Archive for May, 2018

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Biophilic Design

Thursday, May 24th, 2018

Planting Meaningful Biophilic Design into Brand Spaces: Learnings from the RHS Chelsea Flower Show 2018

 

A pre-occupation of botanical realism continues to pervade and grow into our lives. Think back to the 1947 Christian Dior’s first collection famously known as ‘women-flowers’, that described the fullness of skirt with accentuated ‘nipped’ in waists. Dior wanted women to feel like they were beautiful flowers; an utterly decadent, sumptuous and ultra-feminine look, following a necessary conservative war era. To this day, collections still illustrate and embrace botany and fashion houses continue to signpost the way of the significant positive relationships that we have with nature. This year, Gucci has unveiled its three-storey Gucci Garden in Florence – a term used endearingly to describe its house and heritage and its pledge to donate two million euros to restoring the city’s Boboli Gardens.

Now well beyond haute couture, botany has expanded and woven itself into physical spaces such as offices, home interiors, hospitals, shopping malls and stores themselves. Flowers and gardens are fundamentally some of the most significant symbolism of utilitarianism; the thinking that pleasure and being happy are intrinsically valuable and of high moral worth.

Gardens can enchant, calm and delight.  Today we run, walk, sleep and sit among them, eat from them, photograph them. We party in them, exchange vows, say farewells, welcome others, become citizens and showcase them. They mean a lot to us and as urbanisation and technology continues to define so much of life, the botanical environment matters even more. Urban forestry and re-cultivation of un-used spaces such as the Highline linear park and rail trail in Manhattan’s west side have profound effects on gardens’ ability to deliver exceptional well-being experiences.

We have come to know that plants and flowers tap into humanity’s need to be close to nature. Last year, the Pantone colour of the year was greenery. So it’s no surprise that biophilic design in retail environments continues to gain popularity. A shopping mall cannot afford to be built without vertical garden walls and conservatory-style green planting. To harness the pleasure of green environments is hugely compatible to the shopping experience. It’s proven that it keeps shoppers feeling more stress-free and in conjunction with daylight, it can increase sales by up to 37% (Callison RTKL, 2017)

However as the integration of greenery becomes more of the retail environment norm, its potential to enchant, calm and delight is less fully realised. Arguably some retail spaces are more innovative in biophilic design than others. Think Apple on Regent Street, London with its twelve tall trees in planter pots that also provide seating at their base. The World Green Council stated in its 2016 report that biophilic design incorporated into the retail interior space can improve air quality, improve upon acoustics and noise pollution, adds texture & vibrancy and improve customers’ dwell time.

So with such fundamentally functional elements, there is scope to move beyond the pure aesthetics of plants in-store to something far more dynamic and creative. It’s time to innovate the garden in-store for greater meaning and impact. In search of inspiration, I’ve undertaken a semiotics analysis of this year’s RHS Chelsea Flower Show’s 27 gardens displayed, to understand what the emerging codes of meaning of the garden are, to aid relevance and to inform biophilic retail design.

Chelsea depicts four key codes of meaning in gardens: 1) Romantic Escapism, 2) Urban and Environmental Marriage 3) Cultural Curiosities and 4) Raising Awareness.

This year, five gardens at Chelsea symbolically deliver what gardens have always attempted to do – in providing a retreat that is luxuriating and secluded – a romantic notion of escaping from life to either contemplate, immerse alone or with others and savour. The M&G Show Garden expresses such timelessness via core objects: a wall, a tree and a seat. The Wedgewood Show Garden exudes fun, history and femininity in its sensorial modern take on 18thCentury secret gardens and places to drink tea. The Silent Pool Gin Garden in the Space to Grow category provides calm via it’s planting five of Silent Pool Gin’s 24 botanicals for the professional couple to have a sophisticated yet enchanted space to call their own. These sort of gardens are rich in texture and yet balanced to welcome a withdrawal; a moment or passage of escape. It could be argued that in retail, the opposite is sought; that we don’t want a detachment of the consumer when inside a retail space. Yet if the retail space in its totality, was designed with escapism in mind, it could extrapolate escapist garden elements and symbols that invoke pleasure and joy. This could be throughout the store, or in a changing room, or at the entry point or even at the counter. To experience a biophilic escapism is to surprise and delight the consumer in ways that are not expected.

