Choices of materials are key in regards to the
sense of touch, in the design of healthy environments. Some
materials are downright inviting a person to touch, whereas
others are even off-putting. Natural materials generally
affect us in a positive way. Structural materials, such as
stone and wood, feel real to us and cause a stronger sensa-
tion than artificial materials. Some materials, such as wood,
always feel pleasant, natural and warm.

34 RESTORATIVE ENVIRONMENT
 Wood can in many ways be thought of as the best of
materials. Instead of choosing smooth surface materials, a
selection of more structural alternatives could be conside-
red, which also offers an experience of the surface texture.
For example, roughness or texture in textiles, tiles or struc-
tured wall surfaces creates multi-sensuality in a space,
which is further highlighted by a judicious choice of lighting.
However, one should not forget contrast. Combinations of
different types of surfaces, structured and smooth, create
an interesting and multidimensional environment, which is
as pleasant to the hand as to the eye.
The sterility of a modern environment with its large
glass surfaces does not provide people with trustworthy
sensory experiences (18: 34). Many public spaces, such as
hospitals, are often experienced as very clinical. The choice
of materials is often guided by cleanability and antibacteria-
lity. An environment of this kind consists of shiny, hard and
artificial surfaces. In this type of an environment there is
not enough feel of the material, and therefore it feels unna-
tural and completely separate from nature. Because of this,
Some materials, such as wood, always
people can have a feeling of rootlessness towards the time feel pleasant, natural and warm.
Picture: Meeri Heikkilä
and place (20: 31). We should more daring and use enjoyable
natural materials in surfaces, such as wood, which has a
sense of age and history in it. Pleasant warmth on skin
feels like home, and its yearning is relieved by warm natural
materials (18: 62 – 63). Nature, sun and natural materials
touch us, and together they are a spectacular healing force.

RESTORATIVE ENVIRONMENT 35
 MULTI- THE RELATIONS BETWEEN THE SENSES

Although we sense a space with all of our senses, one sen-

SENSORITY sation often dominates an experience of an environment (21:

167). However, studies that have focused on mutual effects
of senses have shown that a sensory experience can be fur-
ther strengthened with other senses. It has been found, for
example, that due to the combined effect of vision and olfac-
tion, the reaction time shortens if both stimuli are experi-
enced to be coming from the same source. (20: 15, 26.) Thus,
in general it can be said that an experience is stronger, if
a sensory stimulus affects many senses simultaneously.
Senses together are often capable of providing more accu-
rate information than any of them alone. The more sensory
stimuli are provided about the same thing, the easier it is
to react to the stimuli. The significance of multisensority is
especially highlighted in situations where a user lacks some
sense, or if one of the user’s senses has become weakened.
Paying attention to multisensority is especially practical
from the position of safety and warnings. It has been utilized
in traffic and in devices. In traffic lights, both the visual light
stimuli as well as the beep sound signal the switching of the
light to the user (20: 26). Likewise, the grooves in the white

Nature is naturally side- and centerlines of a road communicate to the driver,

in addition to their visual function, that their car has drifted
a multisensory environment.
too close to the edge or the center. In a home environment,
the red color in ceramic stoves communicates the vision that
they are hot, without the need to bring the hand close to
a hot plate to feel its state of hotness. Therefore, a plate

36 RESTORATIVE ENVIRONMENT
is certainly forgotten on much less often in this way than without a visual stimulus. Taking
many senses into account in design consequently increases the informativeness and safety
of objects and space.
Multisensority is also often a disadvantage when sensing negative things, because, for
example, noise can be experienced as louder in an ugly environment, or a scent can obtain
a negative label if it is materially connected to a tedious sound (21: 167). Senses therefore
highlight each other in good and bad.

THE MULTISENSORITY OF NATURE AND CONSTRUCTED ENVIRONMENTS

Nature is naturally a multisensory environment. As we ramble in nature, all of our senses

are being fed. Nature occupies our eyes, our ears, our nose, and invites us to touch. A
constructed environment should be built by reproducing these same properties. Choice
of materials can have a very tangible effect on the multisensority of a space. Use of natu-
ral materials easily brings the good multisensory properties of nature also to an interior
space. Natural materials not only pamper our sense of touch, but they are also visual, they
have a natural smell and with their qualities they affect the room acoustics of a space. A
space can and should be experienced holistically multisensorily, rather than only visually,
as is usual. For the interior designer, this both provides opportunities and creates chal-
lenges (20: 23). A multisensory experience is created with materials, colors, shapes, lights,
sounds and smells. A multisensory space can have both refreshing positive sensory stimuli
as well as relaxing and restful elements, depending on the purpose. It is ideal that the
atmosphere can be changed in accordance to the user or the use of the space, especially
in public spaces, where there are many users.
Conflicting and misleading sensory stimuli that is potentially dangerous should be
avoided in constructed environments. The easiest sense to bluff is vision, especially if it is
weak. For example, shiny surfaces together with glass walls and an insufficient lighting
is a combination that, to a visually impaired person, is hard to be perceived. Shiny, trans-
parent and reflective surfaces may lead even a person with a good vision to a dangerous

RESTORATIVE ENVIRONMENT 37
 situation. An environment should have some visual contrast
as well, for example, between colors or materials, to make
the conceptualization of different areas easier. For example,
the steps of a stairway should have contrast markings on
them so they can be more easily detected. This is especially
important in public spaces where the user is not always
familiar. On the other hand, use of powerful cross striping
on the floor can help the visually impaired with locating the
places where there are no stairs. An environment that is
designed with multisensority in mind serves all of its users
best, also those who have some of their senses impaired.
(20: 27 – 29.)

A view from a sauna. Karhusaari (Bear Island),

Kotka archipelago. Heikki Lindroos
Picture: Wanha Fiskari Matkat Oy

An environment that is designed with

multisensority in mind serves all of
its users in the best possible way,
also those who have some of their
senses impaired.

38 RESTORATIVE ENVIRONMENT
 CASE 1 / SENSORY ERGONOMICS
HEIKKI LINDROOS

In 2007, the Kymeenlaakso University of Applied Sciences organized the second national MODO-
design competition. Sensory ergonomics was the selected subject of the competition. Formerly,
ergonomics was principally understood as the numeric measurement of working postures, and
tasks related to them, which had the aim of reaching optimal outcomes from the individual’s
point of view and in terms of the desired working postures. The MODO 2007 –competition, with
its topic, sought to pay attention to all the factors that influence a space, factors that regulate
our operations through various senses.

LAAJASALO CHURCH, HELSINKI

Year of completion: 2003
Architecture by Kari Järvinen and Merja Nieminen

A church building has experienced some interesting changes during its 2000 –year existence.
Despite its modest beginnings, a church space has over the centuries formed into a tool of
the rulers to control their communities. Often in the design of church spaces, all the senses
that guide us have been utilized. Formerly, the height of the spaces, ornamentation with strong
colors, the heavenly light that reaches the altar through the stained glass windows and the
mystical scent of candles, created a space that strongly affects the senses. This effect intensi-
fied the message, which wanted to be conveyed to the public. In today’s world, church is part of
our society. It has approached a normal human being as an integrative space, where the same
elements that affect the senses are still used, but for different reasons. A church has formed into
a spiritual space, the purpose of which is to integrate, give belief and calm down a human being
in a busy and complicated society.
The exterior architecture of the Laajasalo church, with its distinctive vertical- and horizontal
surfaces, which have been coated with patinated sheets of copper, has a peaceful expression and
adapts to its environment in a balanced way. Office spaces and children’s play spaces are also
associated with a church. Their exterior surfaces have been painted with a red color, which beau-
tifully integrates with a patinated copper surface. Finnish wood has been used in the church’s
interior in different ways. The front doors of the church, as well as parts of the paneling, consist of
horizontal lines that bring tranquility to the spaces and decrease the scale to a level of a person.

RESTORATIVE ENVIRONMENT 39
 CASE 1 / SENSORY ERGONOMICS

The altar relief is a kind of a wall size piece of art, the main material of which is wood, which has
been processed in many ways, though in a way that it forms a totality with the church hall. The
altar relief has been produced and designed by sculptor Pauno Pohjolainen. The crude hewn
form of the altar relief, together with the red wooden part and glass elements, is not a work of
art that expresses the power of the church, but with its fine shapes, it supports the individual
human being. A work of art, with its various surfaces, makes the senses of a person to move on
a spiritual level, individualistically. The lighting on the gable wall, which mainly comes from the
side of the altar, nicely brings up the three-dimensionality of the altar relief.
The wooden roof truss of the space with its hanging lamps forms an interesting section
of the church hall. The church hall has a necessary amount of elements that make the space
unique. However, the space does not highlight the smallness of a human being, but it creates
a spiritual space where it is possible to escape the everyday life. The common spaces of the
church, such as a small café, are sympathetic in their scale and make the interaction between
various people easy. Horizontal splinting and large window surfaces that open to the church’s
ward have been cleverly used in these spaces. The wooden surfaces in the spaces are tangible,
and so finely bring up the restorative properties of wood. The floors of the church space are
made of stone-like tiles or solid boards that are processed into a matte color that together with
other wooden surfaces form a beautiful whole. Only the church’s organ is deviant from the rest
of the space, as well as the gallery that is built in front of the organ. They are likely not part of
the original plan. Professor Jouko Järvisalo has designed the church’s altar and loose furniture.
Among the furniture, especially the baptism stand is beautifully simple.
The Laajasalo church produces a positively holistic experience of architectural space. The
space is easily approachable and nourishes all the senses of a visitor. Visually it is skillfully
made and harmonic. The contrasts function well. There is a lot to look at and the eyes have been
steered towards the altar relief in a right way, however not too much. The touch environment
is pleasant due to its wooden surfaces. The haptic properties of wood should be brought up a
lot. Even the powerful texture of the wooden altar board is noticeable, although it is outside the
reach of touch. The acoustic environment is peaceful and pleasant. There is no distractive echo
being created and it is natural to speak. There are no unpleasant scents. The world of scents

40 RESTORATIVE
RESTORATIVEENVIRONMENT
ENVIRONMENT
 CASE 1 / SENSORY ERGONOMICS

is more like neutral and natural. Although in 2003 the word sensory ergonomics was not in the
vocabulary, and even Tekes adopted its use only later, the Laajasalo church with its skillful
designers has reached a whole, which supports our senses in a challenging space and highlights
the spirituality of a space for a human being in the modern world. It is necessary to evoke the
awareness of designers about all of this in a more general way, so that not only fashionability
would become the most important factor when making exterior and interior spaces. A fashion-
able thing is already tomorrow outdated and only holistic, good design can last. Alvar Aalto called
it architectural synthesis.

Laajasalo church, Helsinki. Kari Järvinen ja Merja Nieminen

Photographs: Meeri Heikkilä

41 RESTORATIVE ENVIRONMENT RESTORATIVE ENVIRONMENT 41

 HEALTHY
LIGHTING
MARJUT NOUSIAINEN

42 RESTORATIVE ENVIRONMENT
 The natural light in a forest
is beautifully filtered
through the trees.
Photograph: Meeri Heikkilä

The light exposes to us that what we see but it also influences our mood, our body and our emo- For us to feel
tions. Light also brings life into a constructed space, and the right type of lighting is in a key role good, we need
in a healthy environment. Above all, we need natural light to feel good. A constructed environ-
natural light.
ment should have natural light in all spaces where people spend their time. Staying in a space
without any natural light can lead to depression, whereas natural light has a great invigorating
strength. Unfortunately however, the lighting of a building cannot be in any circumstances taken
are of with daylight alone. A healthy environment should therefore have natural light as well
as carefully chosen artificial light. Also artificial light influences the wellbeing of people. It has
an especially great significance in the north particularly, because little natural light available
during the winter. There where natural light cannot be exploited one should use as healthy artifi-
cial light as possible that fits each situation and time. There should be enough light according to
the need, also during evenings and nightly. Thus, a designer has a great responsibility, because
lighting design can have a significant impact on the living conditions of people for years (39: 6).

RESTORATIVE ENVIRONMENT 43
 NATURAL THE PLAY OF LIGHT AND SHADOW

Natural light is a lively and naturally changing light, which

LIGHT creates different atmospheres, colors and moods, outdoors

as well as indoors. Natural light consists of direct sunlight,
the diffuse radiation of the sky together with the radiation
that is reflected from the environment. Outside the light
changes according to the time of the day and year, and based
on weather and other climatic factors. (31: 286.) Inside a
space the light that comes from the windows plays, creates
shadows and makes our environment more three-dimen-
sional. Light and shadow take turns revealing and covering
the environment. (30: 16.) Both the quantity and quality of
light has relevance for our wellbeing. Excess sunlight can
also feel unpleasant and unsafe, as well as dazzle and warm
up. Therefore it is essential to offer alternatives for choosing
and regulating light. In a healthy environment there is space
for both light and shadow. The space is simultaneously safe
and open. (28: 119.)
Windows connect a constructed environment with the
external world. They let in the scenery and natural light. It
is also relevant that what kind of a window the light comes
in from. Light that comes in from multiple windows and
directions is healthier than light coming from one individual
window, because it is livelier and puts light and shadow into
a state of play. From the standpoint of the quality of light,

44 RESTORATIVE ENVIRONMENT
 Light and shadow in a space
Picture: Meeri Heikkilä

RESTORATIVE ENVIRONMENT 45
Viikki church, Helsinki many small windows can therefore be better than one big
JKMM Architects
Picture: Meeri Heikkilä window, although the amount of light would be the same.
Many windows also mean many different types of sceneries,
which increase the experietiality of a space. (19 : 72 – 74.) By
changing the size and location of the windows the amount
of natural light that comes in can be influenced. It is rec-
ommended to raise windows upwards, because windows
that are placed high or windows that are tall give more light
than windows that are placed low or that are low (32: 55).
Although only a fragment of sunlight enters indoors through
the windows, it is also often necessary to regulate it. Light
filtered through vegetation, blinds, gratings or curtains is
softer, livelier and feels safer than direct sunlight does.
Blinds and curtains are necessary to prevent and regu-
late the dazzling and heating of the room created by light.
(28: 119.) Naturally, also other buildings, trees and terrain
shapes shade the windows and impact the amount of light
that comes inside (31: 286). Deciduous trees are good reg-
ulators of light and during summertime they protect the
house from overheating and beautifully filter the moving
light through their leaves. However during wintertime they
let in almost all of the scarce light through their leafless
branches and on to the window surfaces of the house (7: 20).

