Neuroarchitecture is the assumption that the environment has a direct influence on the most primitive patterns of brain function that escapes conscious perception. Our brain and the 100 billion neurons that make it up determine our experiences, shape us as individuals, and formulate who we are. The built environment is what provides the context and the space for the neurons to mould.
There is a cyclical cycle between man and space: “we shape our buildings; therefore, they shape us” (Steven Holl). As self explanatory as Holl makes it out to be, the field of Neuroarchitecture is a relatively new exploration amongst scientists and architects alike. As the arts become melded to science, technology, and maths, the definition of an architect becomes further blurred.
Post-pandemic and in the age of overbearing technology, the world is in desperate need of spaces that engage the community again. To do as such, architects must embrace the change and dive into the mind of the user.
Neuroscience
Neuroscience is the study of how we function, as individuals and as collectives, based on the structural integrity of our brains. It was not until the 19th century with the discovery of the neuron, that modern neuroscience took root. Since then, neuroscience has formulated many subset categories, such as behavioural, cognitive, social, physiological, anatomical, molecular, etc. It is this categorization of the occupation that has falsely created the perception that neuroscience is a closed circuit field. However, this is untrue; the knowledge of why we function cannot be separated from how we function. We cannot distinguish our perception of the world without understanding how we perceive.
Neuroaesthetics
In the 1990’s, Semir Zeki, a professor at the University College of London, was determined to understand how we perceive the world and, as a result, coined a new division of neuroscience – Neuroaesthetics. Zeki believed that there was something to be found within the overlap of psychological aesthetic, biological mechanisms, and human evolution. Why are certain things found attractive? What draws a person towards certain pieces of art? Of beauty? And, how does interaction with art influence a state of mind?
Neuroaesthetics originated as a form of empirical aesthetics – perceiving art through observation and experience, rather than theory or logic. This initial thought process believed art to have a mythical impact on human nature rather than a measurable sense of reason. As the field grew, a direct correlation between art and the neurological state was rationally monitored.
Neural systems, such as decision making, memory, language, consciousness, and emotion, only change when physical change is enacted on the body via the five senses. As art – drawing, painting, sculpture, animation, etc – has become a method of encompassing all five of the senses through experience, these methods have become the focal point of study when analysing the effects of neuroaesthetics.
The continued research that is being produced in the field of neuroaesthetics has neuroscientists broadening the field to how our behaviour and biology is impacted by visual arts, design, digital media, music, and architecture.
Neuroarchitecture
The field of neuroarchitecture was officially coined by Fred Gage in 2003. However, there was recognition in architecture’s impact on user’s neurology decades prior. In the 1950’s, Richard Neutra, an Australian-American architect who spent his career designing tailored homes for his clients, believed that architecture should aim to satisfy the neurological needs of its users.
Expanding Neutra’s thought process, Jonas Salk and Louis Kahn designed the Salk Institute in 1965 for Biological Studies in La Jolla, CA as a laboratory for the scientists to feel connected with nature, rooted in their studies, and part of something greater than themselves. The Salk Institute spent its time and resources dedicated to how the environment influences our brain, because Salk himself believed that “the field of neuroscience is growing and will probably be the most important focus of our attention in the 20th century” (Jonas Salk).
When Fred Gage – a fellow researcher at the Salk Institute – spoke for the Academy of Neuroscience for Architecture at the 2003 AIA National Convention, the term “neuroarchitecture” was born. Having studied and lived at the Salk Institute for many years, Gage knew there was some sort of connection between our biology and the built environment around us and that this needed to be further evaluated in the community. Salk and Gage’s contributions to the field continued through fellow famous architects, such as Johani Pallasmaa.
In “The Sixth Sense: The Meaning of Atmosphere and Mood” – Pallasmaa discusses where our true perception of space originates – in one of our five senses. The eye has two forms of perception – the conscious and the unconscious. Conscious perception is that which we are completely aware of at all times, where we register activity and channel our attention. Unconscious perception is what brings about a sense of being and self; it is where we judge and experience our atmosphere and the mood of the space.
What’s Next?
With newfound neuro architectural information, architects can begin to understand the cognitive map formed in the mind due to external architectural stimuli. Studies are conducted at firms such as eMOTIONAL Cities to track brain stimuli, responses produced by the brain based on certain visual stimuli, and vitals such as blood temperature, pulse, respiratory rate and blood pressure to evaluate how the body is physically changing in unison due to neural triggers. This gathered information is being utilised in collaboration with architectural and urban planning projects to enhance our cities ability to better treat our mental well-being and create structures that mimic those of the brain.