Urban and Environmental Marriage is signified in four of this year’s Chelsea Flower Show gardens. It acknowledges urban life and how it and nature can achieve harmony. It speaks of the threat of urbanisation on the environment, such as the Pearlfisher Garden that depicts the underwater gardens of the oceans and the impact of plastic waste on the ecosystem. It also shares how the relationship can become stronger via being informed, smart and resilient. The Urban Flow in Partnership with Thames Water garden provides planting schemes to tackle pollution and attract wildlife. The LG Eco-City Show Garden also plants intelligently for unpredictable climate conditions and the reduction of carbon dioxide. The David Harber and Savills Garden beautifully depicts the ever-growing relationship between humans and the environment via a layering narrative that is described as ‘garden theatre.’ Two things are happening here – one is to convey the threat on the environment and the other is to provide a functional approach in ways to deal with environmental challenges. However, the overall theme is the respect and commitment to the environment. It is this degree of intellectual devotion that retail spaces could embrace. Values such as astuteness, cleverness, positivity, preciousness are imbued in such gardens and offer the potential to be leveraged in retail. A brand space that shares such values could further be endorsed and developed via a greener design. It does not demand a worthy message from the retailer, but an expression of understanding the relevance of urban and environmental harmony.

Cultural Curiosities is the most popular code of the Chelsea Flower Show gardens, with ten gardens going deeper in their appreciation of culture and country and providing authentic portrayals, void of cliché and expectation. Refreshing perspectives are presented and celebrated of specific cultures, offering an opportunity to learn and observe. The quaintness, humility and wonderment are captivating and gradually discovered. O-Mo-Te-Na-Shi No NIWA Japanese Hospitality Garden conveys the concept of sincere hospitality via 15thcentury Japanese flower arranging techniques. The Viking Cruises Wellness Garden depicts the Nordic way of life and the role of the spa, sauna and Nordic herbal plants. The Seedlip Garden celebrates the garden pea and tells the story of three men from three different centuries, responsible for its cultural significance. The Wuhan Water Garden in China Show Garden connotes nature of Hubei Province through arousing all of the senses. The British Council’s India Garden reflects the UK and India’s love of cricket and the striking Welcome to Yorkshire’s Garden, depiction life on the Dales.

Retail spaces could apply this code to biophilic design in a number of ways: invoking a strong welcome to space to instil a stronger sense of ‘my place’ for the consumer; to share an interest in tradition, custom or history through colour and format of greenery or to inject even the smallest of spaces with deeper connections to cultural nuances if relevant to the brand values. For example, a children’s shoe store, could depict Alice in Wonderland’s gardens of fancy and whimsy. Or an off-trade liquor store that depicts aspects of woodland or segments its wine origins with plants from those places. Whether minor or major implementations made, the retail space would deepen its connection and meaning to the experience (and product) that it sells. Perceptions would shift of ‘housing stock’ to living and breathing brands, thus making the physical space an experiential destination.

Eight gardens embraced the code of Raising Awareness about people and the challenges that they can face. The gardens either depict metaphorically or provide a place of contemplation and reflection to consider people’s plights. They seek to be inspiring places to drive human determination, ingenuity and resilience further. For example, the Embroidered Gardens explore the effects of epilepsy. The Cherub HIV Garden acts as a metaphor for the journey a young person with HIV may have. The Lemon Tree Trust Show Garden highlights the hidden beauty of a refugee camp in Northern Iraq. The Supershoes Laced with Hope Garden tells a story of a child’s journey of cancer. Out of all the four codes, this perhaps poses the greatest challenge to inform biophilic retail design. The take-out however is not sadness but inspiration. To think of ways that retail space can enhance mental and emotional wellbeing. All things beautiful in nature lift spirits and will make for a more comfortable consumer in-store.

