Culture And Commerce April 2008

The Art of Healing

How better aesthetics in hospitals can make for happier—and healthier—patients
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hospital decor
FLOWER POWER: Images of nature, like those at this Duke University cancer clinic, can ease patient stress.

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Slideshow: "Wellness by Design"

A series of innovative hospital designs narrated by Jain Malkin, an interior decorator whose work is discussed in this piece.

I’m sitting in a mauve vinyl recliner facing a mauve laminate counter and cabinets. On the countertop are a couple of candy jars, five peacock feathers leaning around a black wall phone, a small plant that may or may not be real, three boxes of medical-exam gloves, and a radio tuned to smooth jazz. A curling five-by-seven-inch photo of the participants in a 2000 fund-raising walk hangs below a sign warning guests not to use cell phones. Someone has pinned three teddy bears to a small strip of cork on the grayish-white wall. “I’m gonna be Okay,” says the slogan on the orange bear’s chest. The yellow bear wears a blue scrub outfit with an 800 number and the slogan for a cancer organization. On the white bear, hot-pink embroidery declares, “Cancer sucks.”

Thank God for intravenous Bena­dryl, which knocks me out in just a few minutes. The cancer treatment is state-of-the-art, but the decor is decidedly behind the times.

Over the past decade, most public places have gotten noticeably better looking. We’ve gone from a world in which Starbucks set a cutting-edge standard for mass-market design to a world in which Starbucks establishes the bare minimum. If your establishment can’t come up with an original look, customers expect at least some sleek wood fixtures, nicely upholstered chairs, and faux–Murano glass pendant lights.

Unless, that is, your establishment is a doctor’s office, medical clinic, or hospital. Mounting clinical evidence suggests that better design can improve patients’ health—not to mention their morale. But the one-sixth of the American economy devoted to health care hasn’t kept up with the rest of the economy’s aesthetic imperative, leaving patients to wonder, as a diabetes blogger puts it, “why hospital clinic interiors have to feel so much like a Motel 6 from the ’70s.”

A Hyatt from the early ’80s might be more accurate. The United States is in the midst of a hospital-building boom, with some $200 billion expected to be spent on new facilities between 2004 and 2014. Although more spacious and sunlit than the 50-year-old boxes they often replace, even new medical centers tend to concentrate their amenities in public areas, the way hotels used to feature lavish atriums but furnish guest rooms with dirt-hiding floral bedspreads and fake-wood desks. Hospital lobbies may now have gardens, waterfalls, and piano music, but that doesn’t mean their patient rooms, emergency departments, or imaging suites are also well designed. “Except for the computers you see, it’s like a 1980s hospital,” says Jain Malkin, a San Diego–based interior designer and the author of several reference books on health-care design. “The place where patients spend their time 24/7 is treated as if it’s back-of-the-house.”

Consider diagnostic imaging departments. MRIs and CT scans can frighten many patients, and research shows that simple elements such as nature photos can ease their stress. Yet the typical scanner room still looks “as if it’s a workshop for cars,” says Malkin, with bare walls and big machines. One of the bleakest rooms at the UCLA Medical Plaza, where I spend my time, is a waiting room in the imaging center. Small and beige, it epitomizes aesthetic neglect, with stained chairs, mismatched tiles, and tattered copies of U.S. News & World Report. The only wall art is a drug-company poster on myocardial perfusion imaging—just the thing to comfort anxious patients.

Cost is of course an issue. Malkin estimates that enhanced design amenities can add about 3 percent to the cost of a large project. The big shortage, though, is not money but attention. When hospital boards and executives talk with architects and designers, it’s rarely about the imaging department.

Also, unlike a hotel, a medical center rarely trains its staff to pay attention to how the place looks to guests. Hence the often-torn drug posters, teddy bears, and countertop clutter. If you work somewhere every day, after a while you don’t notice eight-year-old snapshots and peacock feathers too tall for the space. The ad hoc, staff-oriented decorating that fills an aesthetic vacuum can be worse than bare walls. Lee Mequet, a Southern California real-estate agent, recalls a chemotherapy visit with her husband, who was so ravaged by lung cancer that his skull and bones showed under his skin. The treatment room, she says, was “decorated for Halloween, with pumpkins and paper skeletons, and the tragicomic horribleness of the images made me want to rip the fucking things from the wall.” Alas, cable TV has yet to create a makeover show called Designed to Heal.

When I started thinking about health-care design, I assumed that insurance price controls and third-party payments were the source of the problem. But hotels upgrade their rooms to please business travelers whose expense accounts impose budget limits. When airfares were set by law, airlines competed by offering better food and prettier stewardesses. Patients generally do decide where to take their business, even if rates are fixed and someone else is paying. They may not know what their health care costs, but they certainly know what the hospital looks like. In academic surveys, patients in better-decorated, hotel-like rooms rate not just the environment but their medical care more highly than do patients in rooms with standard hospital beds and no artwork. That customer-satisfaction result would tell any smart hotelier to redecorate. But hospitals feel less competitive pressure and are more resistant to change.

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Virginia Postrel is an Atlantic contributing editor and the editor in chief of deepglamour.net. She is writing a book about glamour. More

Contributing editor for The Atlantic and author of The Substance of Style and The Future and Its Enemies. Editor-in-chief of DeepGlamour.net.
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