Whether or not a project has a designated neurological purpose, the built environment still has one of the largest subconscious impacts on our mental state. Neuroarchitecture, while only just being coined, is not a new phenomena. However, as the field of architecture begins to skillfully craft the built environment to tailor to the mind, architects must ask themselves: What are the neurological repercussions?
Citations:
Architecture and Human Senses – IJIET, ijiet.com/wp-content/uploads/2017/05/18.pdf. Accessed
9 Dec. 2023.
“Biorealism Then and Now.” Neutra Institute for Survival Through Design, 9 Oct. 2023, neutra.
org/the-institute/what-were-doing/biorealism-then-and-now/.
eMOTIONAL Cities, 7 Jan. 2022, emotionalcities-h2020.eu/.
Ferlaino, Mikayla. “Neuroarchitecture: Quantifying Perception to Inform a Design for Improved
Mental Well-Being.”
Lara Fowler. “Neuroarchitecture.” Issuu, 14 Aug. 2020, issuu.com/laraalexandriafowler/docs/
the_final_book.
Magsamen, Susan. “Your Brain on Art: The Case for Neuroaesthetics.” Cerebrum : The Dana
Forum on Brain Science, U.S. National Library of Medicine, 1 July 2019, www.ncbi.
nlm.nih.gov/pmc/articles/PMC7075503/#:~:text=This%20study%20of%20the%20inter
section,the%20University%20College%20of%20London.
Programmer. “Inside Neuroarchitecture: The Movement Designing with the Mind in Mind – Luxe:
Forbes Global Properties.” LUXE, 5 Dec. 2023, luxeoregon.com/2021/10/11/inside-neu
roarchitecture-the-movement-designing-with-the-mind-in-mind/.
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Harvard Citation Style Guidelines
To generate citations, please use: https://www.citethisforme.com/cite/website/autocite.
Harvard citation style is a parenthetical referencing system consisting two main components:
- In-text citations are an author-date system that includes the author’s surname and the year of publication—both should be shown in brackets wherever another source has contributed to your work/ idea. And, if necessary, the page numbers are included in the parenthetical citations.
For example: (Joyce, 2008).
- A reference list outlining all of the sources directly cited in your work.
For adding the references in Harvard Style at the end of your article, paste the URL in any of the following sites:
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https://www.mybib.com/tools/harvard-referencing-generator;
And then you can copy-paste the citation generated here in your REFERENCES LIST at the end of your article.
For better understanding, follow through with the points mentioned below:
- Books
Citations for books with one author:
Last name, first initial. (Year). Title. Edition (if not the first edition of the book). City of publication: Publisher.
For example:
Davis, B. (2013). A History of Chocolate. Nottingham: Delectable Publications.
Davis, B. (2013). A History of Chocolate. 3rd ed. Nottingham: Delectable Publications.
Citations for books with two or three authors:
Last name, first initial., Last name, first initial., and Last name, first initial. (Year). Title. City of publication: Publisher.
For example:
Jones, F. and Hughes, S. (2006). Eating Out: A Definitive Restaurant Handbook. Nottingham: Delectable Publications.
Citations for books with four or more authors:
Last name, first initial., Last name, first initial., Last name, first initial., and Last name, first initial. (Year). Title. City of publication: Publisher.
For example:
James, P., Croft, D., Levin, S. and Doe, A. (1998). How to Succeed in the Restaurant Industry. Nottingham: Delectable Publications.
- Articles
Citations for Print Journals:
Last name, First initial. (Year). Article Title. Journal name, Volume (Issue), Page/s.
For example:
Jenkins, O. (1996). Unusual Recipes and Cantonese Cuisine. Culinary Research, Volume 5 (8), pp. 47-59.
Citations for Journal Articles accessed on a website or database:
Last name, First initial. (Year). Article Title. Journal name, Volume (Issue), Page/s. Available from: URL. [Accessed: date].
For example:
Jenkins, O. (1996). Unusual Recipes and Cantonese Cuisine. Culinary Research, Volume 5 (8), pp. 47-59. Available at: www.culinaryresearchjournal.com/jenkinsocanteonese [Accessed: 5 June 2016].
Citations for Newspaper Articles – Print or Online:
Last name, First initial. (Year). Article title. Newspaper name, Page/s.
Last name, First initial. (Year). Article Title. Newspaper name, Page/s. Retrieved from: Journal name/ URL if freely available.
For example:
Bell, Y. (2016). Man with unusual tastes eats chalk for breakfast. The Weekly Herald, p. 4.
Lees, P. (2015). Freaky eaters. The Weekly Herald, p.21. Available at: www.theweeklyheraldonline.com/freakyeaters2015 [Accessed 21 June 2016].
Citations for Magazine Articles – Print or Online:
Last name, First initial. (Year). Article title. Magazine name, volume number, Page/s.