It is clear at Chelsea that striving for deeper connections with the environment and the gardens that we create is paramount. Botany in-store needs to grow conceptually to enhance a stronger relationship for consumers, so that the retail brand space, can become a people’s place. Accessing the codes from Chelsea into retail design need not convert brand spaces into garden centres but ought to break with current mainstream designs that mainly give tokenistic nods to greenery. It’s time to recognise the value we place on environment

A pre-occupation of botanical realism continues to pervade and grow into our lives. Think back to the 1947 Christian Dior’s first collection famously known as ‘women-flowers’, that described the fullness of skirt with accentuated ‘nipped’ in waists. Dior wanted women to feel like they were beautiful flowers; an utterly decadent, sumptuous and ultra-feminine look, following a necessary conservative war era. To this day, collections still illustrate and embrace botany and fashion houses continue to signpost the way of the significant positive relationships that we have with nature. This year, Gucci has unveiled its three-storey Gucci Garden in Florence – a term used endearingly to describe its house and heritage and its pledge to donate two million euros to restoring the city’s Boboli Gardens.

Now well beyond haute couture, botany has expanded and woven itself into physical spaces such as offices, home interiors, hospitals, shopping malls and stores themselves. Flowers and gardens are fundamentally some of the most significant symbolism of utilitarianism; the thinking that pleasure and being happy are intrinsically valuable and of high moral worth.

Gardens can enchant, calm and delight.  Today we run, walk, sleep and sit among them, eat from them, photograph them. We party in them, exchange vows, say farewells, welcome others, become citizens and showcase them. They mean a lot to us and as urbanisation and technology continues to define so much of life, the botanical environment matters even more. Urban forestry and re-cultivation of un-used spaces such as the Highline linear park and rail trail in Manhattan’s west side have profound effects on gardens’ ability to deliver exceptional well-being experiences.

We have come to know that plants and flowers tap into humanity’s need to be close to nature. Last year, the Pantone colour of the year was greenery. So it’s no surprise that biophilic design in retail environments continues to gain popularity. A shopping mall cannot afford to be built without vertical garden walls and conservatory-style green planting. To harness the pleasure of green environments is hugely compatible to the shopping experience. It’s proven that it keeps shoppers feeling more stress-free and in conjunction with daylight, it can increase sales by up to 37% (Callison RTKL, 2017)

However as the integration of greenery becomes more of the retail environment norm, its potential to enchant, calm and delight is less fully realised. Arguably some retail spaces are more innovative in biophilic design than others. Think Apple on Regent Street, London with its twelve tall trees in planter pots that also provide seating at their base. The World Green Council stated in its 2016 report that biophilic design incorporated into the retail interior space can improve air quality, improve upon acoustics and noise pollution, adds texture & vibrancy and improve customers’ dwell time.

So with such fundamentally functional elements, there is scope to move beyond the pure aesthetics of plants in-store to something far more dynamic and creative. It’s time to innovate the garden in-store for greater meaning and impact. In search of inspiration, I’ve undertaken a semiotics analysis of this year’s RHS Chelsea Flower Show’s 27 gardens displayed, to understand what the emerging codes of meaning of the garden are, to aid relevance and to inform biophilic retail design.

Chelsea depicts four key codes of meaning in gardens: 1) Romantic Escapism, 2) Urban and Environmental Marriage 3) Cultural Curiosities and 4) Raising Awareness.

This year, five gardens at Chelsea symbolically deliver what gardens have always attempted to do – in providing a retreat that is luxuriating and secluded – a romantic notion of escaping from life to either contemplate, immerse alone or with others and savour. The M&G Show Garden expresses such timelessness via core objects: a wall, a tree and a seat. The Wedgewood Show Garden exudes fun, history and femininity in its sensorial modern take on 18thCentury secret gardens and places to drink tea. The Silent Pool Gin Garden in the Space to Grow category provides calm via it’s planting five of Silent Pool Gin’s 24 botanicals for the professional couple to have a sophisticated yet enchanted space to call their own. These sort of gardens are rich in texture and yet balanced to welcome a withdrawal; a moment or passage of escape. It could be argued that in retail, the opposite is sought; that we don’t want a detachment of the consumer when inside a retail space. Yet if the retail space in its totality, was designed with escapism in mind, it could extrapolate escapist garden elements and symbols that invoke pleasure and joy. This could be throughout the store, or in a changing room, or at the entry point or even at the counter. To experience a biophilic escapism is to surprise and delight the consumer in ways that are not expected.

