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Revisiting the Alhambra architecture: Biophilic Design approach

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 HERITAGE 2018

10th Anniversary Edition

Proceedings of the 6th International Conference

on Heritage and Sustainable Development
Volume 1
Granada, Spain
12-15 June

Edited by

Rogério Amoêda
Sérgio Lira
Cristina Pinheiro
Juan M. Santiago Zaragoza
Julio Calvo Serrano
Fabián García Carrillo
Partners

Partners

xi
Chapter 3: Heritage and environment

Revisiting the Alhambra architecture: Biophilic Design approach

A. al-Rhodesly, K. al-Hagla & T. Farghaly

Department of Architecture, Faculty of Engineering, Alexandria University, Alexandria, Egypt
M. el-Gamal
Center for Islamic Civilization Studies, Bibliotheca Alexandrina (Library of Alexandria), Egypt

ABSTRACT: During the past few decades, researchers and designers have been working to
recognize aspects of nature that most affect human satisfaction within the built environment. As
new evidence arises, the connections between nature, science and the built environment are
becoming easier to comprehend old wisdom and new prospects. Thus, a set of distinctive
approaches emerging from diverse domains were integrated and formulated, initiating a new
space of research -the environmental psychology- into the fields of design, psychology and
anthropology. However, these approaches are not usually applied to understand historic
buildings from a broader architectural perspective. Hence, the paper attempts to rethink the
Alhambra architecture in Granada, Spain (a World Heritage site) by analyzing its composition
through an innovative concept mainly established from contemporary methodologies. This
emanates from the observation that abundant analyses have focused much attention on the
Alhambra’s historical, stylistic or constructional aspects without sufficient examination of its
relationship with the twenty-first century architecture. Accordingly, the aim of the paper is to
verify that the Alhambra architecture manifests a successful biophilic design, which may allow
for a positive impact on human health and well-being. Besides, the scope of the paper focuses
on analyzing the architectural configuration of the Alhambra through biophilic design patterns
by exploring the biophilia hypothesis and biophilic design; identifying six of the “14 Patterns of
Biophilic Design” proposed by Terrapin Bright Green consulting firm; highlighting the impacts
of these six patterns on human health and well-being; and observing their appearance in the
Alhambra.

1 INTRODUCTION

Nature themes can be found in the earliest human structures: stylized animals characteristic of
the Egyptian sphinx, or the acanthus leaves adorning Greek temples. Representations of animals
and plants have long been used for decorative and symbolic ornamentation. Beyond
representation, cultures around the world have long brought nature into homes and public
spaces. The consistency of natural themes in historic structures and places suggests that
biophilic design is not a new phenomenon; rather, it is the codification of history, human
intuition and neural sciences showing that contact with nature is crucial for maintaining a
healthful and vibrant existence as an urban species (Browning et al., 2014). As the International
Style took root, it spread glass buildings that are stripped of organic ornamentation; therefore,
the buildings increasingly disconnected people from nature. The sundry denotations -which
have evolved from within the fields biology and psychology, and been adapted to the field of
architecture- all relate back to the desire for a re-connection with nature and natural systems
(Ryan et al., 2014). During the last decade, it is observed that green building standards have
begun to incorporate biophilia, predominantly for its contribution to the environmental quality

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and connection to place. Most recently, biophilic design is being championed as a

complementary strategy for addressing familiar challenges to health and overall well-being.
According to Vander Ryn and Cowan (2007),

“In many ways, the environmental crisis is a design crisis. It is a consequence of

how things are made, buildings are constructed, and landscapes are used. Design
manifests culture, and culture rests firmly on the foundation of what we believe to
be true about the world” (p.24).

