Studio Modijefsky: Pioneering Biophilic Design in Dutch Hospitality

In the heart of Amsterdam's creative quarter, Studio Modijefsky has quietly revolutionized how we think about nature in urban hospitality spaces. Founded by Esther Stam, the studio has become synonymous with biophilic design that doesn't just incorporate plants, but fundamentally reimagines how natural systems can enhance both customer experience and business performance. We sat down with Esther to discuss her philosophy, recent projects, and the future of nature-integrated design in Dutch hospitality.

The Philosophy Behind the Practice

Marcus de Vries: Esther, Studio Modijefsky has become known for what many call "invisible biophilic design"—spaces that feel deeply connected to nature without obvious plant installations. Can you explain your approach?

Esther Stam: That's exactly right. When most people think of biophilic design, they imagine living walls and lots of greenery. While plants can be beautiful, true biophilic design goes much deeper. It's about understanding the patterns and processes that humans have evolved alongside for millions of years—things like fractal patterns, natural light cycles, airflow, acoustic environments, and even the way natural materials age and develop patina over time.

Take our recent project for Restaurant De Nieuwe Winkel in Nijmegen. Instead of adding plants everywhere, we focused on creating what we call "natural rhythms" throughout the space. The lighting system mimics the color temperature changes of sunlight throughout the day. The acoustic design incorporates materials that create the same frequency patterns you'd find in a forest. The result is a space that feels deeply restful and energizing at the same time, without a single plant in sight.

The Science of Natural Connection

Marcus: Your work seems to be grounded in research. How do you balance scientific evidence with intuitive design decisions?

Esther: That's one of the most important aspects of our practice. We collaborate closely with environmental psychologists and neuroscientists to understand how different design elements affect human physiology and psychology. But the magic happens when we translate that research into designs that feel naturally beautiful, not clinical.

For example, we know from research that exposure to fractal patterns—the self-repeating patterns found throughout nature—can reduce stress hormones by up to 60% within just 60 seconds. But rather than literally copying tree branches or coastlines, we'll integrate these patterns into the grain of wood, the branching of lighting fixtures, or the layout of seating areas. The effect is subliminal but powerful.

Marcus: Can you tell us about some specific projects where you've seen measurable impacts?

Esther: Absolutely. At Café Loetje in Amsterdam, we redesigned their interior using what we call "prospect-refuge theory"—creating spaces that offer both views of the broader environment and sense of shelter. We installed curved seating alcoves that provide privacy while maintaining visual connection to the larger space, and used materials with varying textures to create subtle territorial boundaries.

The results were remarkable. Customer dwell time increased by 40%, and more importantly, the café saw a 25% increase in solo diners—people who previously might have felt uncomfortable eating alone now felt secure in these naturally sheltered spaces. The business impact was immediate: revenue per square meter increased by 30% within six months.

Materials and Craftsmanship

Marcus: Your material choices seem crucial to achieving these effects. How do you select and source materials for biophilic projects?

Esther: Material selection is where biophilic design gets really interesting. We're not just looking for "natural" materials—we're looking for materials that engage multiple senses and change over time in ways that feel organic. Natural materials have what we call "temporal richness"—they age, patina, weather, and develop character in ways that synthetic materials simply can't replicate.

Take copper, for instance. We use it frequently not just for its warm color, but because it oxidizes and changes over time. Customers unconsciously register this aging process, which connects them to natural cycles of growth and change. Similarly, we'll use unsealed wood that develops patina from handling, or stone that shows the marks of water and use.

The Business Case for Biophilic Design

Marcus: There's often skepticism about whether design investments like these actually translate to business results. What would you say to café and restaurant owners who are considering biophilic design?

Esther: The business case is actually quite straightforward, but it requires thinking beyond immediate costs to long-term value. Yes, biophilic design often requires higher upfront investment—quality natural materials, specialized lighting systems, custom fabrication. But the return on investment comes through multiple channels.

First, customer behavior changes dramatically. In biophilically designed spaces, people stay longer, return more frequently, and bring friends more often. They also tend to order more—studies show that natural environments can increase impulse purchasing by up to 15%. Word-of-mouth marketing is stronger because the spaces are inherently more photogenic and emotionally memorable.

Second, staff performance improves. Employees in biophilic environments report higher job satisfaction, take fewer sick days, and stay with companies longer. For hospitality businesses where turnover can be 75% annually, even a 20% reduction in staff turnover saves thousands in recruitment and training costs.

Finally, there's the brand differentiation factor. In a crowded market, spaces that offer genuine wellbeing benefits stand out. They can command premium pricing and build the kind of customer loyalty that's increasingly rare in hospitality.

Looking to the Future

Marcus: Where do you see biophilic design in Dutch hospitality heading in the next five years?

Esther: We're at a fascinating inflection point. The pandemic has made people much more conscious of how built environments affect their health and wellbeing. At the same time, advances in technology are giving us new tools to create more sophisticated biophilic experiences.

I think we'll see integration of more dynamic systems—lighting that responds to occupancy and time of day, acoustic systems that adjust to crowd levels, even scent systems that mirror natural seasonal changes. We're also working on projects that incorporate real-time biometric feedback, where the environment literally adapts to the collective stress levels of the people in the space.

But perhaps most importantly, I think we'll see biophilic design become less of a specialty and more of an expectation. The next generation of customers has grown up with climate anxiety and disconnection from nature. They're going to seek out spaces that offer genuine reconnection, not just Instagram-worthy backdrops.

Advice for Emerging Designers

Marcus: What advice would you give to young designers who want to incorporate biophilic principles into their work?

Esther: Start by spending time in natural environments and really paying attention to how they make you feel. Don't just look—listen to the acoustic environment, notice how light changes throughout the day, observe how your body responds to different spaces. The best biophilic designers are those who have developed a deep, personal relationship with natural systems.

Second, study the research, but don't become enslaved by it. Science gives us the foundation, but design is ultimately about creating experiences that feel right. Trust your instincts while grounding them in evidence.

Finally, collaborate. Biophilic design is inherently interdisciplinary. Work with botanists, psychologists, acousticians, lighting designers. The most innovative solutions come from unexpected intersections between different fields of knowledge.

The Bigger Picture

Marcus: As we wrap up, I'm curious about your thoughts on the role of biophilic design in addressing larger environmental and social challenges.

Esther: That's such an important question. I believe biophilic design has the potential to be transformative not just for individual businesses, but for how we think about our relationship with the natural world. When people experience genuine biophilic environments, it often awakens a deeper environmental consciousness. They start to understand viscerally how connected we are to natural systems.

We're seeing this with many of our clients' customers. People who spend time in well-designed biophilic spaces often become more interested in sustainability, more aware of their environmental impact, more likely to support businesses with strong environmental values. It's as if experiencing that connection makes them want to protect it.

In the Netherlands, where so much of our landscape is engineered, I think this is particularly important. We've created a beautiful, functional country, but sometimes at the cost of wild natural experiences. Biophilic design in hospitality can help bridge that gap—it can bring the physiological and psychological benefits of nature into our daily urban lives.

Ultimately, I see our work as part of a larger cultural shift toward recognizing that human wellbeing and environmental health are inseparable. Every café or restaurant that successfully implements biophilic design becomes a demonstration of that principle. And in a small but meaningful way, that helps shift the broader conversation about how we want to live on this planet.