Urban and Environmental Marriage is signified in four of this year’s Chelsea Flower Show gardens. It acknowledges urban life and how it and nature can achieve harmony. It speaks of the threat of urbanisation on the environment, such as the Pearlfisher Garden that depicts the underwater gardens of the oceans and the impact of plastic waste on the ecosystem. It also shares how the relationship can become stronger via being informed, smart and resilient. The Urban Flow in Partnership with Thames Water garden provides planting schemes to tackle pollution and attract wildlife. The LG Eco-City Show Garden also plants intelligently for unpredictable climate conditions and the reduction of carbon dioxide. The David Harber and Savills Garden beautifully depicts the ever-growing relationship between humans and the environment via a layering narrative that is described as ‘garden theatre.’ Two things are happening here – one is to convey the threat on the environment and the other is to provide a functional approach in ways to deal with environmental challenges. However, the overall theme is the respect and commitment to the environment. It is this degree of intellectual devotion that retail spaces could embrace. Values such as astuteness, cleverness, positivity, preciousness are imbued in such gardens and offer the potential to be leveraged in retail. A brand space that shares such values could further be endorsed and developed via a greener design. It does not demand a worthy message from the retailer, but an expression of understanding the relevance of urban and environmental harmony.

Cultural Curiosities is the most popular code of the Chelsea Flower Show gardens, with ten gardens going deeper in their appreciation of culture and country and providing authentic portrayals, void of cliché and expectation. Refreshing perspectives are presented and celebrated of specific cultures, offering an opportunity to learn and observe. The quaintness, humility and wonderment are captivating and gradually discovered. O-Mo-Te-Na-Shi No NIWA Japanese Hospitality Garden conveys the concept of sincere hospitality via 15thcentury Japanese flower arranging techniques. The Viking Cruises Wellness Garden depicts the Nordic way of life and the role of the spa, sauna and Nordic herbal plants. The Seedlip Garden celebrates the garden pea and tells the story of three men from three different centuries, responsible for its cultural significance. The Wuhan Water Garden in China Show Garden connotes nature of Hubei Province through arousing all of the senses. The British Council’s India Garden reflects the UK and India’s love of cricket and the striking Welcome to Yorkshire’s Garden, depiction life on the Dales.

Retail spaces could apply this code to biophilic design in a number of ways: invoking a strong welcome to space to instil a stronger sense of ‘my place’ for the consumer; to share an interest in tradition, custom or history through colour and format of greenery or to inject even the smallest of spaces with deeper connections to cultural nuances if relevant to the brand values. For example, a children’s shoe store, could depict Alice in Wonderland’s gardens of fancy and whimsy. Or an off-trade liquor store that depicts aspects of woodland or segments its wine origins with plants from those places. Whether minor or major implementations made, the retail space would deepen its connection and meaning to the experience (and product) that it sells. Perceptions would shift of ‘housing stock’ to living and breathing brands, thus making the physical space an experiential destination.

Eight gardens embraced the code of Raising Awareness about people and the challenges that they can face. The gardens either depict metaphorically or provide a place of contemplation and reflection to consider people’s plights. They seek to be inspiring places to drive human determination, ingenuity and resilience further. For example, the Embroidered Gardens explore the effects of epilepsy. The Cherub HIV Garden acts as a metaphor for the journey a young person with HIV may have. The Lemon Tree Trust Show Garden highlights the hidden beauty of a refugee camp in Northern Iraq. The Supershoes Laced with Hope Garden tells a story of a child’s journey of cancer. Out of all the four codes, this perhaps poses the greatest challenge to inform biophilic retail design. The take-out however is not sadness but inspiration. To think of ways that retail space can enhance mental and emotional wellbeing. All things beautiful in nature lift spirits and will make for a more comfortable consumer in-store.