In fact, nature and design are both strong parts of the cultural identity of the Alhambra. It is
observed that the Alhambra architecture offers a good precedent for understanding how design
can functionally and beautifully connect people with nature.
Historically, during the Golden Age of Islamic scholarship, it was believed that spiritual
knowledge was the highest aim of the individual, the most nourishing for any soul, achieved
through the use of the Active Intellect and therefore connecting with the Divine (Moustafa,
2008). This spiritual knowledge could be found within the close examination of nature and its
cosmos, represented in aesthetic features that people might see within the architecture of
Alhambra. For instance, in his contemplation on the cultural expression of the Alhambra
palaces, Darr (2006) observes the repeated use of the word “barakah” in hundreds of places
throughout the palaces. Barakah means manifestation of “blessing” or “divine grace” and is
coded as the pinecone, acorn, leaf sprout and seashell as naturalistic emblems.
The Alhambra is a palatine complex erected on the Sabika hill forming part of the city of
Granada, al-Andalus (Spain now) (Fig. 1). It is a walled community containing a military zone -
Alcazaba-, palaces of the rulers, a city proper and the surrounding area of gardens and orchards,
especially the Generalife. It was built by Muslims in al-Andalus from the 11th century onwards,
reaching its most splendid point during the 14th and 15th centuries under the reign of the Nasrid
dynasty (Delgado, et al., 2007). After 1492 with the departure of the Nasrid rulers from Spain,
then the conflict of the Spanish Succession by the end of the 17th century; the Alhambra had
been exposed to neglect and abandonment until its rebirth at the turn of the 19th century, but its
basic formal structure remains unchanged (Parker, 1994).

Figure 1. The Alhambra, Granda. Source: wikiwand.com.

Currently, the Alhambra represents one of the most famous and admirable examples of
Islamic architectural heritage in Europe. Due to its cultural significance, it has been declared a
World Heritage Site by UNESCO since 1984 (UNESCO World Heritage Centre, 1992).
Moreover, the Alhambra is the most visited monument in Spain, at the time of this writing,
according to the Spain’s official tourism portal (Turespaña, 2018); receiving nearly two and half
million visitors per year, according to the Patronato de la Alhambra y Generalife (PAG) (2015).
It was classified among the “12 Treasures of Spain” that were selected through a Spanish voting
process in 2007.

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2 BIOPHILIC DESIGN

Biophilia is defined at its simplest meaning as the love of life. Upon breaking down the word,
one arrives that bio- is “of or relating to life” and -philia is “denoting fondness, especially an
abnormal love for a specified thing” (Stevenson & Lindberg, 2013). The word was first used by
the social psychologist Erich Fromm (Young, 2008). He defines biophilia as a “tendency to
preserve life and to fight against death” (Fromm, 1964). Then, Edward O. Wilson takes the
word and develops it in the field of biology, particularly sociobiology (Young, 2008), defining it
as “the rich, natural pleasure that comes from being surrounded by living organisms, not just
other human beings but a diversity of plants and animals that live in gardens and woodlots, in
zoos, around the home, and in the wilderness” (Wilson, 1979).
The term “biophilic design” emerged from the translation of the concept of applying biophilia
into design and the built environment. It was coined by Stephen Kellert, Professor of Social
Ecology at Yale University. Kellert et al. (2008) define biophilic design as the expression of the
inherent human need to affiliate with nature in the design of the built environment. Hence, the
goal of biophilic design is to construct environments imbued with positive experiences that can
promote human health and well-being from the contact between people and nature (Heerwagen,
2009, Kellert, et al., 2008).
Over the years, designers and professionals has published several works that included unique
approaches to realize the transition of biophilia from a theory to application in the built
environment through biophilic design. Presently, there is no universally admitted definition of
the elements of biophilic design or established strategies as to how to achieve them; however,
architects often look for standards to follow as guidelines in order to properly implement and
evaluate its application (Ojamaa, 2016). Hence, this paper will utilize the framework of “14
Patterns of Biophilic Design” for analyzing the architectural configuration of the Alhambra.

3 BIOPHILIC DESIGN PATTERNS IN THE ALHAMBRA: NATURE IN THE SPACE

“…Biophilia is not a single instinct but a complex of learning rules that can be teased apart and
analyzed individually.” (Wilson, 1993, p.31). As a result, Terrapin Bright Green, an
environmental consulting firm, has suggested “14 Patterns of Biophilic Design” to articulate the
relationships between nature, human biology and psychology, and the design of the built
environment which could help designers for successful implementation or evaluation of
biophilic design (Browning, et al., 2014). This section and the following one attempt to analyze
the architectural configuration of the Alhambra according to six of the “14 Patterns of Biophilic
Design”, by defining these six patterns, recognizing their mind-body impacts and observing
their appearance in the Alhambra.
According to Browning, et al. (2014), biophilic design can be organized into three categories
– Nature in the Space, Natural Analogues, and Nature of the Space. Initially, Nature in the
Space addresses the direct, physical and ephemeral presence of nature in a space or place. This
includes plant life, water and animals, as well as breezes, sounds, scents and other natural
elements. The strongest Nature in the Space experiences are achieved through the creation of
meaningful, direct connections with these natural elements, particularly through diversity,
movement and multi-sensory interactions (Browning, et al., 2014). Nature in the Space
encompasses seven biophilic design patterns: Visual Connection with Nature; Non-Visual
Connection with Nature; Non-Rhythmic Sensory Stimuli; Thermal & Airflow Variability;
Presence of Water; Dynamic & Diffuse Light; and Connection with Natural Systems
(Browning, et al., 2014). Three of these patterns will be discussed in this section.

