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Connecting nature to design means shaping a place so people can experience and relate to the natural world—not simply adding green paint or a few plants. In a painted interior, paint can contribute through nature imagery, organic forms and the way a room frames natural light or views, but it works best as one part of a broader design that may also include plants, materials, air, water and place-specific details.
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What does it mean to connect nature to design?
In buildings and interiors, the clearest framework for connecting people with nature is biophilic design. It considers how a place can support contact with the natural world through direct experience, natural analogues and relationships to space and place. That makes it broader than a decorating style: a room is not meaningfully nature-connected just because it has a leafy mural, a wood-effect finish or a potted plant.
The Victorian Health Building Authority describes biophilic design as “an evidence-based design philosophy which incorporates elements of the natural world into built infrastructure.” Its examples include natural light, ventilation and changing airflow, water, plants, gardens, views, nature imagery, wood and stone. The authority also notes potential psychological and physiological benefits of regular connection with nature; those benefits should be understood as an aim supported by research, not as a guarantee that every feature will have the same effect in every room. Read the Victorian Health Building Authority’s explanation of biophilic design.
For a painter or interior designer, the useful question is not “How do I make this room look green?” but “What kind of contact with nature can this space support, and what can painted surfaces contribute to it?” That shift keeps the design grounded in the room, its users and its setting.
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1Clear out junk files and repair common Windows errors2Fix the driver behind crashes, sound loss and screen glitches3Repair Windows errors before they cause bigger problemsHow can paint contribute without becoming a substitute for nature?
Paint can contribute to an indirect experience of nature: for example, through an image of a landscape, an organic motif or a surface treatment that refers to natural forms. But a painted reference is not the same as seeing a real tree, feeling moving air, or having access to daylight. When the project allows it, combine visual references with direct experiences such as a view, planting, changing light or ventilation.
A painter might use a wall to establish a visual connection with a garden beyond a window, carry an existing natural motif through a room, or give a transition space a sense of continuity with its surroundings. Those are design applications of the framework, not proof that a particular color or painting technique produces a health benefit. The sources establish nature imagery and natural forms as relevant design opportunities; they do not establish a universal palette, finish or paint method that works for every room.
Paint also gives designers a way to make choices legible. A mural can depict a landscape; a painted pattern can echo branching or flowing forms; and a considered composition can draw attention to a window or the progression of daylight. These choices may help a room feel visually connected to nature, but they should not be presented as equivalent to direct contact with nature. If living plants, a garden view or natural airflow are feasible and appropriate, painted imagery can complement them rather than stand in for them.
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The distinction matters especially when a project is judged. A room that looks natural in a photograph may not give its occupants any meaningful opportunity to engage with nature. Ask what people can see, hear, feel or do in the space, and whether the design has a relationship to its actual place.
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Terrapin Bright Green organizes biophilic design patterns into three groups: Nature in the Space, Natural Analogues and Nature of the Space. The framework is a set of flexible design opportunities, not a checklist or a requirement to apply every pattern in every project. Its 2024 tenth-anniversary publication presents 14+ patterns and adds Awe as a fifteenth pattern; it says that scale, climate and user demographics affect which patterns are suitable. See Terrapin Bright Green’s 2024 pattern framework.
1. Nature in the Space: bring in direct experience
This group concerns nature that people encounter directly within a space: visual or non-visual connections, water, dynamic light and natural systems. Examples in the Victorian Health Building Authority’s guidance include daylight, ventilation and changing airflow, water features, plants, gardens and views. Green walls, potted greenery and flowers are also direct experiences of nature.
For a painted interior, start by noticing these real features. Does a wall block daylight or obscure a view? Could a painted element help orient people toward the window or garden? Will a mural compete with live planting, or could it make an otherwise blank transition area more engaging? A paint choice should support the experience the room can actually offer, not imply that an image provides the same experience as the thing it depicts.
2. Natural Analogues: refer to nature through materials and forms
Natural analogues are indirect references to nature, including biomorphic forms, material connections and complexity and order. Natural materials such as wood or stone may create a material connection; images and patterns can refer to nature without introducing a living element. Painting can take part in this category through imagery, shapes or surface composition.
Use these references in a way that fits the building and its users. A nature-inspired pattern need not imitate a specific leaf or landscape to be useful, and a natural-looking finish alone does not make a design biophilic. The question is whether the reference contributes to a coherent relationship with nature in the wider space—not whether the room contains enough botanical motifs.
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3. Nature of the Space: shape how people experience the room
This group addresses spatial experiences such as prospect, refuge, mystery, risk or peril, and Awe. These terms describe qualities of how a place is experienced, not a prescribed visual style. The 2024 Terrapin framework includes Awe as its fifteenth pattern and treats the patterns as applicable across interior and exterior settings.
Paint can contribute to the perception of a space—for example, a composition might emphasize a focal point or help a room feel visually connected to an adjoining area. But a color treatment cannot, by itself, create a safe refuge, a view or a meaningful spatial sequence. Consider the room’s actual layout, openings, sightlines and use, then decide whether painted surfaces can reinforce that experience.
How should a nature-connected painting or interior project begin?
Begin with the place and the people who use it. The framework does not prescribe a universal look, and a choice that suits one building may be unsuitable in another because of differences in scale, climate, users or context.
