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Hope Plaza treats biophilic design as a care-planning strategy rather than a decorative theme. At City of Hope in Duarte, California, the outpatient cancer center links a 1.65-acre healing park, a daylight-oriented building, art and water-inspired public spaces, and carefully detailed treatment rooms. The result is a continuous sequence of choices: places to gather or withdraw, views that orient visitors, sensory cues that make circulation legible, and patient rooms that bring daylight, landscape and art into a clinical setting.
The project accounts describe design intentions and features, not measured health, energy or post-occupancy results. Hope Plaza therefore offers a useful case study in how architects can embed empathy at campus, building, interior and room scales without claiming that a particular feature has produced a quantified clinical outcome.
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Project at a glance
| Item | Reported project detail |
|---|---|
| Facility | Hope Plaza outpatient cancer-treatment center at City of Hope |
| Location | Duarte, California |
| Size | Eight stories and 350,000 gross square feet, as reported by the project accounts |
| Design team | CO Architects in association with EwingCole |
| Landscape anchor | 1.65-acre Ted Schwartz Family Hope & Healing Park |
| Project accounts | Building Design + Construction, December 10, 2025; CO Architects, December 8, 2025 |
The figures above are project-description figures; the published accounts do not present them as independently audited measurements. Their importance is relational: a large outpatient building is paired with a park and a series of smaller, more personal environments, so the experience of care is not confined to the exam or infusion room.
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At Hope Plaza, biophilic design is expressed through contact with living systems and natural processes, but also through the emotional conditions those contacts can support. Landscape, daylight, mountain views, wind, water imagery, planting, texture and changing color are distributed along the route from arrival to treatment. The design does not rely on a single garden or a feature wall to carry the idea. It layers environmental cues so that a person can encounter nature while arriving, waiting, moving between departments or receiving an infusion.
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That approach matters in an outpatient cancer center, where patients and families may make repeated visits and where circulation can otherwise feel procedural. A legible sequence can reduce the effort of finding the next destination; a choice between a social setting and a quieter refuge can acknowledge different energy levels; and a view or artwork can provide an alternative focus during an uncertain wait. These are planning decisions that support dignity and agency, even though the project accounts do not report patient surveys or clinical measurements.
Campus scale: a park with both community and refuge
Spaces for gathering
The Ted Schwartz Family Hope & Healing Park extends the care environment beyond the building footprint. Its reported program includes event and sculpture spaces, shade structures, pavilions, outdoor dining and a yoga deck. Those elements allow the landscape to host different kinds of activity: a family can sit together, a group can attend an event, or an individual can pause without entering a clinical interior.
Outdoor dining and pavilions make the park useful during ordinary visits rather than only ceremonial occasions. Shade structures respond to the Southern California climate while creating recognizable destinations within the site. The project account presents these places as opportunities for social connection and respite, not as a prescribed therapy.
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Rose and Japanese tea gardens introduce distinct planting characters. Their contrast gives visitors more than one landscape language: the rose garden can read as colorful and familiar, while the tea garden suggests a more restrained, contemplative atmosphere. Meditation gardens provide a setting for stillness, and the yoga deck supports gentle movement. Together, these spaces create a range of refuge conditions instead of assuming that every patient wants the same level of activity or stimulation.
Planning for choice is a practical expression of empathy. A patient waiting for an appointment, a caregiver needing a private conversation and a staff member taking a short break may all benefit from different degrees of enclosure, shade and sociability. The accounts describe the facilities and intentions; they do not establish how often each space is used or which option patients prefer.
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Building scale: translating local landforms into arrival and wayfinding
The “boulder in a stream” concept
The building is described as a “boulder in a stream.” That metaphor connects the mass of the eight-story center to the landscape around it and gives the public ground floor a recognizable environmental story. An arroyo and detention ponds carry the erosion idea into the site and entry sequence, turning stormwater infrastructure and grading into visible parts of the design rather than hidden engineering.
Water-related forms can help visitors understand where to go because they establish a continuous ground-plane narrative. In this case, the arroyo and ponds are not presented as a promise of therapeutic water exposure; they are physical and visual references that organize public space and reinforce the building’s relationship to local landforms.
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The envelope responds differently on each orientation. The south, east and west façades are described as a protective shell that addresses Duarte’s sun. The north façade is more transparent, admitting daylight and opening views toward the San Gabriel Mountains. This arrangement combines environmental response with orientation: a visitor can use the mountain outlook as a visual reference, while the differentiated façades make the building easier to read from inside and outside.
The published descriptions frame the shell as a passive-design move, but they do not provide energy models, measured cooling loads, glare studies or post-occupancy thermal data. It is therefore accurate to say that the envelope is designed to manage solar exposure and bring in northern daylight, not that it has achieved a documented percentage reduction in energy use.
Interior scale: making the route understandable and less institutional
A “one-stop shop” sequence
Hope Plaza is organized as a streamlined “one-stop shop” for outpatient care. The phrase describes a planning objective: patients can access related services within one center rather than repeatedly navigating separate buildings. Consolidating destinations can reduce outdoor transfers and simplify the mental map of a treatment day, particularly for people who return for multiple appointments.
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Legibility is reinforced by the project’s environmental cues. The park, public ground-floor landscape, daylight, mountain orientation and artwork provide landmarks that can be remembered without relying only on signs. This does not eliminate the need for clear signage, accessible routes or staff assistance; it supplements those systems with spatial identity.
Art as a connective layer
Artworks connect otherwise different parts of the journey. In the parking structure, note-like metal panels are designed to move with the wind. Their changing motion introduces a small, visible response to weather at the point where many visitors first encounter the campus.