NATURAL LIGHT AS PART OF THE

BUILDING’S LIGHTING

Until the 1940’s natural light was the most important source
of light for buildings. As artificial lighting generalized the

46 RESTORATIVE ENVIRONMENT
significance of natural light decreased. Recently the rele-
vance of natural light has again become highlighted as envi-
ronmentally friendly and energy saving source of light. (33:
2.) Natural light and that how it moves throughout the day
should therefore be utilized in constructed environments to
minimize the need for artificial light. The less artificial light
sources are needed, the smaller the energy consumption of
the building is too (32: 54). In the utilization of natural light
the first relevant thing to consider is to locate the building as
usefully as possible in regards to the movement of the sun.
A building should be located so that the sides that need the
most light are directed towards the south.
The floor plan of the building and division of rooms also
impact the maximal utilization of natural light. The spaces
that are in active use during daytime, such as living- and
dining spaces, should be located to the sunniest side of the
building. Spaces that are reserved for only sleeping do not
require as much light and they can also be located to the
shadiest side of the building. A larger connected space is
better at spreading natural light to the environment than
tiny divided spaces. Therefore elements that delimit the
splitting of light indoors, such as walls, should be kept as
Kamppi Chapel of Silence, Helsinki. K2S Architects
light, transparent and minimalistic as possible, so that nat- Picture: Meeri Heikkilä
ural light could also be had in spaces without sunlight. Glass
walls are often a good solution for dividing spaces instead of
covering walls. This works well, for example, in office envi-
ronments that are consisting of many compartment-like
workspaces. Then, natural light can shine into a corridor Healthy lighting = natural light +
or inside the building. In addition, inner windows, skylights quality artificial light

RESTORATIVE ENVIRONMENT 47
 or floor windows between different storeys are effective in increasing the brightness of spaces
and the splitting of light. Also the choice of surface materials impacts the quality and quantity
of light. White and reflective surfaces naturally strengthen brightness, whereas dark surfaces
absorb light into themselves. (32: 54 – 55.)

QUALITY OF NATURAL LIGHT

Natural light is the best kind of light for a human eye (33: 5). The spectrum of sunlight continues
throughout the range of visible light and therefore it is also called as a full spectrum light. Sun-
light is almost never completely white, as it is often imagined. Many things, such as the height of
the sun, layers of clouds, humidity, ozone concentration levels and impurities impact the color
and the shape of the spectrum of light. The color of the light can be observed with Kelvin values
(K), which tell the color temperature of light. The larger the Kelvin value is, the cooler alias bluer
the color of the light is, and the smaller the Kelvin value is the warmer alias redder the color of
the light is. When the sun is higher up than 30 degrees the color temperature of direct sunlight
is around 5500 K, which is also considered as the shade of natural light in artificial lighting, for
example in daylight lamps. As the sun is at its lowest point during morning and sunset glow
times the color temperature is correspondingly lower and light can be even very reddish. The
color temperature of a bright blue sky can be even over 10 000 K alias very blue. It can be noticed
for example as scattered light coming down from a blue sky and hitting shadowy spots, a light
which is very bluish. (7: 20 - 21; 30: 8; 31: 282.)

THE EFFECTS OF NATURAL LIGHT

Natural light is the best lighting solution in many ways; it is just the right type of quality for
seeing and its utilization in a constructed environment decreases a building’s energy costs. How-
ever, the impact of natural light on human beings is much larger than only the above-mentioned,
because it affects a human being physiologically as well as psychologically. Natural light heals

48 RESTORATIVE ENVIRONMENT
overall wellbeing and health. It positively affects the body,
among other things, by decreasing fatigue and eyestrain,
together with increasing safety. Natural light also contrib-
utes to our merge with nature and the living environment,
and it contains the same positive effects as nature.
(33: 2 – 4.)
Light impacts us through our eyes and skin (30: 8).
Light affects the human skin, among other things, by pro-
ducing D-vitamin, which is needed for the absorption of cal-
cium. On the other hand, light traveling into the eyes gives
us visual perception and it controls our circadian rhythm
and synchronizes our internal clock to follow the 24-hour
rhythm. Research has also shown that natural light controls
the production and regulation of the melatonin hormone,
which affects for example our falling asleep and mood. (33:
5 -8.) Seasonal affective disorder is a mood disorder caused
by lack of sunlight, which occurs especially during winter-
time, when there is less sunlight available. Its symptoms
are, among other things, depression, irritation, fatigue and
increased need for sleep. Seasonal affective disorder can
be treated with light therapy, for which there are nowadays
full-spectrum light lamps available, even to homes. The
strain on eyes is however the most usual inconvenience “A human being needs different types of light throughout the dif-
caused by lack of light. Eyestrain can lead to headaches and ferent times of the day. Too much of bright light can be detrimental
to our health. Sunset Camera creates a sunset kind of orange light,
fatigue, and that way to stress (34.) Sufficient lighting should which increases the production of melatonin hormone, appeases
and prepares us for sleeping. The winning concept of the
therefore, in addition to natural light, be supplemented with 2012 Habitare Design Competition by Leo Lindroos.
Picture: Miika Ullakko.”
healthy artificial lighting.

RESTORATIVE ENVIRONMENT 49
 ARTIFICIAL QUALITY OF ARTIFICIAL LIGHT

Healthy artificial light is as close to natural light as possible.

LIGHT As it is with natural light, artificial light either should not be

estimated based on its quantity only, but also by its quality.
The atmosphere created by lighting is born out of multiple
different components, such as the color light, its quantity
and direction, and the lamp’s shape, size and location (35:
6). For artificial light to be healthy it should not distort col-
ors, strain the eyes or cause distracting dazzling. The most
important feature of artificial light that affects humans is
the light’s spectral distribution. Different spectrums of light
affect people in different psychological and physiological
ways. (33: 3.) Natural light has the healthiest spectral dis-
tribution, as well as artificial light imitating it (30: 15). Full
spectrum daylight lamps come very near to the distribution
of natural light, for that they also produce light from the blue
part of the distribution (33: 3). The light of daylight lamps
is of high quality and they replicate the right kind of colors.
They also have many positive effects of the natural light, for
that they can, for example, refresh the mind and improve
productivity.
The color of a daylight lamp is colder than the light
of a customary yellow light bulb. However, the according
to recommendations artificial light should have a color
temperature that is analogous to daylight when it is used
during daytime to supplement natural light (31: 287). This

50 RESTORATIVE ENVIRONMENT
type of daylight color temperature is often 5500 K, in which
case the light is white-like (30: 9). Anyways, the use of a
daylight lamp is recommended, because it does not distort
colors and, for example, it eases reading. (30: 15.) However,
warmer hue light sources that are more suitable with twi- N. 1000 K
light can be used during evening hours, because a warmer
hue light feels more cozy and relaxing than a cold shade.
The experience of hues is subjective though. In general, a
light may be considered warm when its color temperature is
below 3300 K. For example, the traditional yellow light bulb
is of this kind. The color temperature of a candle is approx-
imately 1000 K, which is already of a rather warm orange
type. Correspondingly a light may be considered cold when
N. 3000 K
its color temperature is above 5300 K. In addition to natural
light, a daylight lamp emits this type of light. (25: 274; 30: 9.)
Kelvin values give the best idea about the color of the
light-source, but they do not tell more about the quality of
light. When buying artificial light sources and lamps the
quality of light can be examined most efficiently by get-
ting familiar with the spectral distribution curves of light
sources. That reveals the hues embodied in the daylight
spectrum and what interrelation the light source contains. N. 5500 K
Color rendering index (CRI) tells the color reproduction
capabilities of a light source. In working spaces one should
use light sources that have a color reproduction capability of
at least 80 Ra, so that the surfaces and people would look to
be of right type of colors. Provided that one is working with

RESTORATIVE ENVIRONMENT 51
 colors, the color reproduction capability should be at least 90 Ra. The best possible CRI is 100 Ra.
(25: 274.) Full spectrum daylight lamps that are also sold in Finland often have a color tempera-
ture of 5500 K and a color reproduction capability of around 96 Ra. There are also different types
of lamps, fluorescents and LEDs available. Light bulbs and halogen lights should not be used
anymore at all, because of their energy consumption and heat production. Therefore, for artificial
light, one should use energy efficient light sources that have as small as possible heat release.

GUIDANCE FOR INTERIOR LIGHTING

A good interior lighting can be obtained with sufficient, high quality and non-dazzling light. A
good lighting is versatile and modifiable and it offers sufficient general lighting as well as ambi-
ence lighting. The source of the light should never be seen directly but instead the light should
be soft, filtered and indirect. Light transforms into a visible form only when it hits something.
Thus it is essential to also design where the light hits. The colors and reflections of surfaces help
with the perception of space. Light surfaces bring more light to a space, whereas dark surfaces
absorb light in them. When light hits a shiny surface it is reflected back, which creates dazzle.
It is therefore important to place and direct light sources to where they are really needed, such
as work surfaces. (35: 5.)
General lighting that is healthy and soft is always somehow filtered such as the scattered
light that coming to the room on a cloudy day. This type of light can be accomplished by filtering
light to a space, for example, through an opal glass surface or a canvas. A soft scattered light
can also be obtained by hiding the lamp behind a cover strip or directing the light indirectly to
a space for example through the ceiling or the walls. The reflecting surfaces of indirect light
should always be light but not dazzling-inducing. For the creation of indirect light one can use
ready-made or tailor-made light strips and –shelves, where the light source is hidden in the shelf
or behind a cover strip and the light scatters evenly to a space through the ceiling. The lower
the light source is from the ceiling the softer and more fragmented light can be made happen.

52 RESTORATIVE ENVIRONMENT
In order to create an indirect light, light sources can also
be directly integrated to the architecture or even on top of
fixtures, under or inside the cover strips.
In order to create an even and soft light one can also
build large and even light-surfaces by installing light
sources to an appropriate distance, for example, behind an
opal glass- or an acrylic sheet.
Lighting should always be sufficiently modifiable and
versatile so that it served as many users and situations as
possible. We need different type of light in different situa-
tions, for example, when we clean, read, work, or relax. Dif-
ferent people also need different types of light, which should
be considered if spaces have various users. For example, a
60 year old needs approximately two to three times more
light than a 20 year old (31: 109). On the other hand, someone
might shun a warm yellow light when another one would
react the same towards a cold blue light, because of the
Daycare Omenapuisto (“Apple Park”), Helsinki. Häkli Ky
things they associate to the respective color temperatures. Picture: Jussi Tiainen
The lighting of a public space is particularly challenging
since light should please everyone. If a space has a chang-
ing user, for example in an office or a ward, each user of
the room should be able to adjust the lighting for their own
needs. Lamps should be placed around so that they suffi-
ciently support the different functions of a space. In addition
to the ceiling, lamps can be also located on floors, walls and
tables. However, an abundance of lamps does not mean that Indirect light is a soft general lighting,
all of them need to be used simultaneously, but rather that which does not induce dazzle.

RESTORATIVE ENVIRONMENT 53
 Daycare Omenapuisto for every situation there is something to choose from.
(“Apple Park”)
Helsinki. Häkli Ky If all the lamps of a space are put on from the same switch, then the lighting does not have
Picture: Jussi Tiainen
any adjustability. It would be good to divide the lamps to groups, when control of each group
easily creates different lighting conditions. Also, many lamps should be equipped with a dimmer.
In the same way as natural light changes throughout the day, artificial light should also be mod-
ifiable. The color temperature of light sources should be chosen according to when each lamp is
used. For example, a cooler light for general lighting used during daytime and a warmer light for
interior lighting used during evening-time. Inside an individual lamp or behind an indirect light-
strip one can also have more different colored light sources, in which case the color temperature
of a lamp can be changed according to the situation or time of the day.