3.1 Visual Connection with Nature

A Visual Connection with Nature is a view to elements of nature, living systems and natural
processes (Ryan, et al., 2014). A space with a good Visual Connection with Nature makes one
feel whole, it grabs one’s attention and can be stimulating or calming. It can convey a sense of
time, weather and other living things (Browning, et al., 2014).

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The Visual Connection with Nature pattern has evolved from research on visual preference
and responses to views to nature showing reduced stress, more positive emotional functioning,
and improved concentration and recovery rates (Table 1). Stress recovery from visual
connections with nature have reportedly been realized through lowered blood pressure and heart
rate; reduced attentional fatigue, sadness, anger, and aggression; improved mental
engagement/attentiveness, attitude and overall happiness. There is also evidence for stress
reduction related to both experiencing real nature and seeing images of nature.

Table 1. Pattern of ‘Visual connection with Nature’ and mind-body responses. Source: (Browning et al.,
2014).
Emotion, mood &
Pattern Stress reduction Cognitive performance
preference
Visual Lowered blood pressure Improved mental Positively impacted
connection and heart rate engagement/ attentiveness attitude and overall
with nature (Brown, et al., 2013, Van (Biederman & Vessel, happiness
den Berg et al., 2007) 2006) (Barton & Pretty, 2010)

The Generalife Palace is framed by panoramic views of a natural landscape that extends out
to the horizon. It comprises a garden pavilion, terraces and rich diversity of spaces, including
courts filled with shrubs, flowers and plants in addition to oblong pools, fountains and pathways
(Fig. 2). The Court of the Water Channel (Patio de la Acequia) (Fig. 3) and the Soultana’s Court
(Patio de la Sultana) (Fig. 4) are two marvelous courtyards existing in the palace.

Figure 3. The Court of the Water Channel,

Source: PAG.

Figure 2. The Generalife Palace. Source: (Delgado, et al., Figure 4. The Soultana’s Court, Source:
2007) PAG

3.2 Thermal and Airflow Variability

Thermal & Airflow Variability can be characterized as subtle changes in air temperature,
relative humidity, airflow across the skin, and surface temperatures that mimic natural
environments (Ryan, et al., 2014). A space with good Thermal & Airflow Variability makes one
feel refreshing, active, alive, invigorating and comfortable. The space provides a feeling of both
flexibility and a sense of control (Browning, et al., 2014).

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The Thermal & Airflow Variability pattern has evolved from research measuring the effects
of natural ventilation, its resulting thermal variability, and worker comfort, well-being and
productivity; physiology and perception of temporal and spatial pleasure (alliesthesia); the
impact of nature in motion on concentration; and, generally speaking, a growing discontent with
the conventional approach to thermal design, which focuses on achieving a narrow target area of
temperature, humidity and air flow while minimizing variability (Table 2).

Table 2. Pattern of ‘Thermal and Airflow Variability’ and mind-body responses. Source: (Browning et al.,
2014).
Emotion, mood &
Pattern Stress reduction Cognitive performance
preference
Positively impacted Improved perception of temporal
Positively impacted
Thermal & comfort, well-being and and spatial
concentration
airflow productivity pleasure (alliesthesia)
(Hartig, et al., 2003,
variability (Tham & Willem, 2005, (Parkinson, et al., 2012, Zhang, et
Kaplan & Kaplan, 1989)
Wigö, 2005) al., 2010, Arens, et al., 2006)