It is clear at Chelsea that striving for deeper connections with the environment and the gardens that we create is paramount. Botany in-store needs to grow conceptually to enhance a stronger relationship for consumers, so that the retail brand space, can become a people’s place. Accessing the codes from Chelsea into retail design need not convert brand spaces into garden centres but ought to break with current mainstream designs that mainly give tokenistic nods to greenery. It’s time to recognise the value we place on environment A pre-occupation of botanical realism continues to pervade and grow into our lives. Think back to the 1947 Christian Dior’s first collection famously known as ‘women-flowers’, that described the fullness of skirt with accentuated ‘nipped’ in waists. Dior wanted women to feel like they were beautiful flowers; an utterly decadent, sumptuous and ultra-feminine look, following a necessary conservative war era. To this day, collections still illustrate and embrace botany and fashion houses continue to signpost the way of the significant positive relationships that we have with nature. This year, Gucci has unveiled its three-storey Gucci Garden in Florence – a term used endearingly to describe its house and heritage and its pledge to donate two million euros to restoring the city’s Boboli Gardens.

Now well beyond haute couture, botany has expanded and woven itself into physical spaces such as offices, home interiors, hospitals, shopping malls and stores themselves. Flowers and gardens are fundamentally some of the most significant symbolism of utilitarianism; the thinking that pleasure and being happy are intrinsically valuable and of high moral worth.

Gardens can enchant, calm and delight.  Today we run, walk, sleep and sit among them, eat from them, photograph them. We party in them, exchange vows, say farewells, welcome others, become citizens and showcase them. They mean a lot to us and as urbanisation and technology continues to define so much of life, the botanical environment matters even more. Urban forestry and re-cultivation of un-used spaces such as the Highline linear park and rail trail in Manhattan’s west side have profound effects on gardens’ ability to deliver exceptional well-being experiences.

We have come to know that plants and flowers tap into humanity’s need to be close to nature. Last year, the Pantone colour of the year was greenery. So it’s no surprise that biophilic design in retail environments continues to gain popularity. A shopping mall cannot afford to be built without vertical garden walls and conservatory-style green planting. To harness the pleasure of green environments is hugely compatible to the shopping experience. It’s proven that it keeps shoppers feeling more stress-free and in conjunction with daylight, it can increase sales by up to 37% (Callison RTKL, 2017)

However as the integration of greenery becomes more of the retail environment norm, its potential to enchant, calm and delight is less fully realised. Arguably some retail spaces are more innovative in biophilic design than others. Think Apple on Regent Street, London with its twelve tall trees in planter pots that also provide seating at their base. The World Green Council stated in its 2016 report that biophilic design incorporated into the retail interior space can improve air quality, improve upon acoustics and noise pollution, adds texture & vibrancy and improve customers’ dwell time.

So with such fundamentally functional elements, there is scope to move beyond the pure aesthetics of plants in-store to something far more dynamic and creative. It’s time to innovate the garden in-store for greater meaning and impact. In search of inspiration, I’ve undertaken a semiotics analysis of this year’s RHS Chelsea Flower Show’s 27 gardens displayed, to understand what the emerging codes of meaning of the garden are, to aid relevance and to inform biophilic retail design.

Chelsea depicts four key codes of meaning in gardens: 1) Romantic Escapism, 2) Urban and Environmental Marriage 3) Cultural Curiosities and 4) Raising Awareness.

This year, five gardens at Chelsea symbolically deliver what gardens have always attempted to do – in providing a retreat that is luxuriating and secluded – a romantic notion of escaping from life to either contemplate, immerse alone or with others and savour. The M&G Show Garden expresses such timelessness via core objects: a wall, a tree and a seat. The Wedgewood Show Garden exudes fun, history and femininity in its sensorial modern take on 18thCentury secret gardens and places to drink tea. The Silent Pool Gin Garden in the Space to Grow category provides calm via it’s planting five of Silent Pool Gin’s 24 botanicals for the professional couple to have a sophisticated yet enchanted space to call their own. These sort of gardens are rich in texture and yet balanced to welcome a withdrawal; a moment or passage of escape. It could be argued that in retail, the opposite is sought; that we don’t want a detachment of the consumer when inside a retail space. Yet if the retail space in its totality, was designed with escapism in mind, it could extrapolate escapist garden elements and symbols that invoke pleasure and joy. This could be throughout the store, or in a changing room, or at the entry point or even at the counter. To experience a biophilic escapism is to surprise and delight the consumer in ways that are not expected.