LIGHTING OF WORKPLACES

Sufficient lighting is particularly important, especially in working environments. Insufficient or

bad lighting has numerous negative impacts on human beings. In addition to hampering seeing

54 RESTORATIVE ENVIRONMENT
it can also cause dazzling and flickering, change the mood, decrease concentration and disturb
a daily natural rhythm. Insufficient or bad quality light can also induce eye fatigue, stress, head-
ache, mistakes and accidents. In a working space, high quality light should exist evenly around
the whole working space. Natural light and windows is extremely important in working spaces
too, but uniform lighting also requires artificial light for evening out natural light and creating
equivalent light also deeper into the building. Light sources should be located so that they do not
dazzle, reflect from a display or from elsewhere from the environment, and shadow the working
space. (25: 268 – 271.) Functional workspace lighting is born out of the use of lamps that illumi-
nate directly downwards, indirect lighting and the combinations of these. Often the best solution
is to use indirect light, which does not dazzle. Lighting can also be created by getting part of the
light as smooth general lighting and part of the light as local workstation lighting. (25: 275 – 276.)
Direct sunlight also often disturbs work, for example in office spaces, when windows fre-
quently need to be covered. However, one should strive to let in as much as possible natural light
in right spots, for that it decreases stress and absences, together with increases in productiv-
ity and job satisfaction, and thereby it also benefits the employer economically. Full spectrum
daylight lamps can also replace missing natural light. Research has shown that increases in
wellbeing in offices lit with natural light and daylight lamps. (33: 9 – 11.)

LIGHTING OF LEARNING ENVIRONMENTS

School environments are also working environments that require good lighting for teachers and
students. Studies have shown that especially natural light in classrooms has positive impacts on
the school performance and behavior of students (36). Natural light is the best possible light for
reading and therefore also for learning (33: 18). Students who have studied in spaces with natural
light have, for example, received better test results than the control groups with windowless or
poorly lit spaces (33: 38). Students in windowless rooms have been found to have, for example,
restlessness, hostility, insecurity, maladjustment and concentration difficulties. Natural light
has also numerous other positive physiological and psychological effects in schools attributable
to D-vitamin, such as decreases in tooth decay together with better vision, growth and immune

RESTORATIVE ENVIRONMENT 55
 system (33: 17-19). Natural light is also particularly needed
in schools for the regulation of the circadian rhythm, for
that the body needs sunlight to know when to release hor-
mones, of which some for example improve memory, and
others concentration. Also the seasonal affective disorder is
caused by the lack of natural light, and its symptoms, such
as restlessness and irritability, have been found in children
who study in windowless classrooms. It is good to bring nat-
ural light into the classroom from many different spots and
directions. In an ideal case the windows could be skylight
windows or high windows on the sides of the classrooms.
(36.)
A larger quantity of natural light could therefore lead
to a better health, school performance and overall experi-
ence. In the same way full spectrum light can also be positive
compared with traditional fluorescents. Studies have shown
that, for example, the amount of absences have decreased
in schools with full spectrum lighting. In old schools, where
natural light cannot necessarily be increased, it would be
good to replace the old fluorescents with full spectrum flu-
orescents though. Classrooms should be selected to have
lamps that do not induce dazzle, but instead distribute light
evenly to the whole space. An even lighting assures the stu-
dent with equal learning conditions. Dazzling light hampers
learning, strains the eyes and induces nausea and headache.
Indirect non-dazzling light is fits well for use in classrooms.
Also surface materials should be chosen so that they do not
Daycare Omenapuisto (“Apple Park”), Helsinki. Häkli Ky
Picture: Jussi Tiainen create any distractive reflections. The reflecting power or

56 RESTORATIVE ENVIRONMENT
albedo of a surface of a ceiling can be even 90-100%, of walls and furniture around 40-55%, but
of the floor only 20-30%, which is also the reflecting power of the surface natural wood material.
Educational wall surfaces can have a lower reflecting power than other walls, alias they can, for
example, be darker effect walls, which have a color that attracts looks. (36.)

LIGHTING OF HEALTHCARE ENVIRONMENTS

Natural light is a very essential part of revitalizing and restorative healthcare environment. Con- Natural light
tact with nature and nature scenery are also often associated with natural light and together speeds up the
they are a significant revitalizing power. One should utilize as much as possible natural light in
recovery of
a hospital environment and all in all of its spaces. There is clear evidence that natural light has
various positive physiological and psychological effects in hospitals, for the patients as well as
patients in a
the staff. Among other things, natural light decreases the psychological and physical strain of
hospital.
patients and the staff. Studies have shown that natural light also improves patients’ recovery
times, sleep and safety, as well as it decreases their length of stays in the hospital, decreases
depression and eases pain. (33: 32, 38; 37: 3.) In other words, natural light speeds up the healing
of patients. Therefore it is essential to offer natural light to all the hospital’s patient rooms, pref-
erably to bathrooms and hallways too. When considering the floor plans of the hospital, all the
patient rooms should be located next to the windows, and for example spaces that are intended
for short operations, such as scans, should be located to the middle of the building if necessary
(37: 3). Natural light traveling through the windows is very positive for the patients, if the light
does not dazzle and if it can be controlled (13). As important as it is to have natural light is that it
can be regulated, for example, with blinds and different type of curtain solutions. (37:3.)
The diversity of the spaces and the various needs of patients and the staff create their own
challenges for the lighting of healthcare environments. The hospital staff always needs sufficient
working light when they execute challenging operations that require perceptiveness, whereas a
patient can need a more relaxing and softer light. Insufficient lighting during operations can lead
to malpractice, whereas excess light can lead to stress for the patient. Ideal lighting conditions

RESTORATIVE ENVIRONMENT 57
 vary a lot between different spaces and people. The color rendering properties of light is also
essential, because the doctor needs to see the colors of the skin and the wound as actual,
whereas the patient needs to see them as healthy as possible. In this situation as well, natural
light works best. (37: 1 – 2).
In order to create a home-like environment to patient rooms, it would be good to use light
in a versatile way, which includes working- and general lighting, as well as ambience lighting.
Many lighting alternatives and the adaptability of light help in creating different moods to a
space. It would be good to equip lamps with dimmers and divide them in different series. If the
patients themselves can regulate the lighting of their rooms, it can decrease their stress and
increase their sense of control. However, the controls should be logical and simple enough,
because too many alternatives and adjustments can confuse the patient and again lead to stress.
In hospitals one should also consider how the lamps look like when the patients are lying in beds
or sitting on wheelchairs. It is not desirable to see a dazzling ceiling lamp above a bed or an eye-
level light source dazzling directly to the eyes. In general, wards should aim to use as much soft
and indirect light as possible. Studies have shown that a premeditated natural light and artificial
light and their controllability speed up the recovery of a patient. (37: 2.)
The elderly need especially much light. Thus, good lighting is extremely important in nurs-
ing homes as well. The adaptability of an eye weakens with age and vision becomes worse (25:
90.) A 60 year old needs already almost three times as much light compared with a 20 year old,
and an 80 year old even more. Adaptation to new things also takes more time for the elderly.
For this reason, brightness differences between rooms should not be too big, because moving
from a bright room to a dark room can cause a momentary blindness. (34: 7.) Sufficient lighting
can decrease falling of the elderly, whereas the D-vitamin received from natural light speeds
up the recovery from falling. Right kind of lighting can also assist the elderly to function more
independently by improving their appetite, mood and self-confidence. (33:33.)

58 RESTORATIVE ENVIRONMENT
 CASE 2 / DYNAMIC LIGHTING
MERI VALTA

Dynamic lighting is a modifiable way to illuminate interior spaces that mimics natural light. It
regulates our internal clock and positively affects our wellbeing. With dynamic lighting one can
seamlessly adjust the intensity as well as color temperature of light and create different types of
atmospheres to different situations. Each user of a space can adjust fitting lighting conditions for
themselves, and the lighting can be programmed in a desirable way, for example, in accordance
with the daylight rhythm. The adjustability of the color temperature of light can be achieved by
using two different light sources of which one is of more warm tone and the other more cool
tone. By adjusting the intensity levels of light sources the color temperature can be seamlessly
mixed and modified from warm to cool. (38.)

AM KIRSCHBAUMER HOF -ASSISTED LIVING BUILDING, GERMANY

Year of completion: 2013
Lighting design and realization, Philips

When a human being ages, there happens changes in physical performance, which can for its
part lead to psychological changes too. With appropriately designed and functional lighting
one can support the autonomy of the elderly and create safety in their environment. In 2013 in
Germany an assisted living building for the elderly was completed. Its lighting was carried out
according to the principles of dynamic lighting. Lighting manufacturer Philips was responsible
for the design and execution of the lighting, and once it was completed it was a forerunner in
its field. With dynamic lighting it was possible to create natural light –type lighting conditions
indoors and adjust the conditions flexibly, according to the users, application and situation. With
lighting one aims at imitating the spectral distribution of natural light, which has been found to
be the best for human wellbeing in terms of artificial lighting. (39.)
Above all, when designing the lighting of the project the goal was to support the natural
circadian rhythm of the elderly. As people age their hormonal activity slows down and the pro-
duction of melatonin hormone weakens. The combination of low access to daylight with defi-
ciency of this “hormone of darkness”, as melatonin is sometimes also called, causes unfavor-
able disturbances in the circadian rhythm. Brighter than normal lamps that mimicked daylight

RESTORATIVE ENVIRONMENT 59
59
 CASE 2 / DYNAMIC LIGHTING

conditions were installed in spaces that are most actively used by the residents and the staff,
such as common rooms, patient rooms and hallways. Lighting that produce non-dazzling light
were installed in groups of four lights and they were adjusted so that they generate brighter than
normal light. Already an increase in the amount of light has been found to reduce aggression
in Alzheimer patients. In addition to this the spaces were supplemented with lighting-control
systems that enabled an intelligent control of the color temperature and quantity of light. In this
way the lighting of the spaces is possible to be regulated flexibly. With the help of the control
system, the color shade of light is regulated automatically during the day by adapting to the
natural light production of sunlight. During the light of dawn the shade of light can be almost
reddish. The shade changes through the different shades of blue and white back to a reddish
shade towards the evening. Lighting that is too strong during evening time does not allow our
system to relax and calm down. The color temperature of general lighting in spaces was chosen
to be 4000 K, which is a very neutral white. It fits well with hospital environments due to its good
light production capabilities. (39.)
The resident’s quality of everyday life was experienced to have improved with the implemen-
tation of dynamic lighting. The lighting boosted social interaction and it created a safe operating
environment. It was also experienced to generate a pleasant and refreshing atmosphere, in
addition to which it produced a sense of wellbeing. Safe lighting also contributed to the elderly’s
active and independent movement in the spaces. The support that dynamic lighting had for the
patients’ circadian rhythm was experienced to be significant, in addition to which the positive
effects of the lighting were directed towards the staff as well. As dynamic lighting becomes more
common, we have an opportunity to influence and support our wellbeing also through lighting.
The measures are not necessarily large, but the results can be significant. (39.)

60
60 RESTORATIVE
RESTORATIVEENVIRONMENT
ENVIRONMENT
 CASE 2 / DYNAMIC LIGHTING

Am Kirscbaumer Hof – assisted living building, Germany

Pictures: Philips

RESTORATIVE ENVIRONMENT 61
61
 THE FORM
AND CLARITY OF
AN ENVIRONMENT
MARJUT NOUSIAINEN

62 RESTORATIVE ENVIRONMENT
Environment and architecture shape us in many ways with-
out us noticing it. The shapes and measures of the environ-
ment affect our mood and spatial experience. A space can
DESIGN
get us to feel or change our behavior in a certain way; it
can be attractive or aversive. The effects of the environment
can be personal to us, but also cultural or even universal.
LANGUAGE
For example, the geometry and proportions have universal
effects on human beings, for that they have been derived
Organic forms have
from the human body and nature. (19: 9 – 13.) The organic
movement and life.
shapes of nature generally feel more natural than the plain
shapes of a constructed environment.

THE LINES OF NATURE

Our spatial experience is dependent upon what type of a

design language is supporting a human being (19: 43). A
straight line refers to clarity and an organic line to life and
mobility. Nothing is completely straight or square but every-
thing meanders and undulates. Nature creates unbelievably
rich and complex forms, for example in tree branches. In the
same way the shapes created by moving water are never
straight (19:47). Paths in a forest created by humans or ani-
mals are also meandering by nature. Therefore, curved, soft
shapes also feel familiar to us and please our eye. Curved
shapes have movement, life and energy. The freer the shape
is, the livelier it is too. Our eyes travel in the contours of
Aihki – tree in Lapland
nature and the moving shapes also encourage us to move Picture: Tapani Touru
(19: 54). On the other hand even surfaces, square edges and
overly straight lines can feel unnatural, strange and distant

RESTORATIVE ENVIRONMENT 63
 The Parliament additional building, (19: 12). They are shapes invented by humans that are born
Helsinki. Helin&Co Architects only by thinking, not naturally (19: 50). A tree naturally grows
Picture: Meeri Heikkilä
straight upwards, but still it is never completely straight
from its outlines. Thus, there is a lot different even between
a straight and a nearly straight line.
Combining straight lines and surfaces creates corners
and angles that break fluid motion and looks. Corners can
be straight, sharp, open or round. The magnitudes of cor-
ners influence our experience of them. They can be welcom-
ing, or vice versa. Straight corners can feel unbalanced but
lifeless. Narrow inner corners can feel distressing, whereas
large open or rounded inner corners can feel welcoming, as
outspread hands. Sharp outer corners, and all the shapes
that protrude towards us, can feel threatening and one
should avoid them too. (19: 40.) On the other hand, cutting
or rounding of the tips, sharp corners can be flattened out.
A healthy space should never be threatening, but easy to
look at.
Spaces should be designed so that its atmosphere and
design language match with its function. Straight corners
and lines however depict a human constructed environment.
It is hard to avoid them in modern architecture, which is
consisted of almost completely straight, pragmatic, efficient
and clear rectangular shape rooms, doors and windows
(19: 34).

