There are many places where we can feel an overwhelm, for some of us, the overwhelm can be, well, overwhelming and trying to find somewhere to recalibrate can be difficult. 

So how can design help us feel safe, connected and able to participate in the world? Designer and interdisciplinary artist Freyja Sewell begins with nature, sensory experience and a willingness to imagine things differently.

As a neurodivergent designer herself, Freyja is founder of HUUS Design, where she brings together art, technology, nature and sensory design to create gorgeous woven soft felt pods and other products including digital capability to help create environments that support human experience better. Her work is also woven by an ambition to make positive futures tangible.

In conversation with the Journal of Biophilic Design Podcast, Patrick Keogh explores why the future depends on bringing different worlds together, learning from nature and having the courage to act.

What kind of future do we want to live in? The way we design our buildings, organise our businesses, invest our money and relate to the natural world lies at the heart of this year's Blue Earth Summit, taking place at Woolwich Works in London from 14–16 October 2026. Bringing together people from business, science, investment, culture, sport and the environmental world, the Summit aims to move beyond familiar conversations about sustainability and explore how we can create a more regenerative future.

In the latest episode of the Journal of Biophilic Design Podcast, I spoke to Patrick Keogh, who leads the Blue Earth Summit programme, about the importance of interdisciplinary thinking, the lessons we can learn from nature, and why we need to turn our knowledge of environmental challenges into meaningful action.

Explore the Blue Earth Summit programme and book your ticket.

The Glasshouse is using horticulture, employment and a deep connection with nature to give women leaving prison something they often desperately need: dignity, confidence and the chance to build a different future. I am joined by co-founder Kali Hamerton-Stove alongside Ri, who came through the programme herself and now works on the senior team.

A plant needs the right conditions, nourishment, care, light and time. Give it those things and given the opportunity, it grows. For Kali Hamerton-Stove, co-founder of The Glasshouse, this has become the foundation of an extraordinary social enterprise supporting women approaching the end of their prison sentences.

Light: The Missing Element in Biophilic Design

Light is far more than something that allows us to see. It is a powerful biological signal, influencing our body clocks, mood, alertness, sleep and sense of wellbeing. In this fascinating conversation, Dr Shelley James, “The Light Lady”, explores how our brains and bodies respond to light — and why biophilic designers need to pay much closer attention to it.

From the difference between Kelvin and colour rendering to the restorative rhythms of daylight, Shelley reveals how thoughtful lighting can help us create spaces that work more naturally with our biology. She also explores prospect and refuge, moving shadows, contrast and even the remarkable ways our brains interpret light as a signal of the natural world.

Discover why good biophilic design begins not just with bringing nature into a space, but with understanding the light that makes us feel at home in it.

Natural environments contain variation, contrast, shadow, movement and changing horizons. Light filters through leaves, reflects from water, changes with clouds and seasons, and gradually shifts from morning to evening.

Our visual systems evolved within this complexity.

Shelley describes the brain as looking for patterns that are familiar from the natural world — an appropriate balance of order and complexity, rather than either complete uniformity or overwhelming contrast. Even something as simple as dappled light and moving shadows can provide the kind of non-rhythmic visual stimulus associated with nature….

To coincide with the launch of our new monograph, Nature Preserved: The Definitive Guide to Preserved Plants, we talk to its author, Edgardo Rossi, known as The Green Man, about the thinking behind the book and his pioneering Green Lock System. What has years of working with preserved botanical material taught him about design, sustainability and the spaces we inhabit? We explore when living plants should come first, why designers need to walk the space before choosing the greenery, and how cork, bio-based materials and real preserved plants come together. We also challenge common misconceptions about longevity, maintenance and air quality—and ask why real nature should never be forced or faked.

What happens when we step away from the noise of everyday life and enter a space designed to help us restore, reconnect and simply breathe?

How do we create places for wellbeing? Light, temperature, air quality, acoustics, materials, smell and even silence are not merely aesthetic considerations. They form the sensory environment in which our bodies and minds operate. Ali points to natural light as particularly important, both for circadian rhythms and mood, while comfortable temperatures and fresh, clean air can help create an environment in which people can relax rather than remain on alert.

What happens when architecture is designed around how people feel, not simply how buildings perform? Robert Hopkins, architect and sustainability leader at AHR, joins the Journal of Biophilic Design podcast to explore the thinking behind landmark projects including The Spine, Thrive Health and Wellbeing Centre and the Daphne Steele Building. From trauma-informed design and evidence-based decision making to materials, air quality, nature, choice and collaboration, Robert shares how small decisions can transform how people experience a place. His advice? “Don’t chase points” — focus on the why. Listen to the conversation and discover why, for Robert, great architecture might ultimately be about helping people be nice to one another. WATCH THE INTERVIEW

As our cities grow, access to clean air, clean water, biodiversity and meaningful connections with nature will become ever more important.

In this conversation, we explore living architecture, green infrastructure, urban density, clean air and water — and how we can design cities that work better for both people and the planet.

What happens when we stop thinking of nature as something we add to a building and start thinking about it as part of the infrastructure of the city itself? For landscape architect James Worth, the answer lies in bringing disciplines, ideas and people together — and fundamentally rethinking how we design our urban environments.

What if the buildings that help us tackle climate change were also the buildings that lift our spirits?

We talk a great deal about the performance of buildings: how to reduce carbon, manage heat, conserve energy, deal with water and increase biodiversity. But perhaps we need to ask another question. What should these buildings look and feel like?

For architect and Alive Labs founder Nicky Naidu, the answer is not to choose between performance and beauty. We should expect both.

What happens when we stop looking at a building simply as a building?

For Lincoln Stoller, physicist, psychotherapist and son of celebrated architectural photographer Ezra Stoller, the answer lies somewhere between architecture, psychology, nature, photography and the human capacity to experience something beyond the immediately visible.

Ezra Stoller was regarded as one of the pre-eminent architectural photographers of his generation. His extraordinary archive includes some of the most significant buildings of twentieth-century modernism, photographed not simply as objects, but as experiences. His approach was distinctive: rather than producing straightforward images designed to showcase a building, he sought something beyond it – what Lincoln describes as the “essential and ethereal.”

This is particularly fascinating when we consider Frank Lloyd Wright, whose architecture is now frequently discussed through the lens of Biophilic Design, despite Wright never using the term. Wright trusted Ezra to understand what he was trying to achieve without needing to explain it. Lincoln describes their relationship as almost a meeting of opposites: Wright the forceful creator, Ezra the sensitive and receptive observer. Together, they understood something difficult to put into words – the ineffable quality of space. READ ON and WATCH the VIDEO