Urban and Environmental Marriage is signified in four of this year’s Chelsea Flower Show gardens. It acknowledges urban life and how it and nature can achieve harmony. It speaks of the threat of urbanisation on the environment, such as the Pearlfisher Garden that depicts the underwater gardens of the oceans and the impact of plastic waste on the ecosystem. It also shares how the relationship can become stronger via being informed, smart and resilient. The Urban Flow in Partnership with Thames Water garden provides planting schemes to tackle pollution and attract wildlife. The LG Eco-City Show Garden also plants intelligently for unpredictable climate conditions and the reduction of carbon dioxide. The David Harber and Savills Garden beautifully depicts the ever-growing relationship between humans and the environment via a layering narrative that is described as ‘garden theatre.’ Two things are happening here – one is to convey the threat on the environment and the other is to provide a functional approach in ways to deal with environmental challenges. However, the overall theme is the respect and commitment to the environment. It is this degree of intellectual devotion that retail spaces could embrace. Values such as astuteness, cleverness, positivity, preciousness are imbued in such gardens and offer the potential to be leveraged in retail. A brand space that shares such values could further be endorsed and developed via a greener design. It does not demand a worthy message from the retailer, but an expression of understanding the relevance of urban and environmental harmony.

Cultural Curiosities is the most popular code of the Chelsea Flower Show gardens, with ten gardens going deeper in their appreciation of culture and country and providing authentic portrayals, void of cliché and expectation. Refreshing perspectives are presented and celebrated of specific cultures, offering an opportunity to learn and observe. The quaintness, humility and wonderment are captivating and gradually discovered. O-Mo-Te-Na-Shi No NIWA Japanese Hospitality Garden conveys the concept of sincere hospitality via 15thcentury Japanese flower arranging techniques. The Viking Cruises Wellness Garden depicts the Nordic way of life and the role of the spa, sauna and Nordic herbal plants. The Seedlip Garden celebrates the garden pea and tells the story of three men from three different centuries, responsible for its cultural significance. The Wuhan Water Garden in China Show Garden connotes nature of Hubei Province through arousing all of the senses. The British Council’s India Garden reflects the UK and India’s love of cricket and the striking Welcome to Yorkshire’s Garden, depiction life on the Dales.

Retail spaces could apply this code to biophilic design in a number of ways: invoking a strong welcome to space to instil a stronger sense of ‘my place’ for the consumer; to share an interest in tradition, custom or history through colour and format of greenery or to inject even the smallest of spaces with deeper connections to cultural nuances if relevant to the brand values. For example, a children’s shoe store, could depict Alice in Wonderland’s gardens of fancy and whimsy. Or an off-trade liquor store that depicts aspects of woodland or segments its wine origins with plants from those places. Whether minor or major implementations made, the retail space would deepen its connection and meaning to the experience (and product) that it sells. Perceptions would shift of ‘housing stock’ to living and breathing brands, thus making the physical space an experiential destination.

Eight gardens embraced the code of Raising Awareness about people and the challenges that they can face. The gardens either depict metaphorically or provide a place of contemplation and reflection to consider people’s plights. They seek to be inspiring places to drive human determination, ingenuity and resilience further. For example, the Embroidered Gardens explore the effects of epilepsy. The Cherub HIV Garden acts as a metaphor for the journey a young person with HIV may have. The Lemon Tree Trust Show Garden highlights the hidden beauty of a refugee camp in Northern Iraq. The Supershoes Laced with Hope Garden tells a story of a child’s journey of cancer. Out of all the four codes, this perhaps poses the greatest challenge to inform biophilic retail design. The take-out however is not sadness but inspiration. To think of ways that retail space can enhance mental and emotional wellbeing. All things beautiful in nature lift spirits and will make for a more comfortable consumer in-store.