64 RESTORATIVE ENVIRONMENT
They are easy to comprise, draw, produce, build, deliver,
style and furnish, but as such they lack a lot of life. Small
things can have a significant meaning though. Even straight
lines are possible to be made more vivid and so that they
slightly remind of movement. By connecting straight lines
one can also build curvy-like forms. (19: 50 – 52) Additio-
nally, rounded angles ease with the movement of the eye
and hand from one line to another (19: 103). Also, the way we
enter a space and how the space opens to us influences the
quality of our spatial experience. There is a large difference
in if the space opens or closes in front of us. (19: 38 – 39.)
Curvy shapes are more natural and livelier, but more
challenging in a constructed environment. It is easy to get
tired in an environment, which is too soft and pleasant,
because a person also needs clarity and stimuli to remind
about the task at hand. Even an organic environment how-
ever can be given clarity by adding straight lines there. In
general, furniture and items have more round shapes than
the spaces around them. Thus, curvy shapes fit better and
more naturally together with soft materials than hard mate-
rials. For example, pleated curtains, cushioned sofas and
pillows are always curvy shapes and they soften a square
space. Use of curves where they do not fit can however beset
even more than a straight line. (19: 52 – 53.)

RESTORATIVE ENVIRONMENT 65
 A CIRCLE

A round table Shapes also have practical effects in a social sense. For example, diverse types of table
groups evoke different type of conversation. A round table gathers people around it as
brings people
equal and it supports communication, whereas a rectangular table more easily leads
together. to separate conversations. A circle has a center and between the center and the ring
there is a tension. When we sit by the ring of a circle we are all equal and our attention
is focused towards the center. Therefore circle-shaped settings are more social and a
circle is a good shape for a community. A circle shaped space can be too rigid though,
and it requires deviations to be livelier. An ellipse is a circle-like shape. However, it
is not as equal as a circle, because it has two different directions. An ellipse-shaped
table or space fits well with a situation where, for example, the speaker is at the end
of the table or the room. (19: 31 – 32.)

A SQUARE

A square is very clear and rigid but balanced and practical shape. A square-shaped
space has two directions and it is easy to navigate. However, a square space has cor-
ners where movement stops, and square furniture has angles where one can walk
into. Different materials and colors on different surfaces form clear boundaries and
lines for a visual environment. If, for example, a roof and walls are the same color,
the borderlines slightly disappear, and then distinctive distressing corners are not
formed. Square shapes and corners do not advance movement, but they support
balance and harmony with their dimensions that are easily distinguishable. That
can also feel uncompromising though. A completely square environment has no life,
unlike a non-square one, and it has to be brought to life with light and softer shapes.
Arches in doors and windows, houseplants, furniture and decorations can soften a
room. Square rooms need a lot of stuff however, for them to come to life, thereby
feeding a materialistic culture. (19: 34.)

66 RESTORATIVE ENVIRONMENT
 The Parliament additional building,
Helsinki. Helin&Co Architects
Picture: Meeri Heikkilä

RESTORATIVE ENVIRONMENT 67
 A CLEAR A PLEASANT ENVIRONMENT

AND
Lively environments support wellbeing, but in order to be
healthy though, an environment must also be clear and
easily intelligible. At times we need more mobility, some-

PLEASANT times clarity to think. Rarely we need just the other however,
but the answer is in a combination of these two. (19: 55.)

ENVIRON-
A restorative space could therefore have easily intelligible
round shapes that have been softened and brought to life
with tender arcs and roundenings?. Also the diversity of the

MENTS environment increases the feeling of comfort. In a pleasant

environment there is a lot to be looked at, but not too much
so it would become oppressive. A lively space must also be
conceived three dimensionally, not only on the level of the
floor plan. When we move in nature, no ground we walk on
is completely flat. A constructed environment can therefore
have level separations in suitable places, for example in the
floor or the ceiling. One must remember that the level sep-
arations without pertinent ramps do not belong to an unob-
structed environment though. However, level separations in
the ceiling are effective solutions. (19: 34.)
For a space to not induce stress, it must neither be too
narrow or crammed, but one should be able to move there
freely. For a room to be spacious though, it does not need
to be large but only correctly organized. The requirement of
space is subjective. A space that is too large or too high feels
A restorative environment has unsafe to many, whereas a small space agonizing. Often peo-
both straight clear shapes and ple also search support and comfort from small rooms where
lively soft arcs. they feel themselves safe (18: 58). Many public buildings

68 RESTORATIVE ENVIRONMENT
can seem oppressive, already because of their large size
alone. Long continuous corridors make large buildings even
more institutional. They do not support wellbeing, but they
often feel distressing. With small changes, such as indirect- Haltia Nature Centre, Espoo.
ness, varying widths or recesses, even a corridor can be Architecture office Lahdelma & Mahlamäki
Picture: Meeri Heikkilä
transformed into more interesting. (19: 117.)
A pleasant environment should not have too much reit-
eration either. For example, high-rise buildings or hospitals
can appear like large institutions that have been assembled
out of identical boxes, which are used as human preserva-
tion units. Box-likeness, large size, lack of individuality and
repetitiveness of a shape can be experienced as oppressing
and unnatural. These boxes need a lot for them to become
lively. Everything is slightly different in nature. No leaf of a
tree is similar to each other. Repetition of a particular shape
brings out a rhythm. A rhythm may appear dead and oppres-
sive if it continues identically for too long, as in an endlessly
long hospital corridor, which is full of coincident doors. The
merger of spaces and their dialogue would be a healthier
solution. The repetition of shapes without a reason does
not consider the true need and individualism of forms. For
example, every window of a building could in principle be
different, for that every one of them is located in different
places and in different relation to sun and the surrounding
nature. Every view from inside out would is different. Repe-
tition however is also a basis for rhythm and it creates struc-
ture to an environment. A rhythm that is becoming distress-
ing can be eased by breaking lines and by creating vividness
and deviations into the regularity. (19: 25 – 27.)

RESTORATIVE ENVIRONMENT 69
 WAYFINDING

Wayfinding is navigation in a constructed environment. A

well-designed environment assists its user to experience
the space in a positive way and to reach the user’s objective
without problems. In order to support wellbeing, the envi-
ronment and the routes should be unambiguous and logical.
From a window view it is easy to perceive where in the build-
ing you are and where you are heading. A lack of windows
in the middle of a large building hampers navigation in a
space. An environment can also guide a person by offering
clues and signposts about location and direction. Signposts
are an important part of the environment in public spaces.
Signposts must be clear and unambiguous and they must be
designed carefully to correspond with their purpose. Also,
it is possible to have too many signposts, which confuses
the user even more. (45.) Colors, materials and graphics can
also be used to guide the user from a room to another. Pas-
sageways should therefore be comprehensively designed
as part of the building. An unambiguous environment can
generate a sense of control over a situation. An ambigu-
ous environment can instead lead the wayfarer astray and
induce anxiety and stress.

Onni Centre for Wellbeing, Pukkila, Finland.

Architecture firm L&M Sievänen Oy
Windows ease the navigation
Picture: Architecture firm L&M Sievänen Oy in a space.

70 RESTORATIVE ENVIRONMENT
A FLEXIBLE SPACE

The transformability and flexibility of an environment

TRANSFORM -
increase its versatility. Public spaces, such as hospitals,
schools and working environments should be suited for
ABILITY OF
many different users and uses. This also makes the design
of spaces more challenging. Spaces must be flexible and
transformable to different needs so that they can support
A SPACE
all of its various users. Many spaces have to simultaneously
support the customer service provider as well as the cus-
tomer, both of which may have very diverging needs. For
example, schools are development- and learning environ-
ments for students but working environments for teachers.
(25: 126.) Flexible and transformable school spaces enable
the best possible learning conditions, for groups of various
sizes, for various subjects and various learning methods.
Transformable classrooms convert based on the occasion,
and they can be pieced together or divided to smaller spaces
if necessary. This allows for taking care of the possibility of
changing needs in the future and in that way supporting
An environment can support
the longevity and durability of the building. (17: 16 – 17.) The social interaction.
transformability of products and furniture also increases
their versatility. Products that comply with various solutions,
assemblies and situations are more long lasting, and thus
more ecological, than products that cannot be modified.

RESTORATIVE ENVIRONMENT 71
 REGULATION OF PROPRIETARY SPACE IN A HEALTHCARE ENVIRONMENT

A sense of control All of us have our own boundaries and we need personal space in different ways (19: 10). The

relieves stress. need for private space is highlighted when it is in danger, such as in a hospital. Spaces that
respect our privacy and us as individuals are healthy. If someone crosses your limit and threat-
ens your privacy it can induce stress and push you into a corner. Studies show that people who
feel that they have a sense of control over their situation cope better with stress, and they are
healthier, than people who lack the possibility to influence their situations and environment.
The feeling of lack of control in a hospital induces stress to the patients. Patients cannot control
their own space while they are in the hospital, however it can improve their state of mind if they
can influence many things, such as the amount of privacy, lighting, music and temperature. (12.)
Some patients need more privacy and others need more social support. The wishes of an
individual patient can also change day to day. Single or double rooms are better than larger
wards. A private room guarantees privacy and improves the quality and quantity of sleep, but on
the other hand in double rooms the roommate can be a source of social support. Incompatible
personalities, noise pollution, lack of privacy and sleep disorders however often disclose the
need for private patients rooms. Private patient rooms are better than shared rooms, because
they better allow for family visits and overnight stays. Private rooms further the recovery of
patients by decreasing the risk of infection and improving the quality of treatment and com-
munication. Private patient rooms should also have space for family members to spend their
time conveniently. (12; 13.) Private rooms and good social spaces are a good solution that can
guarantee privacy as well as social support for patients. Transformability in interior solutions
assists in pleasing everyone’s desires and in relieving stress. (28: 285). One solution is to offer
an open floor plan, which has movable interior walls, so that the environment can be changed
according to the needs. In that case however, for example, the between-spaces acoustics is more
challenging to be solved. For example, if desired, one wall of the hospital rooms could be opened
to public spaces for daytime and closed again for evening time. In this way, the patient could

72 RESTORATIVE ENVIRONMENT
personally decide how much he or she wants to share with others, which would significantly A modifiable hospital room concept
Picture: Marjut Nousiainen
increase his or her sense of control.
Humans need social support from each other. People who receive more social support
are healthier and less stressed. With the organization of furniture a healthy environment could
encourage, but not force, social interaction with other patients and family members. Various
comfortable and movable seating formations in wards summon the patients out of their rooms
with visitors and other patients. Uncomfortable benches and wall-mounted seats on hallways
can do the opposite though. Round tables gather together everyone that is sitting around it.
Smaller dining tables can evoke more conversation. Social spaces should have natural light and
seats, which can be placed next to each other. For example, gardens are wonderful environments
for social interaction. A healthy environment also assists family visits of patients, among other
things, by increasing comfortable waiting areas and offering possibilities for overnight stays in
patient rooms. According to research, patients that receive more social support from their family
members recover better from surgeries. (12.)

RESTORATIVE ENVIRONMENT 73
 CASE 3 / TRANSFORMING SCHOOL BUILDING
MERI VALTA & HEIKKI LINDROOS

MANSIKKAMÄKI SCHOOL, KOUVOLA

Year of completion: 2014
Architecture by Linja Architects, Oulu; Timo Koljonen and Roope Rissanen

The largest school made out of tree in Finland has around 600 students, of which 100 belongs
to special aid district. Autistic children have their own educational spaces in the school. The
starting points for the design of Mansikkamäki school have been to create a safe and healthy,
appropriate learning environment in terms of learning and instruction, which advances the psy-
chological and physical wellbeing of the people using the space. The ecology, transformability
and life cycle expenses have received special focus in the design of the school.
The school building has been designed around an atrium yard. In this way every class-
room or working space has a view either towards the inner court (atrium) or directly towards
the nature. The building beautifully basks in natural light with playfully located, various size,
windows supporting this effect. A diverse window solution guarantees the supply of continuous
and alternating natural light. The view that opens from the window eases and supports the nav-
igation of a person moving inside, positioning of self as well as location of objects relative to the
environment. This has been additionally supported with different color hallways that have been
further enhanced with adequate color rack solutions. These rack solutions also were one of the
most memorable elements on Mansikkamäki.
A magnificent architectonic detail can also be found from the hallway structures upstairs.
The institutional structure has been successfully broken in a simple way, which works great in
practice. A stair railing with oak laths creates an interesting surface, beautifully sieves light, and
when installed indirectly, it makes the space comfortable and the shape of the building more
easily perceivable.