The natural process of cooling in architecture can be achieved in two different ways: by
preventing heat from penetrating the interior of the building, by means of direct protection
against the sun, or by eliminating excess temperature from the different areas to be cooled using
a series of combined physical mechanisms (Jiménez Alcalá, 1999).
Strong solar radiation was the main source of internal heat in the buildings developed in al-
Andalus and thus the Alhambra, so natural light was manipulated and intentionally controlled in
the architecture, providing protection from the rays of the sun primarily by preventing them
from entering directly (García-Pulido, 2012). The most common practice was to confine this
indirect illumination to the higher part of the rooms, which diffused the light from top to
bottom, making it somewhat hazy, giving a suggestive atmosphere to the interiors (García-
Pulido, 2012) (Fig. 5). As a consequence, the influx of sunlight and hot air is reduced to the
minimum, achieving the desired level of illumination and ventilation.
When there are larger openings, such as entrance or exit arches, they are protected by deep
porticos and pronounced eaves, always present in the sunniest wings of the patios. These
porticos are often made up of arcades where there is a gradual adjustment of light from the
entrance area to the latticed area in the upper parts of the walls (García-Pulido, 2016) (Fig. 6).
Moreover, temperature and humidity were adjusted and mitigated by the presence of water and
vegetation in the patios.
Further, the effective ventilation of a room depends on the distribution and shape of the
windows, with regard not only to their size, but also to their strategic placement with the aim of
obtaining suitable cross-ventilation (García-Pulido, 2012). According to García-Pulido (2016),
the “stack effect” is caused in the Alhambra by a difference of air density and pressure between
the heavier cold air and lighter warm inside a space, as in the Tower of the Princesses (Torre de
las Infantas) and the Tower of the Captive (Torre de la Cautiva) (Fig. 7). In addition, the
“Venturi effect” occurs when rapid air circulation causes a lowering of pressure. This takes
place in areas with cross-ventilation, where the draft induces air from other areas, thus creating
air convection as in the Hall of Comares (Fig. 8).

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Figure 5. Natural light in some remarkable spaces of the Alhambra (from left to right and from above to
below): Hall of the Two Sisters, Source: PAG; Tower of the Princesses, Source:
lugaresdegranada.blogspot.com; Hall of the Abencerrages, Source: PAG; Hall of Comares (centre),
Source: spain.info; Balcony of Dar Aisha or Mirador de Daraxa, Source: PAG; and two photographs of the
Baths of Comares, Source: culturamas.es & hammamalandalus.com.

Figure 6. Adjustment and controlled inner illumination in different porticos in the Alhambra palaces,
transition between the inside and outside of different chambers (top left: the Golden room; centre left:
North Hall of the Generalife Palace; top right: Hall of the Muqarnas of the Palace of the Lions, Sources:
PAG). Reflecting water surfaces in the Alhambra (below left: pool of the Comares Palace, Source: PAG;
below right: pool of the Partal Palace, Source: spain.info).

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Figure 7. Stack effect in the Princesses and Figure 8. Venturi effect in the Hall of Comares, Source:
Captive towers, Source: (García-Pulido, 2016). (García-Pulido, 2016).

3.3 Presence of Water

Presence of Water is a condition that enhances the experience of a place through the seeing,
hearing or touching of water (Ryan, et al., 2014). A space with a good Presence of Water
condition makes one feel compelling and captivating. Fluidity, sound, lighting, proximity and
accessibility each contribute to whether a space is stimulating, calming, or both (Browning, et
al., 2014).
The Presence of Water pattern has evolved from research on visual preference for and
positive emotional responses to environments containing water elements; reduced stress,
increased feelings of tranquility, and lower heart rate and blood pressure from exposure to water
features; improved concentration and memory restoration induced by complex, naturally
fluctuating visual stimuli; and enhanced perception and psychological and physiological
responsiveness when multiple senses are stimulated simultaneously (Table 3).