Last name, First initial. (Year, Month, Day). Article Title. Magazine name, [online] Page/s. Retrieved from: URL
For example:
Ilkes, J. (2006). Five Ways to Eat More Fruit and Vegetables. Healthy Lifestyles, (12), pp. 34-36.
Ilkes, J. (2009, September 20). Why Dried Fruit is a Diet Staple. Healthy Lifestyles. Retrieved from: www.healthylifestylesmag.com/driedfruitilkes2009
- Online sources
Citations for websites:
Author/Source if no specific author (Year). Title of web document/page. [online]. (Last updated: if this information is available). Available at: URL [Accessed date: Day/Month/Year].
For example:
HealthTips (2015). Superfoods and where to find them. [online]. (Last updated 20 May 2015). Available at: www.healthtipsarticles.com/superfoodsandwheretofindthem [Accessed 20 June 2016].
Citations for emails:
Sender’s last name, First initial. (Year). Subject Line of Email. [email].
For example:
James, D. (2016). New business plan for McDowells. [email].
Citations for Social Media:
Last name of author, First initial. (Year). Title of page [Social media format]. Day/month/year written. Available from: URL. [Accessed: Day/Month/Year].
For example:
Proud, F. (2014). Food lovers group [Facebook]. Written 5 June 2014. Available from: www.facebook.com/foodloversgroupproudf2014 [Accessed 25 September 2016].
- Images/visual mediums
Citations for films/videos/DVDs:
Full Title of Film/Video/DVD. Year of release. [Type of medium]. Director. Country of Origin: Film studio or maker. (Any other relevant details).
For example:
The World’s Best Curries. (2011). [Film]. Directed by J. Hertz. U.K: Foodie Studios.
Cittions for YouTube videos:
Username of contributor. (Year). Video Title, Series Title (if relevant). [type of medium]. Available at: URL. [Accessed: Day/ Month/ Year].
For example:
Yummy Dishes. (2012). Egg custard – simple recipe!, Baking 101. [YouTube video]. Available at: www.youtube.com/yummydisheseggcustard [Accessed 13 June 2016].
Citations for broadcasts:
Series title and episode name/number. (Year). [Year of broadcast]. Broadcasting organisation and channel, date and time of transmission.
For example:
World Kitchen: Nigeria, episode 5. (2011). [Broadcast 2011]. BBC 1, first transmitted 30 July 2011, 20:00.
Citations for images/photographs – Print or Online:
Last name of artist/photographer, first initial (if known). (Year of production). Title of image. [type of medium] (Collection Details if available – Document number, Geographical place: Name of library/archive/repository).
For example:
Hewer, D. (1995). Women enjoying a cup of tea. [Photograph]. (Document number 345, London: Food Photography Library).
Citations for maps:
Map maker’s name. (Year of issue). Title of map. Map series, sheet number, scale. Place of publication: publisher.
For example:
SpeedyQuest maps. (2003). Map of Biddiford. Local Maps, sheet 5, scale 1:50000. Nottingham: Local Publications.
Citations for podcasts:
Broadcaster/author’s name. (Year). Programme title, series title (if relevant). [type of medium] date of transmission. Available at: URL [Accessed date: Day/Month/Year].
For example:
Yummydishes. (2015). Innovative Baking, Innovative Food. [Podcast]. Transmitted 16 October 2015. Available at: www.foodiepodcasts.com/yummydishesinnovativebaking [Accessed: 17 April 2016].
- Other source types
Citations for reports:
Organisation/author. (Year). Full title of report. Place of publication: Publisher.
For example:
Marks and Spencers. (2014). A report on the sales of ‘2 Dine for £10’. London: M&S Publications.
Citations for dissertations:
Last name of author, first initial. (Year). Title of dissertation. Level. Official name of university.
For example:
Neath, G. (1998). An examination of Mexican food in popular culture. Masters level. Oxford Brookes University.
Citations for interviews:
Last name of interviewer, first initial, and last name of interviewee, first initial. (Year). Title/description of interview.
For example:
Ferman, H. and Bill, O. (2004). Discussing cooking.
Citations for presentations/lectures:
Last name of author, first initial. (Year). Presentation/lecture title.
For example:
Yates, R. (2008). The benefits of herbs.
Citations for music:
Performer/writer’s last name, first initial. (Year). Recording title. [Medium]. City published: music label.
For example:
Luce, F. (1996). Delicious. [CD Recording]. Nottingham: Delectable Music.
Citations for computer programs/software:
Name of software/program. (Year). Place/city where software was written: Company/publisher.
For example:
RecipeGen. (2008). Nottingham: Delectable Software.