ADAPTABILITY AND TRANSFORMABILITY

At first glance, the classrooms of the school are not much different from ones already previously
realized. With a closer look on the subject, one can perceive implemented visions, and even

74 RESTORATIVE ENVIRONMENT
 CASE 3 / TRANSFORMING SCHOOL BUILDING

dreams, which are waiting for their turn. According to the school principal the design sought to
strengthen a culture of “doing together”, and it shows in many ways too. Instead of a traditional
school desk –model, Mansikkamäki primary school children study around a polygonal desk,
which are easily made into different size small groups. This kind of a simple custom can have a
significant effect in a psychological sense: no one is left outside the group, which easily happens
with the traditional school desk –model. Another distinction compared to the traditional model
is the lack of storage compartment. Personal items are stored in a common locker inside the
classroom. In this way one avoids the formation of private spaces, which has been found to
increase social interaction.
The classrooms are spatially large and there is a direct view to the nature from all of them.
They can be split into two, at best even to three different size sections. Oak veneered folding
doors function as room dividers. Some classrooms also have double doors. In terms of the trans-
formability of the space, the function of double doors is a bit airy. Folding doors allow a greater
transformability of the space, and in addition to that the thought could be developed further. Mov-
able dividing walls could bring more opportunities of variation of how to implement the division
of space in classrooms. Also, the mood of the space could change. The other side of the space
could be more activating and encourage, for example, mathematical and thinking demanding
efforts. The other side of the classroom could be dominated by a calmer mood, which would
subtly guide towards attentive and, for example, creative activity. This type of divisions of space
could also be used case by case between different personalities, how they are located in the
classroom when the space is open. In addition, some of the classrooms have an aquarium -type
space, which in accordance to its name is a small, windowed room. The aquarium -type space
enables a so-called differentiation. In which case the student, who for example has advanced
further than others, or is behind, can have a distraction-free peace of work and still remain
under the supervision of the teacher. Downstairs one can find an auditorium –type space, which
transforms into an educational space for a larger crowd, a theater stage or a meeting place with
friends, when necessary. During a normal school day the space has low bookshelves, but thanks
to wheels that are placed under the shelves they can be effortlessly moved to the side on request.

RESTORATIVE ENVIRONMENT 75
75
 CASE 3 / TRANSFORMING SCHOOL BUILDING

According to the school principle the culture of doing together is largely born out of atti-
tudes. For example, alternative instructional methods and versatile uses of spaces are eventu-
ally on the responsibility of the staff, their time, resources and creativity. The versatile spaces
of Mansikkamäki, such as for example the bright corner in the lobby with its relaxed beanbags,
conveniently break the plainness and orderliness of the school, in every sense of the word. Tak-
ing a class there could offer an invigorating and equal alternative to what is customary.

Mansikkamäki School, Kouvola. Linja Architects

Pictures: Meeri Heikkilä

76 RESTORATIVE
RESTORATIVE ENVIRONMENT
ENVIRONMENT
MATERIALS
MARJUT NOUSIAINEN
PETRI HEINO

RESTORATIVE ENVIRONMENT 77
 Nature’s materials are
genuine and emotive.
Picture: medium.com/@dustin

Nature’s Materials make the world tangible and real to us. That what we feel on our skin in a constructed

materials environment is based on the choice of surface materials we make. All materials have their own
properties; they create a certain kind of an atmosphere to a space and influence our spatial
invite touch.
experience. Wood always feels warm, stone hard, plastic unnatural and concrete cold. Therefore,
for example, a space decorated with wood often has a warm atmosphere, and a space decorated
with concrete often has a cold atmosphere. (19: 92 – 93.) With the emphasis on artificial materials
and visuality in constructed environments, materiality, experientiality and honesty have become
weakened (18: 34). For example, a wood reproduction produces only a positive visual experience
at its best. It can look good, but not feel, sound or feel right. Compared to an authentic material,
an artificial one is always false and negatively impacts our spatial experience. (19: 69.)

78 RESTORATIVE ENVIRONMENT
NATURAL VS ARTIFICIAL

Warm and richly textured surface materials create a strong

SURFACE
sensory experience and we are deeply touched by them,
whereas surfaces that are too flat or cool can leave us cold.
Structural materials also make for a more interesting visual
MATERIALS
experience, because they offer a surface structure for light MARJUT NOUSIAINEN
to play with. A material that feels, looks and sounds pleas-
ant produces a positive multisensory experience and is
therefore healthy. Many natural materials are like this. Their
texture is lively and warm, they invite to touch and offer a
perfect reflective surface for light, as well as they smell and
sound pleasant. On the other hand, an environment that
consists of artificial surfaces often offers one-sided sensory
experiences. (18: 34.)
Nature’s materials in general feel natural and healthy
for humans. On the contrary, many artificial materials feel
unnatural, cold and even unhealthy. Artificial materials have
no history and one cannot sense time in an artificial environ-
ment. Nature’s materials on the other hand are authentic
and emotive. One can sense an age and a history of them.
Natural materials, such as wood and stone, connect us
to nature and history. Unlike artificial materials, nature’s
materials also often become only more beautiful as they
age. Patina of age further increases the piquancy, honesty
and experientiality of an authentic material. (18: 34.) A beau-
Viikki church, Helsinki. JKMM Architects
tifully worn hand-made wood surface downright invites to Picture: Meeri Heikkilä
touch, whereas less an artificial material that has worn with
less dignity can do the opposite. In the best case, a material’s

RESTORATIVE ENVIRONMENT 79
 story can connect us with life and its continuity. Artificial materials, such as metal, concrete and
plastic are not suitable materials to a healthy habitat. On the other hand, natural materials such
as wood are. (19: 93.) The restorative effects of wood are significant to a human being.

ECOLOGICAL MATERIALS

A restorative and sustainable environment goes hand in hand. A healthy environment is born
out of respect for nature; it stands the test of time and conserves the environment as well as
deepens the connection between nature and the human being. Employed materials should be
natural, sustainable and ecological always when it is possible. Properties of ecological materi-
als, in addition to being natural, are, among other things, renewability, recyclability, longevity,
abundance, as small as possible need for refinement, production and maintenance, as well as
close availability. The less the material is needed to be refined, the more ecological it is. (7: 57
– 59.) Environmental certifications, lifecycle analyses and eco-labels help with the selection of
ecological materials (7: 13 – 14). Wood is superior in this aspect as well; it is a renewable natural
A restorative
resource, which can be re-used and recycled. Moreover, it is abundantly available in Finland.
and sustainable Management of the wood’s source information is part of socially sustainable raw material pro-
environment curement. Then, one can reliably state that the wood is from lawfully cut forests whose owner-
goes hand ship rights are in order. In addition, forests are managed sustainably. Other building materials
in hand. do not have corresponding systems.

MAIN SURFACES

The floor, the ceiling and walls make up the largest surfaces of a space. Thus, they are also
the main surfaces in terms of material choices. The floor is the most important light reflecting
surface of a space, as well as the surface that our looks are most directed towards, and therefore
it should be selected with care. In selecting the material, one should focus, among other things,
to its the ecological-, heat-, acoustic-, durability- and reflective properties. Wood, in its many
forms, is a good floor material. Other natural and ecological floor materials are, for example,

80 RESTORATIVE ENVIRONMENT
bamboo, cork and linoleum. Also natural stone and ceramic tiles are suitable for floor and wall
surfaces, especially in wet and heavy wear and tear rooms. There are many types of tiles but, in
general, more structural and pleasantly feeling surfaces can be thought of as multisensory, and
therefore healthier, in relation to shiny and smooth tiles. In an ecological sense, tiles bind a lot
of energy because of their production and transportation, but on the other hand they can be very
durable. (32: 78 – 83.) Vinyls, laminates and plastic carpets cannot be thought of as restorative
surface materials.
Wood is a multiform material and it is suitable to be used for the upholstery of walls and
interior ceilings, as such or processed. It can be used in the form of boards, laths, panels,
plywood and different type of claddings. Wood as supporting frame material can be often left
exposed and it thus also functions as surface material. The processing opportunities for wood
are endless. One can do various types of patterns on the surface of the wood, in which case
the surface can be made even richer. If necessary, surface treatment agents in a healthy envi-
ronment should be made of traditional nature’s raw materials, such as whitewashes, plasters
and natural wax’s or other M1 –emission rating produced surface treatment agents. Natural
paints are durable, environmentally harmless substances and they do not release any noxious
substances into the air inside, as for example solvent-borne paints do. (7: 101 – 103.) In addition,
for example, clay-mortar plastered hand-finished structural wall-surfaces are vivid and create
multisensory experiences and extra-dimensionality to the space, compared to plane wall sur-
faces alone. Alternative to plastering or a wood surface, there are also, for example, textural
plant-fiber wallpapers available (32: 91). When selecting surfaces, one should also consider their
cleanability and the hygiene requirements of the space.

MATERIALS IN A HEALTHCARE ENVIRONMENT

According to a survey conducted in Canada, none of the answerers had experienced wood in
hospital environments, not significantly at least. Instead, they experienced hospitals to be con-
sisting mainly out of metal, glass, plastic and textiles. (46.) Healthcare environments largely
consist out of artificial, plain and hard surface materials. The main reasons for that are hygiene,

RESTORATIVE ENVIRONMENT 81
 cleanability and heavy wear and tear that often create constraints in terms of the use of natural
materials, such as wood, in public spaces. Often also prejudice is a reason for this as well. Sur-
faces in healthcare environments have to be dust non-collecting, easily cleanable and resistant
to strong detergents. Operation rooms have the most strict hygiene requirements, but generally
the whole hospital should be clean and sterile so that infections could not spread. Wards also
have high hygiene requirements. (28: 190.) In addition to hygiene, when making material choices
for healthcare environments it would be important however that one would also pay attention to,
among other things, the acoustics properties, and that the materials are non-dazzling, non-slip-
pery and natural.
Floors especially are required to be easily cleanable and durable. A few studies have com-
pared the significance of floor materials in hospitals. They have found out, for example, that
the feared fitted carped, when it is properly cleaned, is not necessarily so unhealthy as is often
thought. A carpet is a good floor material from the perspective of a patient, because, for exam-
ple, the elderly have easier to walk on it, and therefore less falling accidents happen. A carpet is
thought of as a better material than vinyl, also because of its non-slippery, non-dazzling prop-
erties, acoustics and convenience. In addition it has been considered to increase comfort and
homeliness, and that way enhancing the healing of patients by, among other tings, increasing
the length of visitors’ stay and the amount of social support that is received from them. However,
the hospital staff prefers the vinyl more for two reasons. It is easier to clean and push carts on.
Softer and more homely than traditional vinyl floor materials can at least be, if possible, used
in wards though, if their cleanup is correctly taken care of. Operation rooms, labs, intensive
care units and moist spaces should however avoid fitted carpets at least. (12; 47.) According to a
survey that was conducted in Norsk Treteknisk Institut in Norway, also the hospital staff is most
pleased by patient wards that had used wood on floors and on the walls opposite to the patient’s
bed (48). According to a research conducted in Canada, Fell and Lavoie determined three strate-
gies for how to increase the use of wood in the interior design of public spaces: 1. Wood could be
used high up, where it is not as exposed to wear and tear, 2. Wood could be refined to be more
durable and washable, 3. Wood could be used together with other materials that are considered
pleasing, such as glass, plants and stone. (46.) In order to make a healthcare environment softer

82 RESTORATIVE ENVIRONMENT
and more natural, many surfaces that are not touched could be made more natural at least. For Onni Centre of Wellbeing, Pukkila.
Architecture firm L&M Sievänen Oy
example, ceiling surfaces and the upper parts of the walls are not exposed to touch, but they Picture: Architecture firm L&M
Sievänen Oy
are integral viewing-surfaces in wards and operation rooms, where patients are lying in beds.
Installation of natural surfaces on high places enables all other benefits except for the sense of
touch. In addition to viewing-surfaces, it would be important to strive to bring the warmth and
texture of the materials also onto contact surfaces, such as furniture, so as to accomplish a
positive sensation of touch as well.

RESTORATIVE ENVIRONMENT 83
 THE OVER- IN PRAISE OF WOOD

A wood surface is beautiful and warm. It appeals to the

POWERING emotions. Wood is a material that is ecological, flexible in

many ways, ancient and at the same time forward-looking.

WOOD It is the oldest building materials used by humans. As many

building materials evolved, it remained characteristic only in
some areas, because of its availability, workability and insu-
lation properties. Finland of the northern taiga is a land of
PETRI HEINO
wood construction. Two thirds of Finland is covered in forest.
The view has always been wooden, in scenery as well as in
buildings. The tradition of the use of wood was threatened
to end with the tsunami of urbanization, but along the new
composition and processing opportunities, and the progres-
sion of bio-economy, wood has made its comeback in cities,
high-risers and interior design.
Wood is a product of nature, an organic material, which
grows in forests empowered by sunlight, creating oxygen
into the atmosphere, binding carbon dioxide into its bio-
mass, producing building material and other goods, and it is
exploitable as biofuel in every phases of its lifecycle. From an
ecological perspective wood is superior compared to other
materials when its chain of origin is known and certified.
European forests are certified and quantitatively sustainably
managed. Criticism for forestry is directed towards poor
treatment of the biotopes of endangered plants and animals.
By purchasing European or certified wood one can be sure
that the forestry is controlled by third parties and continu-
ously improved.