Table 3. Pattern of ‘Presence of Water’ and mind-body responses, Source: (Browning, et al., 2014).
Pattern Stress reduction
Reduced stress, increased
feelings of tranquility, lower
heart rate and blood pressure
Presence of
(Alvarsson et al., 2010,
water
Pheasant et al., 2010,
Biederman and Vessel,
2006) (Alvarsson et al., 2010, Hunter
Emotion, mood &
Cognitive performance
preference
Improved concentration and
Observed preferences
memory restoration
and positive emotional
(Alvarsson et al., 2010,
responses
Biederman and Vessel, 2006)
(White et al., 2010,
Enhanced perception and
Biederman and Vessel,
psychological
2006, Heerwagen and
responsiveness
Orians, 1993, Ulrich,
1983)
et al., 2010)

Water is used in a variety of ways; flowing, reflective as a mirror and playful, with light. The
multitudinous watercourses in the Alhambra consisted of canals, pools, water stairs, water
bannisters, fountains and basins of varying geometric form (Baker, 1986). One of the most
unique elements of the Generalife is the Water Stairway (Escalera del Agua). Innovative designs
such as open water bannisters run to lower terraces inviting participation and offering sights and
sounds relieving intense summer heat (Fig. 9). In the Court of the Myrtles, the reflecting pool
with small circular pools at either end, gurgle water through small spouts (Fig. 10). The water
sound in the court is calm and quiet which helps to create the wonderful sense.
Movement throughout the Court of the Lions involves the integration with water; stepping
over the small channels and addressing the pools and fountains creates a physical involvement
with the human body and the element of water (Torres, 1992) (Fig. 11). In the terraces of the
Partal Gardens, there is a sequence of paths which lead upwards by way of inclined ramps and
steps. The spaces are made up of a series of plantings, pools and fountains (Fig. 12). Hence,
water is an important element in the making of these spaces.
It has been “surprising” to touch the water and hear its sound in one of the fountains of the
Alhambra and contemplate how it flowed and became a subtle mirror of architecture (Fig. 13).
The surface of the pool of the Court of the Myrtles (Patio de los Arrayanes) works like a mirror

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that reflects the architecture itself and what surrounds it; thus, an admirable visual effect can be
achieved (Fig. 14).

Figure 9. The Water Stairway in the Generalife, Source (from left to right): PAG; estudi-
arte.blogspot.com; & Francisco Laguna.

Figure 10. Court of the Myrtles, Source: PAG.

Figure 11. Court of the Lions, Source: Figure 12. The Partal Gardens, Source:
PAG. alhambra-entradas.com.

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Figure 13. Touching water of a fountain in the Figure 14. Reflection of the Palace of Comares’
Alhambra, Source: juntadeandalucia.es. facade on the pool of Court of the Myrtles, Source:
PAG.

4 BIOPHILIC DESIGN PATTERNS IN THE ALHAMBRA: NATURAL ANALOGUES

Natural Analogues addresses organic, non-living and indirect evocations of nature. Objects,
materials, colors, shapes, sequences and patterns found in nature, manifest as artwork,
ornamentation, decor, and textiles in the built environment. Mimicry of leaves, decoration with
organic shapes, and natural materials that have been processed or extensively altered, each
provide an indirect connection with nature; they are analogous of the items in their ‘natural’
state. The strongest Natural Analogue experiences are achieved by providing information
richness in an organized and sometimes evolving manner (Browning, et al., 2014). Natural
Analogues encompasses three patterns of biophilic design: Biomorphic Forms & Patterns;
Material Connection with Nature; and Complexity & Order (Browning, et al., 2014). These
three patterns will be investigated in this section.

4.1 Biomorphic Forms and Patterns

Biomorphic Forms & Patterns are symbolic references to contoured, patterned, textured or
numerical arrangements that persist in nature (Browning, et al., 2014). A space with good
Biomorphic Forms & Patterns makes one feel interesting and comfortable, possibly captivating,
contemplative or even absorptive (Browning, et al., 2014).
Biomorphic Forms & Patterns has evolved from research on view preferences, reduced stress
due to induced shift in focus, and enhanced concentration (Table 4). Nature abhors right angles
and straight lines (Thompson, 1917). People have a visual preference for organic and
biomorphic forms. While human brain knows that biomorphic forms and patterns are not living
things, people may describe them as symbolic representations of life (Vessel, et al., 2012).