It is clear at Chelsea that striving for deeper connections with the environment and the gardens that we create is paramount. Botany in-store needs to grow conceptually to enhance a stronger relationship for consumers, so that the retail brand space, can become a people’s place. Accessing the codes from Chelsea into retail design need not convert brand spaces into garden centres but ought to break with current mainstream designs that mainly give tokenistic nods to greenery. It’s time to recognise the value we place on environment A pre-occupation of botanical realism continues to pervade and grow into our lives. Think back to the 1947 Christian Dior’s first collection famously known as ‘women-flowers’, that described the fullness of skirt with accentuated ‘nipped’ in waists. Dior wanted women to feel like they were beautiful flowers; an utterly decadent, sumptuous and ultra-feminine look, following a necessary conservative war era. To this day, collections still illustrate and embrace botany and fashion houses continue to signpost the way of the significant positive relationships that we have with nature. This year, Gucci has unveiled its three-storey Gucci Garden in Florence – a term used endearingly to describe its house and heritage and its pledge to donate two million euros to restoring the city’s Boboli Gardens.

Now well beyond haute couture, botany has expanded and woven itself into physical spaces such as offices, home interiors, hospitals, shopping malls and stores themselves. Flowers and gardens are fundamentally some of the most significant symbolism of utilitarianism; the thinking that pleasure and being happy are intrinsically valuable and of high moral worth.

Gardens can enchant, calm and delight.  Today we run, walk, sleep and sit among them, eat from them, photograph them. We party in them, exchange vows, say farewells, welcome others, become citizens and showcase them. They mean a lot to us and as urbanisation and technology continues to define so much of life, the botanical environment matters even more. Urban forestry and re-cultivation of un-used spaces such as the Highline linear park and rail trail in Manhattan’s west side have profound effects on gardens’ ability to deliver exceptional well-being experiences.

We have come to know that plants and flowers tap into humanity’s need to be close to nature. Last year, the Pantone colour of the year was greenery. So it’s no surprise that biophilic design in retail environments continues to gain popularity. A shopping mall cannot afford to be built without vertical garden walls and conservatory-style green planting. To harness the pleasure of green environments is hugely compatible to the shopping experience. It’s proven that it keeps shoppers feeling more stress-free and in conjunction with daylight, it can increase sales by up to 37% (Callison RTKL, 2017)

However as the integration of greenery becomes more of the retail environment norm, its potential to enchant, calm and delight is less fully realised. Arguably some retail spaces are more innovative in biophilic design than others. Think Apple on Regent Street, London with its twelve tall trees in planter pots that also provide seating at their base. The World Green Council stated in its 2016 report that biophilic design incorporated into the retail interior space can improve air quality, improve upon acoustics and noise pollution, adds texture & vibrancy and improve customers’ dwell time.

So with such fundamentally functional elements, there is scope to move beyond the pure aesthetics of plants in-store to something far more dynamic and creative. It’s time to innovate the garden in-store for greater meaning and impact. In search of inspiration, I’ve undertaken a semiotics analysis of this year’s RHS Chelsea Flower Show’s 27 gardens displayed, to understand what the emerging codes of meaning of the garden are, to aid relevance and to inform biophilic retail design.

Chelsea depicts four key codes of meaning in gardens: 1) Romantic Escapism, 2) Urban and Environmental Marriage 3) Cultural Curiosities and 4) Raising Awareness.

This year, five gardens at Chelsea symbolically deliver what gardens have always attempted to do – in providing a retreat that is luxuriating and secluded – a romantic notion of escaping from life to either contemplate, immerse alone or with others and savour. The M&G Show Garden expresses such timelessness via core objects: a wall, a tree and a seat. The Wedgewood Show Garden exudes fun, history and femininity in its sensorial modern take on 18thCentury secret gardens and places to drink tea. The Silent Pool Gin Garden in the Space to Grow category provides calm via it’s planting five of Silent Pool Gin’s 24 botanicals for the professional couple to have a sophisticated yet enchanted space to call their own. These sort of gardens are rich in texture and yet balanced to welcome a withdrawal; a moment or passage of escape. It could be argued that in retail, the opposite is sought; that we don’t want a detachment of the consumer when inside a retail space. Yet if the retail space in its totality, was designed with escapism in mind, it could extrapolate escapist garden elements and symbols that invoke pleasure and joy. This could be throughout the store, or in a changing room, or at the entry point or even at the counter. To experience a biophilic escapism is to surprise and delight the consumer in ways that are not expected.