84 RESTORATIVE ENVIRONMENT
 In addition to the ecological rationality for the use of
wood, it is important to consider its psychological dimen-
sions. Wood is physically close to a human being, from the
cradle to the grave. Its essence is familiar to us. Skin enjoys a
wood surface, would it be on a summer terrace or in a sauna.
The genuine wood connects the human being to nature, amid
the surge of artificial materials, and as it changes and ages
it is a lasting material, and therefore safe.
Use of wood is easy, even children can make a spear and
build huts. A doghouse, a woodshed, a fence, a terrace and
earlier, a small house, were born with fundamental citizen
skills. A more demanding wood building requires the
designer to understand its behavior, and identification and
acceptance of its special features. If you take up a building
project you should have an idea of wood construction from
the beginning, especially if it is a case of a wooden frame
building. In an indoor environment it is possible to include
wood into the design also later in the project.
There have been many praise writings written about
wood in the world. Roy Mänttäri brought up one of the most
interesting ideas in the introduction of a book written for
the Museum of Architecture’s Wood Architecture Exhibition:
“The biggest benefit of wood architecture is its commitment
to time. It reaches out into the history of construction, and
like in all construction, it targets into the future, at the same
time as it displays the manifestations of aging on its face.
The erosion caused by humans and forces of nature is dis- Daycare Omenapuisto,
Helsinki. Häkli Ky.
played in a wooden building in a similar way as the internal Pictures: Jussi Tiainen
decay of an organic substance. Wood architecture is not
eternal. It requires maintenance, which consequently makes
it so humane.” (49.)

RESTORATIVE ENVIRONMENT 85
 PROPERTIES OF WOOD

Wooden stool Wood as a material has numerous good properties that advocate its use. Wood is a renewable
Marjut Nousiainen
Pictures: Meeri Heikkilä natural material and the forests of Finland grow faster than they are consumed. Use of wood can
significantly reduce carbon dioxide emissions. Wood is a local material and when compared with
other materials, its transportation and refinement requires significantly less energy. In addition,
wood is a recyclable material. After using it, it can be made into new products and finally utilized
as thermal energy.
Wood is light, and in the directions of its grain it is very strong. When properly designed,
wood can be used in building light and strong structures into indoor- and outdoor spaces. Also,
it is easy to make extensions, additional layers, lofts or removals into a wooden frame even later.
The cell structure of wood insulates heat naturally. Wood as a hygroscopic substance evens out
moisture and retains a pleasant room air, during winter as well as summer. The smell of wood
is familiar to everyone and it is generally considered as enjoyable. The smell is formed from
ingredients typical to individual species of wood, such as terpene, tannic acid and essential oils.
Over time the scent becomes diluted and surface finishes can weaken its effect too.
Wood also has acoustic properties. An impermeable wood surface does not mute a sound.
For example, when connected against the surface of a wood veneer about 90% of sound energy is
reflected back. By grooving and perforating the surface in different ways, and changing the back-
ground material one can influence the noise suppression features. Noise suppression usually
requires the use of varved structures. One can use acoustical wood panel surfaces and lowered
ceilings in indoor ceiling constructions as part of the building’s acoustic design. The acoustic
properties of wood are utilized a lot, for example, in auditoriums and concert halls.
Wood is also an antibacterial material. The attributes of different species of wood vary, but
as a general trait the extractives of wood and the fast drying out of its surface prevent the growth
of harmful microbes.

86 RESTORATIVE ENVIRONMENT
 The overpovering wood.
Picture: pexels.com

RESTORATIVE ENVIRONMENT 87
 RESTORATIVENESS It is only in a sauna or at the summer cottage that a Finn
encounters wood surfaces in abundance. These kinds of
OF WOOD environments with wooden interiors are experienced as
MARJUT NOUSIAINEN relaxing and stress reducing. Research during the recent
years has shown that wood as a material has numerous
restorative effects on humans and that it should be utilized
more extensively too. The use of wood in interior spaces
positively influences our wellbeing physically as well as
psychologically. For example, a study that was conducted in
Wood revitalizes! Canada found wood to have similar stress reducing prop-
erties as nature, the revitalizing effects of which have been
studied a lot in the field of environmental psychology. (53.)
The impact of wood on a human being has been studied
in many different research institutes, with physiological as
well as psychological experiments. The physiological exper-
iments have included, for example, control of the pulse and
blood pressure when a human is exposed to wood. In addi-
tion, after exposure to wood, the personal opinion, changes
in psychological impression and the amenity of wood have
been assessed with subjective evaluations. Also, the con-
nection between the physiological and psychological reac-
tion has been studied. The test subjects have been exposed
to wood, for example, by showing them pictures of indoor
spaces that have been decorated with wood, with the goal of
finding out what quantity of wood feels pleasant to them and
what type of activities they would want to perform in each of
Nature Centre Haltia, Espoo. the spaces. The test subjects have also been requested to
Architect firm Lahdelma & Mahlamäki
Picture: Meeri Heikkilä spend short amounts of time in spaces that have been dec-

88 RESTORATIVE ENVIRONMENT
orated in different ways, to see how the space affects them physiologically and psychologically.
More physical experiments have also been conducted, where the test subjects have performed
different tasks in spaces that have been decorated in various ways, or then they have just been
requested to look or touch different materials for a moment. (48; 53; – 60.)
The research has shown, among other things, that spaces that have been decorated in
different ways cause different type of physiological reactions. Results indicate that looking at
wood and staying in spaces that have been decorated with wood reduce stress. One Japanese
study also suggests that the human body would have been designed to reach positively to natural
materials, because even touching cooled wood does not cause physical stress although it would
feel unpleasant. An Austrian study found that the test subjects also slept better in a wooden bed
compared to a wood imitation. Sleeping in a wooden bed was found to save up to 3500 heartbeats
a day. However, studies show that even the use of wood has its limits, because generally people
perceived a moderately wooden interior decoration as more pleasant than a completely white
or wooden decor. According to these results, wood could be used in interior spaces, such as
healthcare- and development environments, as a stress reducing element part of restorative
design. (48; 53; - 60.)

MOST PLEASANT The Haptic Research Island experiment, conducted by Kymenlaakso University of Applied

WOOD SURFACES Sciences, studied what kind of wood materials people like the most and what type of com-
ponents of experience are connected to their preferences. Finely sawn spruce, old oak, oak
log, grey oak, BirchUp –special glulam, lacquered oak parquet, OSB –panel, glued laminated
birch and laminate. Results show that the most pleasant materials among test subjects
were glued laminated birch, old oak, oak log and grey oak. They were found to be beautiful
and causing the least negative emotions. Finely sawn spruce, laminate, OBS –panel and lac-
quered oak parquet were least liked. They were considered to be least esthetic and causing
most negative emotions. (61.)
RESTORATIVE ENVIRONMENT 89
 CASE 4 / PLACE FOR EMOTIONS
PETRI HEINO

FRIROM, ST. OLAV HOSPITAL, NORWAY

Year of completion: 2013
Architecture by Suunniva Huus Norbø and Maren Storihle Ødegård

Our environment most affects people who are stressed. FRIrom is a nine square meter wooden
pavilion, which is located on the roof the clinic for women and children of St. Olav hospital in
Trondheim. FRIrom is created to be a place with a good atmosphere and where family members
and patients can find a feeling of peace and safety in their difficult circumstances. It is a place
where everyone can enjoy quietness and being without any restrictions resulting from the envi-
ronment – no obligations, no expectations, no interruptions.
Throughout the design process the architects studied factors that affect human beings,
such as light, the sky and natural materials. Their aim was to create an environment and space
for contemplation, as well as give something back to the user. They looked for the same type of
feeling, which happens when one sits around a campfire – there one can be quiet, just sit and
look at the flames that live their own lives, feel warmth and the smell of burning wood. (62.)
Most humans are conscious of their own private space around themselves. Evaluation and
control of the own space are necessities for relaxation and a sense of security. The shape of the
pavilion is an inwardly rotating spiral, which has a round space inside it. The shape closes the
human inside it, but also always has an open and clear way out. A big glass door provides the
user with control of the environment, during both entry and exit. Footsteps that are machined
into the floor, hooks on the walls and a seat that organically grows out of a solid wood wall, guide
the users to take their coat and shoes off. Doing just that the user communicates that the space
is occupied. Shoes are taken off often only at home, so it helps the users to relax. A wool-sur-
faced cushion covers the floor of the round space. It is a transformable piece of furniture that
together with a large pillow gives the user a freedom in using the space. The room has no ordi-
nary furniture or windows, just a large round skylight and covering solid wood walls. (62; 63.)

90
90 RESTORATIVE
RESTORATIVEENVIRONMENT
ENVIRONMENT
 CASE 4 / PLACE FOR EMOTIONS

The pavilion is build out of Norwegian wood, which reminds of forest and nature, unlike
many other rooms in the hospital. The implemented solutions are unique and designed espe-
cially for this project. The wood parts are made of 50 mm thick laminated pine panels by using a
digital model. The annual rings of the gable-wood create an alternating expression on the wall
where no spot is similar. New patterns can be found on every visit. Many users of the space have
mentioned nature as an important source of peace and recovery. Research has also shown a
significant connection between the elements of nature and stress level declines. In a hospital, it
is difficult to get a daily connection with nature. Use of natural materials such as wood can bring
elements of nature to places where it is normally not so easy. (62; 63.)
The acoustic environment of a room, which can be heard when a person has settled down
to the space, is dominated by the sounds of birds and water. Sound is calming. It is also possible
to play your own records or to enjoy complete silence. The experience of the space is different
based on the time of the day or the year. During daytime the skylight guides one’s attention
towards the sky and natural light, which is constantly changing. When darkness arrives, small
origami cranes, which have a light source in them, come out and create a feeling of a lower ceil-
ing, therefore completely changing the atmosphere of the space. An origami is an old Japanese
art form, which is connected with happiness and hope. Children, family members and partners
have made origami cranes as symbols for hope and as memories of something important. (62;
63.)
One of the most important topics in FRIrom is that you can be alone and completely certain
that you cannot be seen. Therefore nature could not have been presented by scenic windows or
terrace plants alone. A pavilion built entirely out of wood brings nature out in a different way.
The architects thought it was important to use wood innovatively by bringing the user a new and
unexpected experience. The surface needed to be soft when leaned onto, and to smell natural.
The surface is therefore sanded very smooth and processed with a mix of beeswax and linseed
oil, which has been added with white pigment. The aim was to retain a tone of blonde wood as
time passes. (62.)

RESTORATIVE ENVIRONMENT 91
91
 CASE 4 / PLACE FOR EMOTIONS

Frirom, St. Olav Hospital, Norway

Sunniva Huus Nordbø and Maren Strohile Ødegård
Pictures: Pasi Aalto

92
92 RESTORATIVE
RESTORATIVEENVIRONMENT
ENVIRONMENT
 HEALTHY
INDOOR AIR
MARJUT NOUSIAINEN

RESTORATIVE ENVIRONMENT 93
 Clean air is essential for our wellbeing. However, it is now-
adays very hard to find. The air outdoors is polluted by the
industry and traffic, and the indoor air is often even more
impure. The majority of the air we breathe during the day is
however indoor air, so that its quality largely impacts to our
health and the restorativity of the space. Indoor air consists
of different type of gases, particles and microbes. Indoor cli-
mate on the other hand consists of indoor air and physical
factors that impact its quality, such as thermal conditions,
airflow, humidity, radiation, lighting and noise. (64; 23;
65; 15.)
Indoor air quality should be of such kind that it does
not cause health hazards but that rather it supports the
wellbeing of humans. However, in terms of indoor air, the
industrialized construction has changed towards the neg-
ative and it has become a public health issue (64: 24). Bad
indoor air can cause, for example, allergic-, respiratory-
and skin-symptoms, irritative symptoms in the eyes, nose,
throat and the pharynx, fatigue, headache, nausea, as well
as dizziness. Buildings that cause these types of symptoms
are often called sick buildings. Buildings that suffer from
Picture: picjumbo.com the sick building –syndrome are often put to use after 1976
and mechanical ventilation is typical to them, which nowa-
days is required practically in all of new construction. (65: 17
– 20.) The sick building –syndrome dates back to the 1970’s
Clean ear is essential
energy crisis, when together with the rise of the price of
for our wellbeing. oil, building technique was quickly changed. The changes
that were made were mainly based on the conservation of
energy, and the quality of indoor climate was largely left
without a notice. (64: 75.)

94 RESTORATIVE ENVIRONMENT
THE IMPURITIES OF INDOORS AIR

The quality of indoor air is diminished, for example, by con-

FACTORS
struction- and indoor decoration materials as well as furni-
ture and objects effluents, inadequate cleanliness, moisture THAT
damage of the building and wrong kind of thermal condi-
tions. Also the human itself and its activities impact the
quality of indoor air. (65: 16.) For example, burning candles,
INFLUENCE
use of chemicals and cooking increase indoor air impurities.
The location of the building also has a large impact on the THE QUALITY
OF INDOOR
quality of indoor air, because the outdoor air pollution make
up for part of the indoor air impurities (64: 28). Indoor air
can also have harmful radon-radiation, which in the worst
case causes lung cancer. Radon can enter the indoor air
from the soil under- and around the building, from stony
building materials and with household water. (65: 97 – 99.)
CLIMATE
The chemical impurities appearing in indoor air are one
major cause of indoor air problems. They are, for example,
organic compounds i.e. VOC’s (volatile organic compounds),
evaporating from building- and interior decoration materials,
formaldehyde evaporating from many coatings, carbon diox-
ide caused by human metabolism, and house dust. (65: 31.)
The most essential thing to consider when designing a
healthy indoor environment is the chemical impurities orig-
inating from building- and indoor decoration materials and
furniture, which diminish the quality of indoor air (66). Many
soft materials, such as carpets and curtains, soak up impuri-
ties and it can be quite a long time that they function as their
reservoir, even though the original source of the impurities
would have already been removed (65: 38).

