Biophilic design in classical antiquity reflects an early and intuitive understanding of the relationship between humans and the natural world. Long before the term “biophilia” was defined, ancient Greek and Roman societies were already embedding nature into their built environments to support health, comfort, and daily experience.
Architecture during this period prioritised natural light, ventilation, water, and vegetation. These elements were not secondary features but fundamental design components that shaped how people lived, socialised, and restored themselves within a space. The built environment was seen as an extension of nature rather than something separate from it.
Roman homes, particularly the ‘domus’, were organised around central open-air spaces that created a constant interaction with natural elements. The atrium typically featured an ‘impluvium’, a shallow basin designed to collect rainwater while reflecting daylight into surrounding rooms.
Beyond the atrium, the peristyle garden acted as a private courtyard filled with plants, fountains, and shaded walkways. These gardens improved airflow, moderated temperature, and introduced greenery into dense urban settings. They also provided a space for relaxation and contemplation, reinforcing the importance of nature in everyday Roman life.
The Hanging Gardens are often cited as one of the earliest large-scale examples of integrating architecture with lush, layered vegetation. While their historical existence is still debated, ancient descriptions portray a series of terraced gardens supported by advanced irrigation systems that lifted water from the Euphrates River.
This design illustrates an ambitious attempt to recreate natural landscapes within a constructed environment, highlighting an early desire to merge ecological richness with urban living (Encyclopaedia Britannica, n.d.).
In Roman interiors, frescoes were widely used to depict landscapes, gardens, and wildlife. These artworks often employed perspective techniques to create the illusion of depth, visually extending interior walls into open, natural vistas.
This approach represents an indirect form of biophilic design, where even in the absence of physical nature, visual connections could evoke similar psychological benefits. Such techniques demonstrate an early awareness of how imagery and environment influence perception and mood.
Roman baths were among the most sophisticated examples of human-centred environmental design in antiquity. These spaces combined water, light, temperature variation, and architectural sequencing to create immersive sensory experiences.
Natural light was often introduced through large openings or clerestory windows, while pools and steam rooms engaged multiple senses. Some bath complexes were also connected to gardens or open courtyards, further reinforcing the connection to nature.
Roman balneology highlights an advanced understanding of how environmental conditions affect physical relaxation, social interaction, and mental wellbeing (Journal of Biophilic Design, n.d.).
Ancient Greek thinkers, particularly pre-Socratic philosophers, emphasised the relationship between environment and human health. The concept of balance between the four elements, earth, air, fire, and water, influenced how spaces were positioned and constructed.
Greek architecture often responded carefully to climate and landscape, using orientation, shading, and natural materials to create comfortable living conditions. This reflects an early form of environmental responsiveness that aligns closely with modern sustainable and biophilic design principles (ScienceDirect, n.d.).
Spaces incorporated living plants, water features, sunlight, and natural airflow. These elements created immediate sensory engagement and supported physical and emotional wellbeing.
Natural materials such as stone, wood, and clay were widely used. Decorative elements, including frescoes and mosaics, drew inspiration from natural forms and landscapes, reinforcing a visual connection to nature.
Open courtyards, colonnades, and carefully positioned openings allowed daylight to penetrate interior spaces. This reduced reliance on artificial lighting and created dynamic, ever-changing environments throughout the day.
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The architecture of classical antiquity reveals that designing with nature is not a modern innovation but a deeply rooted human instinct. Greek and Roman builders understood that access to light, air, water, and greenery was essential to creating spaces that felt alive, restorative, and human-centred.
These environments were not only functional but experiential. They engaged the senses, responded to climate, and supported wellbeing in subtle yet powerful ways. From the inward-facing gardens of Roman homes to the layered landscapes of the Hanging Gardens of Babylon, nature was intentionally woven into daily life.
Today, biophilic design continues to draw from these principles. By revisiting classical approaches, designers can better understand how to create spaces that nurture both people and the environment, reinforcing a timeless connection that remains as relevant now as it was in antiquity.
Encyclopaedia Britannica. (n.d.). Hanging Gardens of Babylon. Available at: Hanging Gardens of Babylon
Journal of Biophilic Design. (n.d.). What can we learn from ancient Roman balneology
ScienceDirect. (n.d.). Environmental design in ancient Greece