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- Identify the experience the space needs to support. A waiting area, corridor, classroom or home has different users and patterns of use. Be specific about whether the design goal is to improve visual contact, add an indirect natural reference, or support another spatial experience.
- Choose direct and indirect opportunities separately. List possible direct elements—such as a garden view, plants or daylight—and possible indirect references, such as natural imagery or forms. This avoids treating a painted surface as a replacement for elements the project could provide directly.
- Make the painted contribution purposeful. Decide what a painted image or pattern should do: connect visually to a landscape, reinforce the character of a place, or complement a natural material. Avoid adding nature references merely to fill a wall.
- Account for identity and context. The Lendlease Nature Design Guide includes local identity, native planting, cultural relevance, natural shapes, growth, ageing and seasonal cycles among the practical vocabulary of nature-connected design. Consider which local and cultural relationships are relevant to the project rather than applying a generic nature theme.
- Plan for the space as it will be used. A visually striking element may have little value if it obstructs a view, conflicts with the room’s use or has no relationship to people’s everyday experience. Consider maintenance and operational demands for any direct nature element; those demands depend on the particular project and should not be assumed from the design framework alone.
The Lendlease guide emphasizes sustained, meaningful interaction with nature. That suggests an important design test: will people encounter the natural element only once, or can they notice and engage with it as part of regular use? A painted feature might support continuing attention, but it is not active engagement by itself. Where appropriate, include ways for people to participate in or learn about the nature present in the place.
What is the difference between biophilic design and biomimicry?
Biophilic design asks how a place can connect people with nature; biomimicry asks what natural models, systems or processes can teach designers solving a problem. They can be used together, but one is not a synonym for the other.
In architecture, biomimicry is a problem-solving method: a designer studies how a biological or ecological system works, identifies a principle that may apply, and translates that principle into a design response. A review of biomimicry in architecture discusses the field’s definitions, case studies and methods. A building that resembles a shell is not necessarily using biomimicry unless a relevant natural principle informed its solution. Read the 2023 review of biomimicry in architecture.
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Biophilic design, by contrast, foregrounds people’s experience and relationship with nature in a place. A painted nature scene may serve as an indirect nature reference in a biophilic design, but it is not biomimicry merely because it depicts an organism. A project could combine the approaches—for instance, using a nature-informed functional solution while also designing for people’s direct and indirect experiences of nature—but it should define what each approach contributes.
How can you tell whether the design is doing more than looking natural?
Evaluate both the space and people’s relationship with nature. Ask whether people can engage with the natural elements, whether those elements remain part of regular use, and whether the design supports connection, attachment or stewardship—not only whether the room looks natural.
A review of nature connectedness and biophilic design finds that evaluations have often focused on psychological, occupational or physical functioning while giving less attention to engagement and emotional connection to nature. It recommends using nature-connectedness pathways, prompting direct engagement, offering guidance that supports active engagement and measuring nature connectedness. Read the review on nature connectedness and biophilic design.
This creates a useful distinction for a project brief. A design may aim to improve how a space feels and functions; a more nature-centered evaluation also asks whether people develop a more meaningful relationship with nature through that place. Do not turn an attractive finish, a plant count or the presence of a mural into evidence of a health outcome. Terrapin Bright Green presents research-backed associations between biophilic design and well-being, while noting that not every pattern in its edition has been updated with the latest research. A critical review also discusses the field’s contributions and limitations. Read the critical review of biophilic design in architecture.
For painters and designers, a practical evaluation can include questions such as: Can occupants see or reach the natural element? Does the painted reference relate to a real feature, material or local identity? Does it invite continued attention, or is it merely decorative? Are people being supported to engage actively where that is appropriate? The answers help distinguish a nature-inspired appearance from a design that makes connection with nature part of how a place works.
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Does every nature-connected room need the same look?
No. The patterns are flexible, and project conditions shape which ones make sense. A room with a garden view may have a strong direct connection already; an interior without one may rely more on daylight, plants, natural materials or carefully chosen indirect references. Neither situation calls for a universal palette or a fixed number of nature motifs.
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Users and place matter as much as appearance. The Lendlease guide’s emphasis on local identity, cultural relevance, native planting and seasonal cycles points toward a design rooted in its setting rather than a generic imitation of nature. The appropriate response depends on who uses the space, what nature is accessible, and what can be maintained over time. Keep the design proportionate to those realities.
Frequently Asked Questions
Does biophilic design require green paint?
No. The framework includes direct experiences such as daylight, airflow, plants and views, as well as indirect references such as forms, materials and images. Green paint may be one visual choice, but color alone does not establish a meaningful connection with nature.
Can a nature mural count as biophilic design?
A mural can be an indirect nature reference, but a mural alone does not show that a space supports ongoing engagement with nature. Consider how it relates to the room’s actual light, views, materials, users and opportunities for direct contact.
Is biomimicry the same as sustainable design?
No. Biomimicry describes learning from natural models, systems or processes to address a design problem; it does not, by itself, prove that the result is sustainable. A project needs to explain the natural principle it applies and evaluate the relevant environmental outcomes separately.
How do you include local culture in a nature-connected design?
Start with the identity and relationships relevant to the site and its users rather than choosing generic nature imagery. Local identity and cultural relevance are part of the design vocabulary in the Lendlease guide, but the appropriate expression depends on the particular place and community.
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