RESTORATIVE ENVIRONMENT 95
 PHYSICAL FACTORS

Majority of Also physical factors, such as temperature conditions, radiation, lighting and noise, can influ-
ence the person’s satisfaction and experience with indoor air quality. Temperature conditions, in
the humans
addition to air and surface temperatures, including air movement and humidity, can be seen as
experiences the most important physical factor influencing indoor air. Air temperature directly influences our
air temperatures spatial experience and satisfaction, together with the excretion of impurities in materials. Also
surface material temperatures impact how we experience the air temperature. Majority of the
of 21-22 °C as
humans experiences air temperatures of 21-22 °C as most enjoyable. Air temperatures higher
most enjoyable. than that often feel dry and stale, as well as causing fatigue and diminishing the ability to con-
centrate. On the other hand, cooler air increases draftiness, influences mobility and increases
susceptibility to colds and aches. (65: 113 – 114; 67: 10.)
Draftiness induces unpleasantness. The movement of air, low room and surface tempera-
tures, temperatures of airflows, speed fluctuations, direction and hit point, together with the
metabolism capacity of the human being, and clothing, can influence the sense of draftiness in a
space. In order to avoid draftiness, the speed of air movement should be in right relation to the
air temperature. (65: 115.)
Relative indoor air humidity that is best for the health can be hard to attain during winter-
time. The air is often too dry. Buildings that have a completely mechanical ventilation system
also generally have dryer air than elsewhere. Air that is too dry increases respiratory-, mucous-
and skin irritation symptoms. (7:49.) During summertime in turn, the air is often too moist. Air
that is too moist can cause mildewing of constructions and increase of microbes, and thus hinder
the building as well as the health of the people. (65: 115). The higher the building’s relative air
humidity is, the lower its temperature should be (64: 32). Wooden surfaces and plants balance
the humidity of indoor air (19: 60, 163).

96 RESTORATIVE ENVIRONMENT
WOODEN SURFACES

A space that is decorated with wood has a pleasant indoor climate. Wood surfaces have good Church of Viikki, Helsinki
JKMM Architects
thermodynamic properties. Because of its porosity, wood conducts heat poorly, i.e. a wooden Picture: Meeri Heikkilä
surface feels warm. Wood also has a good heat storage capacity, alias heat capacity. For a conif-
erous is the same level as a brick has. Constructions that have a good heat capacity can store the
thermal radiation of the sun, or other excessive heat in the room, to itself, and correspondingly
relinquish that stored energy when the room temperature goes down. The layer of wooden sur-
faces that influence indoor temperatures is approximately 40 mm thick, so a wood veneer alone
cannot reach that same result. (52.)
Solid wood surfaces can also even the humidity levels in a space. For its part, this also
positively impacts the comfort of humans. Solid wood surface absorbs the humidity caused by
humans, which can otherwise feel as cooler air. Correspondingly, a wooden surface also releases
moisture to the air when it is needed. Warm wooden surfaces in a space therefore increase the
sense of warmth in a space, although the temperature would remain the same. This allows
for the decrease of indoor temperatures without lowering the comfort, and thus resulting to
energy saving. (68.)

FINNISH The indoor air classification standardization is ongoing in Europe. In Finland the quality of

INDOOR CLIMATE indoor climate is divided into three classes, S1. S2 and S3. The indoor climate classifications

CLASSIFICATIONS can be used in setting indoor climate objectives when designing the space.

• S1: The building’s indoor air is of excellent quality and the space has no noticeable smells.
The space has no damages or impurities that diminish the quality of air. The temperature
conditions are enjoyable and they can be controlled. The space has no draft or overheating.
The space has very good sound- and lighting conditions in accordance with the intended use.

• S2: The building’s indoor air quality is of good quality and the space has no disruptive smells.
The space has no damages or impurities that diminish the quality of air. The temperature con-
ditions are good and usually there is no draft, but overheating is possible during summertime.
The space also has good sound- and lighting conditions in accordance with its intended use.

• S3: The building’s indoor air quality, temperature conditions as well as sound- and lighting
RESTORATIVE ENVIRONMENT 97
conditions are satisfactory and meet the minimum building requirements. (66.)
 IMPROVING EMISSION-FREE MATERIALS – FINNISH
CLASSIFICATION

THE One can improve the quality of indoor air, among other
things, by decreasing the amount of emissions or increasing

QUALITY OF
the efficiency of ventilation. Emission standards have been
developed to in order to reduce the emissions of materials.
Based on their emissions, tested construction materials are

INDOOR AIR divided into emission stages M1, M2 and M3, of which M1
is the best or lowest emission stage. The materials’ emis-
sion stages define, for example, the total concentration
levels (TVOC) of the dissolving organic compounds, as well
as the upper limits of formaldehyde and ammonia emis-
sions in all stages. In a restorative environment one should
mainly aim to use M1 –stage low emission materials. (66.)
All the listed M1 –marked low emission materials have been
listed on the Finnish Construction Foundation’s website
(www.rts.fi). Also, some of the fixtures, such as kitchen fur-
niture, have received a M1 –standard.
Often the largest emissions come from artificial mate-
rials, such as plastics, glues and paints, whereas natural
materials are less toxic and healthier for human beings. The
older the buildings are, the less emissions come from their
materials. New furniture and paints however always bring
new emissions to the air and it would be good to replace
them with non-poisonous natural alternatives. (19: 162 –
164.) In addition to surface materials, one should also pay
attention to the emissions of furniture and objects. Every-
thing that a space consists of impacts the quality of its air. In
many households the children’s room can be thought of as
the home’s most impure space, because of the plastic toys
that are situated there.

98 RESTORATIVE ENVIRONMENT
 A green wall
Picture: GreenHouseEffect Oy

PLANTS AS INDOOR AIR CLEANERS

Plants are the only things that can produce clean air and therefore a polluted city cannot have
too many trees and plants to improve the quality of its air. Plants improve the quality of air
effectively also indoors, because they purify and renew the air as well as remove impurities and
harmful substances from indoor air. Research have showed that plants remove toxic chemical
substances from indoor air, such as formaldehyde, benzene, acetone and ammonia, that are
used, for example, in construction materials and furniture. Some plants also can further develop
their abilities of removing particular toxins after being exposed to them. Plants also have positive
effects on the regulation of humidity and temperature of the space as well as accumulation of
dust. (7: 50 – 51; 19: 60.) However, some plants can also decrease the quality of indoor air by
emitting impurities into the air.

RESTORATIVE ENVIRONMENT 99
 VENTILATION

Ventilation is needed in buildings to maintain good indoor

air. The building’s ventilation is used, for example, to reduce
impurities from the indoor air caused by materials and in
bringing fresher outdoor air as replacement air. Gener-
ally the ventilation is organized so that the air flows from
clean spaces of the building towards the dirty ones and
exits therefrom. Because of the accruing impurities to the
air, ventilation that is too small is harmful to health. On the
other hand, ventilation that is too large wastes energy and
creates disturbing draftiness. The ventilation can be man-
aged gravitationally or mechanically. (65: 119, 139.)
Gravitational ventilation is natural, self-sufficient,
economical, silent, healthy and long-lasting alternative to
the ventilation of a building (7: 78). Gravitational ventilation
is based on the temperature and pressure differences of
outdoor- and indoor air. The effect of gravitational venti-
lation varies with weather conditions. It works best when
there are large differences between indoor- and outdoor air
temperatures and pressures. Thus, gravitational ventila-
tion works best during wintertime and is at its worst during
summertime. If no temperature differences or wind occur,
then ventilation can remain nonexistent and it should be
intensified with window ventilation. (65: 123.) “Sick building”
-syndrome symptoms do not occur in buildings that have
Ventilation can be intensified with window ventilation.
Picture: pixgood.com gravitational ventilation, compared with mechanically venti-
lated buildings where they often occur (7: 78).

100 RESTORATIVE ENVIRONMENT

 Mechanical ventilation can be arranged with output air ventilation only, or both
input- and output air ventilation. In mechanical output air ventilation the flow of air
from inside to outside is intensified through exhaust fans, alias powered roof ventila-
tion. In this way the flow of air can be held constant regardless of weather conditions.
In mechanical input- and out air ventilation the incoming air is also conducted into
the building mechanically. In this way incoming air can also be filtered and warmed
up prior to it being imported. (65: 123 – 124.) The cleaning of the ventilation systems
should receive extra attention so that they do not turn into sources of air impurities
themselves. (64: 93).

FILTERED INDOOR AIR IN HEALTHCARE ENVIRONMENTS

A healthcare environment creates many challenges in terms of healthy indoor air.

Infections can spread from patient to patient through air and the immunity of many
patients is also lower than normal. Good indoor air is therefore a prerequisite for
every healthcare environment. With efficient ventilation and air filtering one can
maintain a good quality of indoor air and reduce the manifestation and spread of
infections. In terms of the spread of infections, the most sensitive areas of health-
care environments are, for example, surgical wards, intensive burn care units, where
patients have an immune deficiency. Efficient HEPA –air filters (high-efficiency par-
ticulate air filters) are recommended for use at least in these areas, but also other
spaces must have efficient ventilation. Many studies have shown that HEPA –filters
are very efficient in filtering harmful pathogens off the air. Sufficient ventilation and
regular cleaning and maintenance of ventilation systems are essential in controlling
the pathogens of air. (13.) In terms of the quality of air in healthcare environments
Good indoor air is
one must also consider low emission materials and the cleanability of surfaces.
In healthcare environments, as in other buildings too, efficient ventilation and low
a prerequisite for
construction- and interior decoration emissions are most fundamental tools in the
every healthcare
creation of healthy indoor air. environment.

RESTORATIVE ENVIRONMENT 101

 CASE 5 /
A BUILDING THAT IS CONTROLLED
WITH REGARD TO ITS INDOOR AIR
PETRI HEINO

LUUKKU HOUSE, MÄNTYHARJU

Year of completion: 2010
Architecture by Aalto University

Because of its high quality of indoor air control and visual appearance, the Luukku House was
selected as a case-subject that portrays healthy indoor air. With the Luukku House, the Aalto
University architecture team participated in the Solar Decathlon Europe 2010 Competition. The
goal of the team was to realize a wooden dwelling house, which would be as competitive as
possible for the Madrid contest, but would at the same time function as an experimental house
for Finnish zero-energy-building. The project’s sub-goals were associated with the advancement
of Finnish energy efficient building and discovery of new innovative solutions. Wood was chosen
as the building- and interior decoration material, because of its ecological properties, and also
for its visual and functional idiosyncrasies, that assist in the different events of the decathlon.
(69; 70.)
The building’s indoor air control is tightly connected to its energy efficiency. In designing an
energy efficient building, powered by solar energy, one should pay particular attention to prevail-
ing temperatures, the relative humidity, rotation of the sun, and the amount of solar radiation.
A compact building sheathing is a precondition to good indoor air and energy efficiency. It was
realized with meticulous construction, use of right structures and airtightness measurement.
The temperature control of the house was carried out with structural solutions and ventilation.
PCM (phase changing material) was also utilized in the house, which, in particular temperatures,
changes its state and binds or releases thermal energy with changes in temperature. (69; 70.)
The aim was to control indoor air humidity levels with ventilation and the hygroscopic prop-
erties of wooden surfaces. This was realized partially by maximizing the use of wooden surfaces.
Many of the visible surfaces were wooden but, in addition to that, the wall panels were castel-
lated and the air flows behind the panels, which increases the scope of the wooden surface.
Wood was also used in the furniture in a surface maximizing way. The house functioned superbly

102 RESTORATIVE
RESTORATIVEENVIRONMENT
ENVIRONMENT
 CASE 5 /
A BUILDING THAT IS CONTROLLED
WITH REGARD TO ITS INDOOR AIR

as an energy-plus-house in Madrid. Later measurements showed that the house was a zero-
energy-building in Helsinki. Management of indoor air conditions was achieved with excellently
chosen active and passive operations. The house received top scores for its architecture; the
insightful and elegant use of wood had a significant role in it. (69; 70.)