The “Blossom” mural references nearby Silk Floss Trees, tying an interior-scale artwork to the local landscape. In the fountain area, an “Iris of Hope” sculpture was described by the December 2025 architect account as something that “will soon be placed.” It should therefore be treated as planned at that publication date, not as evidence that the sculpture is installed today.
These works provide varied sensory registers: movement in the wind, botanical color and a sculptural focal point. The goal is not uniform visual calm. Instead, the sequence offers moments that can catch attention, support orientation or give a waiting visitor something outside the medical task to look at.
Room scale: bringing daylight, views and control into treatment spaces
Infusion rooms oriented to the outside
Patient-facing spaces are reported to include daylight and views of the San Gabriel Mountains from infusion rooms. In a treatment room, a view can become a stable reference during a long visit and a way to mark changing time through light and weather. The accounts describe the presence and intent of those views; they do not report how many rooms have an unobstructed outlook, how long patients look outside or whether the arrangement changes clinical outcomes.
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Integrated millwork and artwork
Integrated millwork helps organize equipment and supplies while giving rooms a more finished, less improvised appearance. Artwork in waiting and treatment areas adds another layer of identity and can soften the visual dominance of medical equipment. These details matter because empathy is experienced at close range: the edge of a cabinet, the location of a personal item and the object seen while waiting all influence whether a room feels orderly and considered.
Room-level biophilia is consequently less about adding plants everywhere than about combining a useful layout with visual access to daylight, landscape references and art. In a cancer-care setting, infection-control, maintenance and clinical workflow still govern what can be placed in a room. Hope Plaza’s reported strategy works within those constraints by making the fixed elements—windows, millwork, finishes and artwork—carry more of the emotional and sensory work.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How the scales reinforce one another
| Scale | Reported design moves | Empathetic opportunity | What is established |
|---|---|---|---|
| Campus | 1.65-acre park, pavilions, shade, gardens, dining, yoga and event areas | Choice between social activity and quieter refuge before or after appointments | Features and intentions are documented; use patterns and health effects are not |
| Building and ground floor | “Boulder in a stream” concept, arroyo and detention ponds | A recognizable landscape narrative and a more legible arrival sequence | Concept and site elements are described; wayfinding performance is not measured |
| Envelope | Protective south, east and west shell; transparent north façade | Solar protection paired with northern daylight and mountain orientation | Design intent is reported; energy and thermal results are not |
| Interior | One-stop organization, artwork, environmental landmarks | Fewer fragmented trips and more memorable destinations | Planning approach is reported; satisfaction data are not |
| Patient room | Daylight, mountain views, integrated millwork and artwork | A more ordered, personal-feeling treatment environment | Room features are reported; clinical outcomes are not |
The value of the strategy lies in continuity. A mountain view in an infusion room echoes the orientation established at the building scale; the park’s planting and sculpture program prepares visitors to expect nonclinical moments; and the public ground-floor landscape makes the “boulder in a stream” idea tangible before a patient reaches a department.
Designing for empathy without overclaiming results
Project descriptions sometimes invoke “decades of evidence” that nature, art and natural light can support well-being. The Hope Plaza accounts do not identify the underlying studies, provide statistics or report a post-occupancy evaluation. That distinction is essential for responsible project reporting. Designers can explain what they intended to achieve—comfort, orientation, refuge and a sense of welcome—without presenting those intentions as measured outcomes.
Kevin Taylor, vice president of construction, facilities and real estate, is quoted by Ruju Rathod as saying: “People walk into the building and they have a smile on their face.” This is an anecdotal observation, not a patient-outcome measure. Similarly, CO Architects reproduces an email from an unnamed patient’s family member: “We watch the beautiful colors and when it blows in the wind it’s calming and beautiful at the same time…” The comment illustrates how a visitor experienced the moving artwork; it does not establish a general response for all patients.
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Lessons for other healthcare projects
Plan a gradient of refuge
Provide a sequence that includes social rooms, shaded outdoor areas, contemplative gardens and private or semi-private pauses. Choice is more empathetic than a single “healing” setting imposed on every user.
Use local ecological references carefully
A landform, planting type or water-management feature can give a project a strong sense of place. Hope Plaza’s arroyo and detention ponds show how infrastructure can become part of the public experience when it is made visible and intelligible.
Coordinate envelope, views and orientation
Decide where protection from sun is most important and where daylight or views can carry the experience. Document glare, thermal comfort and energy performance separately; a compelling design intention is not a substitute for measured results.
Make art part of circulation, not an afterthought
Locate artworks where visitors naturally slow down or need orientation, and connect their material or imagery to the surrounding landscape. Movement, color and texture can create landmarks without turning every surface into signage.
Carry the strategy into patient rooms
Room layouts should support clinical work while preserving daylight, a meaningful outlook, orderly storage and artwork that can be seen from the bed or infusion chair. Small details are where a broad campus concept becomes a daily patient experience.
What the published accounts do not establish
- There are no reported patient-satisfaction surveys, clinical outcomes or post-occupancy evaluations for Hope Plaza.
- No measured energy savings, daylight autonomy, glare results or thermal-performance data are provided for the façade strategy.
- The frequency of park use, the number of rooms with mountain views and the operational performance of the “one-stop shop” arrangement are not stated.
- The “Iris of Hope” sculpture was described as forthcoming in December 2025, so its current installation status requires confirmation from City of Hope or the design team.
Those limits do not diminish the project’s usefulness as a design case study. They define what can be learned from it: Hope Plaza demonstrates how empathetic intentions can be organized spatially and expressed through landscape, architecture, interiors and rooms. It does not, on the available documentation, prove a quantified medical or building-performance effect.
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