Urban and Environmental Marriage is signified in four of this year’s Chelsea Flower Show gardens. It acknowledges urban life and how it and nature can achieve harmony. It speaks of the threat of urbanisation on the environment, such as the Pearlfisher Garden that depicts the underwater gardens of the oceans and the impact of plastic waste on the ecosystem. It also shares how the relationship can become stronger via being informed, smart and resilient. The Urban Flow in Partnership with Thames Water garden provides planting schemes to tackle pollution and attract wildlife. The LG Eco-City Show Garden also plants intelligently for unpredictable climate conditions and the reduction of carbon dioxide. The David Harber and Savills Garden beautifully depicts the ever-growing relationship between humans and the environment via a layering narrative that is described as ‘garden theatre.’ Two things are happening here – one is to convey the threat on the environment and the other is to provide a functional approach in ways to deal with environmental challenges. However, the overall theme is the respect and commitment to the environment. It is this degree of intellectual devotion that retail spaces could embrace. Values such as astuteness, cleverness, positivity, preciousness are imbued in such gardens and offer the potential to be leveraged in retail. A brand space that shares such values could further be endorsed and developed via a greener design. It does not demand a worthy message from the retailer, but an expression of understanding the relevance of urban and environmental harmony.

Cultural Curiosities is the most popular code of the Chelsea Flower Show gardens, with ten gardens going deeper in their appreciation of culture and country and providing authentic portrayals, void of cliché and expectation. Refreshing perspectives are presented and celebrated of specific cultures, offering an opportunity to learn and observe. The quaintness, humility and wonderment are captivating and gradually discovered. O-Mo-Te-Na-Shi No NIWA Japanese Hospitality Garden conveys the concept of sincere hospitality via 15thcentury Japanese flower arranging techniques. The Viking Cruises Wellness Garden depicts the Nordic way of life and the role of the spa, sauna and Nordic herbal plants. The Seedlip Garden celebrates the garden pea and tells the story of three men from three different centuries, responsible for its cultural significance. The Wuhan Water Garden in China Show Garden connotes nature of Hubei Province through arousing all of the senses. The British Council’s India Garden reflects the UK and India’s love of cricket and the striking Welcome to Yorkshire’s Garden, depiction life on the Dales.

Retail spaces could apply this code to biophilic design in a number of ways: invoking a strong welcome to space to instil a stronger sense of ‘my place’ for the consumer; to share an interest in tradition, custom or history through colour and format of greenery or to inject even the smallest of spaces with deeper connections to cultural nuances if relevant to the brand values. For example, a children’s shoe store, could depict Alice in Wonderland’s gardens of fancy and whimsy. Or an off-trade liquor store that depicts aspects of woodland or segments its wine origins with plants from those places. Whether minor or major implementations made, the retail space would deepen its connection and meaning to the experience (and product) that it sells. Perceptions would shift of ‘housing stock’ to living and breathing brands, thus making the physical space an experiential destination.

Eight gardens embraced the code of Raising Awareness about people and the challenges that they can face. The gardens either depict metaphorically or provide a place of contemplation and reflection to consider people’s plights. They seek to be inspiring places to drive human determination, ingenuity and resilience further. For example, the Embroidered Gardens explore the effects of epilepsy. The Cherub HIV Garden acts as a metaphor for the journey a young person with HIV may have. The Lemon Tree Trust Show Garden highlights the hidden beauty of a refugee camp in Northern Iraq. The Supershoes Laced with Hope Garden tells a story of a child’s journey of cancer. Out of all the four codes, this perhaps poses the greatest challenge to inform biophilic retail design. The take-out however is not sadness but inspiration. To think of ways that retail space can enhance mental and emotional wellbeing. All things beautiful in nature lift spirits and will make for a more comfortable consumer in-store.

It is clear at Chelsea that striving for deeper connections with the environment and the gardens that we create is paramount. Botany in-store needs to grow conceptually to enhance a stronger relationship for consumers, so that the retail brand space, can become a people’s place. Accessing the codes from Chelsea into retail design need not convert brand spaces into garden centres but ought to break with current mainstream designs that mainly give tokenistic nods to greenery. It’s time to recognise the value we place on environment and in turn the value it can place on retail space: to enchant, calm and delight.

© Cathy Maisano May 2018

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