Table 4. Pattern of ‘Biomorphic Forms and Patterns’ and mind-body responses, Source: (Browning et al.,
2014).
Emotion, mood &
Pattern Stress reduction Cognitive performance
preference
Biomorphic forms & Observed view preference
patterns (Vessel, et al., 2012, Joye, 2007)

It may be closer to reality to interpret the Islamic decorative ornaments as something based
on the recurring reproduction of the beauty of the world, in three dimensions –the Universe,
Nature and the Human Being– which can only be represented on a flat surface by
superimposing the shapes (El-Gamal, 2004). Gómez (2016) believes that it is the reason for the
appearance and intermingling of the three architectural decorations of the Alhambra: geometric
decoration, as a representation of the order of the Universe, plant-based decoration, as testimony

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of the beauty of the world in which we live, and epigraphic decoration, as a reference to the
human being.
The arabesque ornamentation found throughout the Alhambra is developed in an infinite
variety, however, is always expressed in two different ways: being woven from one single band
or radiating from many identical centres (Moustafa, 2008) (Fig. 15). Geometric roses or stars
continuously run into one another and develop out of each other. Each centre creates a cosmos
of its own creating an unending reflection of centres in each other.
The enclosed Balcony of Dar Aisha (Mirador de Daraxa/Lindaraja) is one of the most
beautiful corners of the Alhambra. Its represents spectacular decorations with various geometric
and epigraphic compositions and with delicate plasterwork that frames the front window, under
a curtain arch of muqarnas (Fig. 16). Besides, the dados of tiny tiles show a simple but colorful
succession of stars, topped by inscriptions with characters cut out in pieces of black ceramic on
a white background, arranged like a puzzle. In addition, the decoration of the Hall of the
Ambassadors, culminates in the exceptional ceiling. It is executed in seven panels of
superimposed panels; the geometric motif of its decoration consisting of successive star wheels,
that symbolize the cosmos (Fig. 17).
Ornamental epigraphs were interwoven with the surface decorations located above the plaster
panels and perforated screens. A common position of the epigraph is just above the tile
decoration found on the lower part of most walls at eye level so that epigraphs are visible for the
visitors to see and read them (Grabar, 1978), as in the porticos of the Court of the Myrtles (Fig.
18).

Figure 15. Some Figure 16. The enclosed Figure 17. Ceiling of Figure 18. Ornamental
arabesque ceramic tiles Balcony of Dar Aisha the Hall of epigraphs at eye level in
within the Alhambra, (Mirador de Ambassadors, Source: the Court of the Myrtles,
Source: Daraxa/Lindaraja) PAG. Sources (from above to
alhambradegranada.org. Source: PAG. below): Brigida Soriano
Caballero,
alhambradegranada.org.

4.2 Material Connection with Nature

A Material Connection with Nature is material and elements from nature that, through minimal
processing, reflect the local ecology or geology to create a distinct sense of place (Browning, et
al., 2014). A space with a good Material Connection with Nature makes one feel rich, warm and
authentic, and sometimes stimulating to the touch (Browning, et al., 2014).
While scientific documentation on the health impact of natural materials is limited, available
research is beginning to shed light on opportunities for informed design. As such, the Material
Connection with Nature pattern has evolved from a limited body of scientific research on
physiological responses to variable quantities of natural materials, and the impact of natural
color palette, has on cognitive performance (Table 5).

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Table 5. Pattern of ‘Material Connection with Nature’ and mind-body responses. Source: (Browning, et
al., 2014).
Pattern Stress reduction Cognitive performance Emotion, mood & preference
Decreased diastolic blood pressure
Material
(Tsunetsugu, et al., 2007) Improved comfort
connection
Improved creative performance (Tsunetsugu, et al., 2007)
with nature
(Lichtenfeld, et al., 2012)

The basic technique for surface decoration of most walls in the Alhambra is to use dado tiling
at the bottom and cover the upper part of the wall with carved stucco, as in the south facade at
the Court of the Golden Room (Cardell-Fernández and Navarrete-Aguilera, 2007) (Fig. 19).
Stucco is essential to the Alhambra’s art; while woodwork is limited to ceilings, doors or
architectural elements such as girders and eaves.
Wood is a vital element in the architecture of the Alhambra that characterizes the coffered
ceiling of the Throne Room at the Tower of Comares (Fig. 20). In addition, the roof of the
Balcony of Dar Aisha (Mirador de Daraxa/Lindaraja) is made of colored crystals assembled in a
vaulted wooden structure (Fig. 21). On a stucco covering of muqarnas found in the Palace of the
Lions, the following colors are observed: white, red, different tones of green and blue and gold
(Cardell-Fernández and Navarrete-Aguilera, 2007) (Fig. 22).