Luukku House, Mäntyharju. Aalto University

Pictures: Sarianna Salminen

RESTORATIVE ENVIRONMENT 103

 NATURE
CONNECTEDNESS
MARJUT NOUSIAINEN

104 RESTORATIVE ENVIRONMENT

The favorite places of humans are often natural environments where people retreat when they
want to be alone, clarify their thoughts, gather strength or recover something. Research has Hospice Djursland, Denmark.
C.F.Møller Architects
shown that people enjoy a walk in a natural environment more than in an urban environment, Picture: Adam Moerk
particularly if they need to recover from stress. We experience many natural environments as
appeasing, revitalizing and pleasant surroundings that maintain our inner balance. Our experi-
ence is partially depended to that we experience some places, such as natural environments, as
less demanding than other places, such as urban environments. Some places are naturally more
restorative than others, but our own preferences influence how we experience our environment
as well. Also, other than natural environments can be experienced as restorative. Generally,
restorative environments please the eye and they are fascinating and interesting. They do not
only enable stress recovery but also enhance it. (3; 16: 94 – 97.)
Nature connectedness is essential for our wellbeing (4). The viewing as well as experiencing
of nature has revitalizing and stress reducing influences on a human being. However, we still
spend the majority of our time in constructed, and often very unnatural environments. Luckily,
we can experience the connectedness with nature in many ways in a constructed environment
as well. With restorative design one can create a deeper connection between a human being and Nature connected-
the nature. The most relevant thing is the location and window-view of the building. What we ness is essential
see through a window influences our mood and health. The more there are windows in various for our wellbeing

RESTORATIVE ENVIRONMENT 105

 NATURE directions, the more scenery we get inside.
Although our scenery would not be a verdant forest or a blue ocean,
through the window we often get natural light, which connects us with

VIEW nature. Natural light changes as the day progresses and creates a nat-
ural circadian rhythm to us. Lacking natural scenery can also be com-
pensated, if necessary, with pictures of nature or by concretely bring-
ing nature inside in the form of plants or natural materials. All these
connections with nature have proven positive effects on our wellbeing.
Previously in this book we have dealt with natural light and natural
Windows allow the scenery to
be part of the decoration materials. Now we will focus on nature view and plants.
Picture: Morguefile.com

WINDOW VIEW

The location of the building has a significant impact also on how we

experience the interior space. Windows connect the interior and exterior
and allow the scenery to be part of the decoration. They give natural
light, information about the weather and create a connection with the
surrounding time and place. There is a lot of difference whether one
can see buildings, a forest or a park through the window. Many of us
need the peace of nature and enjoy natural sceneries. Several studies
have also shown that viewing natural scenery can ease stress signifi-
cantly more efficiently than viewing a constructed environment (23). In
order for a view to be healthy, it should therefore always have something
natural, not only constructed environment. Especially water, vegetation
and sceneries, that are not overly complicated or too simple and that
have depth and a point of reference, are experienced as pleasing (16:
103 – 104). For example, looking at a horizon is very pacifying. Nature
captures our attention and interest delicately but efficiently and there-
fore offers positive stimulus. The positive effects of viewing nature can

106 RESTORATIVE ENVIRONMENT

occur already in as much as 3-5 minutes. (23.) Looking at a nature view enhances our mood and Nature view
concentration, as well as reduces stress and negative emotions, such as fear, anxiety, anger and alleviates stress.
grief (71). Physical effects can be seen as positive changes, for example, in blood pressure, heart
rate and muscle tension (23). Nature view in a working environment can concretely influence, for
example, efficiency, job satisfaction and productivity. In studying the role of nature in workplaces,
we have found out that workers do not want to work in spaces without windows. (10.)

THE SIGNIFICANCE OF A NATURE VIEW IN HEALTHCARE ENVIRONMENTS

The location and scenery of a building are particularly important in healthcare environments. For
the patients to be able to look out through a window, regardless of the landscape, helps them
to stay in touch with the world. Every patient room should always have a window. The signifi-
cance of a nature view is highlighted especially in a hospital, where patients experience stress,
because the healing implications of nature are even larger to a human being who has a true
need for recovery (3). Nature offers a tranquil positive stimulation that can bring the patient’s
thoughts away from his or her own state or sickness (11). Looking at nature can quickly, already
in a few minutes, alleviate stress, but looking at it for even a longer time can also speed up and
facilitate the patients’ recovery (23). It has been shown that a view outside to nature influences
the patients recovering from a surgery more than a view to a neighboring house. In the tests,
the patients recovering form a surgery that were placed in rooms that provided a view to nature
recovered faster than patients in similar rooms that had a view to a brick wall. They also needed
less pain medication and were mentally better off than the comparison group. The significance
of a window view is highlighted in the case of patients recovering from a surgery, because it can
be their only connection with nature. The results showed that in designing and locating hospitals
one should also take window views into account. (71.) The direction of the windows also has rele-
vance in terms of sunniness. Depression patients have been observed to return home faster, and
the mortality rate of myocardial infarction patients has been lower on the building’s sunny side
compared with the shady side. A healthcare environment should always have a view to a nature
view through the window, pictures of nature or a possibility to access the garden. (12.)

RESTORATIVE ENVIRONMENT 107

 AN ARTIFICIAL NATURE VIEW

In order to have a restorative experience of nature one does not necessarily need a
real nature view. In places where real nature is not possible, a virtual nature view
or pictures of nature can also influence positively. For example, a study done in
Sweden investigated if pictures of nature have an effect on the recovery of heart
surgery patients. The results showed that the patients who looked at pictures of
nature experienced less anxiety and needed less of the strong pain medication than
the comparison group that had no pictures. (12.) Many tests have also used video
material of nature instead of a real nature view. Studies have shown that even a
short session of watching at a film of nature can help in alleviating stress. Studies,
where humans have been first exposed to stressful video material and then either
to a nature- or city view, have shown that recovery from stress is faster and more
complete when looking at a nature view rather than an urban environment. This was
seen in the results of physiological tests already after 3 minutes of watching, as
well as in positive evaluations from the test subjects. (2.) Very realistic virtual nature
environments, made possible by the modern technology, can too make a revitalizing
experience of nature. This is essential, particularly to those who are not themselves
able to get out, such as many of the elderly or patients recovering from a surgery,
or to people spending long times in solitary confinement, such as astronauts or
submarine crews. (72.)

PLANTS
HOUSEPLANTS

Plants in indoor spaces connect us with nature and bring life to an indoor envi-
ronment. Positive effects of plants in indoor spaces are significant and multi-disci-
plinary. Plants, for example, substantially increase the quality of indoor air, influence
the regulation of the humidity and dust buildup of the space, as well as soften the
environment visually and acoustically. Scents of plants, especially of herbs, can also
freshen the air with their smell and create positive fragrance experiences. (7: 49-51;

108 RESTORATIVE ENVIRONMENT

 Plants have a positive impact on the
quality of the indoor environment.
Picture: deathtothestockphoto.com

19: 60; 24: 43.) Positive effects of plants can also be psycho-
logical, because the act of just looking at plants has found
to impact us in a positive way (23). According to research,
plants in windowless spaces can; increase efficiency, atten-
tion and productivity, increase pain tolerance, lower blood
pressure and alleviate stress. Houseplants therefore have
similar positive effects as watching nature has. (73; 74.)

GARDENS

The opportunity to visit a garden, for example in a working

environment or healthcare environment, functions restor-
atively even in a more multi-disciplinary way, because like
a forest, the garden can occupy all of our senses. Studies
have shown that having a garden at work positively impacts,
among other things, stress and comfort (8). Nature can also
be brought into a healthcare environment in the form of an
appeasing garden, which, to many patients, makes a con-
crete touch with nature possible and also offers a nature
view from many windows (12). Several studies have shown
that having gardens in hospital environments has many pos-
itive restorative effects. A garden is a very therapeutic envi-
ronment. It can reduce stress and lift the mood of patients
as well as the staff. It can also increase the amount of social
support and offer a hiding place out from the clinical health-
care environment to the patients, the family as well as the
staff. (23.) All of them have a good opportunity to visit the
Rooftop garden
garden or elsewhere in the courtyard, where there would St. Olav Hospital, Norway
Picture: Pasi Aalto
be walkways, seats, beautiful nature and fresh air to offer.
Verdant rooftop gardens and indoor gardens are also good
alternatives.

RESTORATIVE ENVIRONMENT 109

 CASE 6 / NATURE IN A CONSTRUCTED ENVIRONMENT
PETRI HEINO

WOODEN TOWN OF MYLLYPURO, HELSINKI

Land-use planning by Architecture firm Artto Palo Rossi Tikka Oy

A land-use plan for around 1500 residents of a tight wooden structured town house area was
carried out in the Myllypuro water tower surroundings in Helsinki. The plan is based on an inter-
national architecture competition, which was won by Architecture firm Artto Palo Rossi Tikka
Oy. The City Planning Department’s land-use plan was order in 2004 and now, 10 years later, the
area is under construction. The reason for slow progress is in land-use plan appeals. The logging
of nearby forests is a concern for many citizens.
In addition to language and the people, forests had a strong role in building the Finnish
national identity. Romantic nationalist artists portrayed the beauty, spirituality and sanctity of
the Finnish forest nature. On the other hand it led to the reverence of the forests, but then also
into their total exploitation. We have the forests to thank for our current standard of living. At the
same time the seeds of contradictive attitudes about our forests were being planted. People still
think of wood as an ecological and positive thing, but the logging of wood evokes some protest-
ing. Foresters have failed in the preservation of the Finnish primeval forests. The paintings of the
old growth forests by Gallen-Kallela and Halonen have been installed into the consciousness of
the nation and are the cornerstones of every Finns’ mind. The artistic communion with intensive
forestry has not come to exist. The communion is just economic, and on the other hand social;
the Finnish families do own the forests.
The arrangement of street- and house networks in Myllypuro’s sensitive and challenging
terrain of solid rocks, and old- and dead pine trees, was a difficult task. In order to achieve an
efficient structure, the chains of houses have been gathered so that they form a tight urban
structure that follows the contour of the terrain. The construction is firmly in line with the
streets, which creates a strong contrast between the surrounding nature and the street space.
The yard –side of the houses remains, if possible, natural by conserving the trees and repair-
ing the damages that have occurred to the undergrowth during construction. The urban space
between the chains of houses reminds of the milieu and construction principles of the wooden
towns of the past. The common street in the area forms a quite narrow street network, of which

110 RESTORATIVE
RESTORATIVEENVIRONMENT
ENVIRONMENT
CASE 6 / NATURE IN A CONSTRUCTED ENVIRONMENT

the living streets branch out to the plots. The modular dimension of the folding of the living
streets is 50 meters, and as the construction zone is 9 meters deep, there is at least 21 meters
of yard space that is left between the houses. (75.)
At present, about a half of the area has been finished. The liaison between the constructed
and natural environment is very successful in the blocks that have been actualized so far. The
pristine taiga forest, erratic blocks, surfaces of solid rocks and the diverse deadwoods in the
yards have often been managed to remain completely untouched. All the houses have a view
and access to a natural forest. However, the forest strip is narrow, and thus the next bloc of
houses can be seen through the trees. The contrast between the urbanity of the streets and the
naturalness of the yards is large. This project is a great example of efficient city development
that respects nature as well as considers the humans’ longing for nature.

Wooden town of Myllypuro, Helsinki

Pictures: Meeri Heikkilä

RESTORATIVE ENVIRONMENT 111

 CLOSING Our path to finding the restorative environment has begun
already in 2005. At the time, the Kymenlaakso University of
Applied Sciences interior design teacher Heikki Lindroos

WORDS started the Modo –design competitions for design students.

It had the goal of finding new type of approaches to design
problems and to make the designers to think about their
MARJUT NOUSIAINEN
task from a broader perspective. The assignments deviated
HEIKKI LINDROOS
PETRI HEINO from what was customary and they approached the design
subject differently. There was an open atmosphere of doing
together; doing the work together developed solutions to
the challenges of the. There are confluences between the
themes of the competitions and the subject matter of the
book. The theme of one year was Sensory Ergonomics, in
which case the aim was to get the students to think about
the experience of space and products in a multisensory way.
The concept of multisensority was created for this purpose.
The theme of the last Modo –competition was Healing Envi-
ronment, whereof our thought about restorativity was also
beginning to develop concretely. The international partici-
pants of the competition were trying to think that what a
wooden space or product, that supported human wellbeing,
would be like.
Since then, Kymeenlaakso University of Applied Sci-
ences established the Wood Academy, which brought
restorative thinking and wood together. Wood Academy
sought to increase the use and knowledge of wood. As
other materials have evolved, the role of wood in society has
diminished. There has been a fantasy that materials have
no relevance on humans. However, with restorative think-

112 RESTORATIVE ENVIRONMENT

 Picture: Meeri Heikkilä

ing we have come to learn that everything that a space is

consisted of has importance for humans. Studies that have
been conducted clearly show the restorative properties of
wood. Wood is more than a sustainable ecological material;
it touches the human being. But how does it work?
Through the multidisciplinary team of experts that was
gathered around Wood Academy and the interdisciplinary
discourse we have learned more about wood as a material,
about a restorative environment and the connection between
the two. However, we are only in the beginning of the path
of understanding. More research is needed on the positive
effects of wood.
In this book we become more familiar with the com-
plexity of restorative design, multidisciplinarity and inter-
disciplinarity in the designer- and customer sectors. It is
important to be aware of one’s place, opportunities and
responsibilities as an individual in a rapidly changing world.
Our possibilities of designing better environments are good,
as long as we are aware of them. The restorative approach
in design will be even more important in the future. It is one
way to cope with the challenges of the future. Wood is an
outstanding material in restorative design. It can be utilized
with many different techniques and its psychological possi-
bilities of influence are yet largely unexamined. The connec-
tion between the human and nature lies within us. The roots
of humans and wood are also deep in the same soil.

We invite everyone to this collective path

www.facebook.com/restorative.

RESTORATIVE ENVIRONMENT 113

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