Figure 19. South Figure 20. The ceiling of the Figure 21. The Figure 22. Colors on a
facade of the Court Throne Room, in the Tower of skylight of the stucco covering of
of the Golden Room Comares, Source: PAG. enclosed Balcony muqarnas found in the
showing the basic of Dar Aisha Palace of the Lions,
decoration materials (Mirador de Source: PAG
used in the Daraxa/Lindaraja),
Alhambra, Source: Source: PAG.
PAG.

4.3 Complexity and Order

Complexity & Order is rich sensory information that adheres to a spatial hierarchy similar to
those encountered in nature (Ryan, et al., 2014). A space with good complexity & order makes
one feel engaging and information-rich, as an intriguing balance between boring and
overwhelming (Browning, et al., 2014).
The Complexity & Order pattern has evolved from research on fractal geometries and
preferred views; the perceptual and physiological responses to the complexity of fractals in
nature, art and architecture; and the predictability of the occurrence of design flows and patterns
in nature (Table 6). In such fractal environments, our body automatically dampens its response
to stress induced by intensive tasks and reaction to external forces (Salingaros, 2012). This
implies that spaces with convenient complexity & order are healing, or at least buffer us from
life’s stresses.

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Table 6. Pattern of ‘Complexity and Order’ and mind-body responses, Source: (Browning et al., 2014).
Pattern Stress reduction Cognitive performance Emotion, mood & preference
Positively impacted
perceptual and
Observed view preference
Complexity physiological stress
(Salingaros, 2012, Hagerhall,
& order responses
et al., 2008, Taylor, 2006)
(Salingaros, 2012, Joye, 2007,
Taylor, 2006)

Throughout the Alhambra, builders and designers played with the ratios between irrational
numbers and whole numbers, such as the square roots of 2, 3, 5. The beauty of the Court of the
Lions is based upon proportion and upon abstract geometric designs of complexity (Irwin,
2011).
In the Court of the Lions such a ratio applied to the heights of the columns (Fig. 23), as well
as the lengths and widths of the courtyard. In order to understand the overall proportions of the
Court of the Lions, the size of the courtyard was fixed by creating a rectangle generated by
diagonals drawn from the corners of the eastern wall of the Hall of the Muqarnas, the inside
angle of each diagonal being 60 degrees and the outside one 30 degrees (Fig. 24). Similar
calculations, involving diagonals and square roots, fixed the size of pavilions on the west and
east of the courtyard (Fig. 25).

Figure 23. Proportional layout of
the Elevation of the West Pavilion,
Source: (Fernández-Puertas, 1997,
p.74).
Figure 24. Proportional layout of
Court of the Lions, Source:
(Fernández-Puertas, 1997, p.56)
Figure 25. Proportional
layout of columns within
the Court of Lions, Source:
(Fernández-Puertas, 1997,
p.68).

5 CONCLUSIONS

This paper revisits the Alhambra architecture in the twenty-first century through examining its
possibility to demonstrate biophilic design. Within this framework, the architectural
configuration of the Alhambra has been analyzed through biophilic design patterns, by defining
the biophilic design approach; recognizing six of the biophilic design patterns suggested by
Terrapin Bright Green consulting firm; realizing their impacts on human health and well-being;
and tracking their appearance in the Alhambra.
The results of this study show that the Alhambra architecture manifests a successful biophilic
design. It is found that the Alhambra is an excellent example for fulfilling six patterns of
biophilic design. The Alhambra architecture addresses the direct, physical and ephemeral
presence of nature that contains plant life and water, as well as breezes and sound. Common
examples of this include courtyard gardens, fountains, water features and natural ventilation.
Besides, the Alhambra handles organic, non-living and indirect evocations of nature. Forms,
materials, colors, shapes and proportions found in nature, manifest in the Alhambra as

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Chapter 3: Heritage and environment

geometric ornamentations, epigraphs, stuccoed walls and wooden ceilings; each provide an
indirect connection with nature.
This would clarify how biophilic design can be applied through real-world example that has
remarkable cultural and historical dimensions, as well as indicate the expected effect of the
Alhambra architecture on the health and well-being of its visitors. Hence, architects and
planners could benefit from this model, working on incorporating the biophilic design approach
into built environments, that could improve physical and psychological well-being, which is
essential to human survival.

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