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THE PSYCHOLOGICAL PARADIGM IN THE CONCEPTION OF

ARCHITECTURE.
Psyhoarchitecture- humanist paradigm in architecture

Codrutza Iana, lecturer PhD. arch.

University of Architecture and Urbanism „Ion Mincu”, Bucharest, RO
kodruyana@gmail.com

Abstract
This article contains a part of my conclusions about the psychological paradigm, an important part in the
concept of contemporary architecture, conclusions published in 2017 at Omni Scriptum, Saarbruken, in the
book "Psyhéarchitecture. Psycholgical influence of architecture ”. I have defined this concept of psycho-
architecture during a series of conferences under the same name organized in UAUIM, between 2014 and 2018,
as one which put under its umbrella researches regarding the psychological influence of the built space but also
elements of the psychology of the architect in his creation, from the manifestation of its personality to his
relationship with the man - in this case the beneficiary - but also with society. I have defined the ”narcissistic
architecture” which, as is the psychopathology, is the construction that exists for itself, valuing itself as such,
indifferent to the social or constructed environment in which it lives, the self-directed architecture that ends up
being rejected by the community. At the other pole we could talk about the healing architecture and its
valences. Without entering the territory of esotericism at all, the healing architecture contains paradigms still
within its conception of maneuvering functions, space, forms and other material manifestations that compete
for communion with its beneficiary and its activities, not forgeting the dialogue and communication with the
social environment in which is implemented.
In these coordinates, we can define that psyhéarchitecture paradigm can be used, both in the creation-concept
but also in the analysis of the architecture itself.
The conclusion I draw is that we cannot create a today architecture without taking into account the paradigms
of psyhéarchitecture, that is, how the architecture influences the human psyche.

Keyords: psyhearchitecture, psychology, humanism, emotion

The new architectural paradigm: ”psyhéarchitecture”

In my research I begun with some hypothesis by asking some questions. Should we expect the
built environment to influence man more than does generally the art? An entire architecture
history proves something else, equally convincing: the architectural space induce powerful
emotions in human spirit.
But I remember what I felt in Jewish Memorial from Berlin, when I was close to the space
that evokes the war genocide. At first, I heard a strange noise like someone has thrown
pieces of metal. The noise make me curious and I look up the source: it came from an area
located as if by chance, after a corner. So the surprise was greater. The mysterious sound has
gained significance. The light, the composition of forms, it's height, the nude concrete and
the metal pieces with a specific symbols communicate the message without a word. (fig.2)

Fig. 1, Interior of the space of the elimination, Fig. 2, the corridor to the space of the elimination,
Jewish Memorial from Berlin, Liebeskind Jewish Memorial from Berlin, Liebeskind

The interior atmosphere thrilled me: it was about human slaughtering; sometime, other
people trod over their fellows as if they were inanimate objects (fig.2). Then, another space
that suggest gassing area brought a particularly strong emotion (fig.1). I pulled a large and
heavy side door, nor have penetrated well that I understood what the meaning of that
chamber is. Everything: the proportion, the darkness and the upper light aperture, the only
way the light can came in...or out, everything creates a powerful emotion which connects me
in a glance with the story of this particular place. Without any word but only the space, one
could foresee the spirit leaving the dark world trough the gap between the walls, to the light,
can feel the sensation of escape and alleviation. In a very special way, that space
metaphorically express pain and hope, dead and light. You could feel the joy of the spirit
release from the cage, from heavy, cold and dark materiality.
I'm studying for a while this border field between form and perception, between thought and
wall, field of psychology of built space. About the interaction between construction and the
environment have been thoroughly studied and written, as one between man and the
environment.
I look up to find a term or a word to define psychology of built space: ”psychéarchitecture”.
This term is not another word for the international ”neuroarchitecture” because the
paradigms are not the same.
I consider that the term ”neuroarchitecture” induces ambiguous connotations, specially for
those not from the scientific field. It direct the researchers to the field of neurological
architecture or the architecture of the neuronal paths and relations. All the human and
architectural history proves the environment influence is on multiple levels, started of course
with basic mental processes of perception but going on the state of soul, spirit, at
philosophical levels. I think the term ”psyhéarchitecture” is more complex and gives the
correct perspective over the fields of knowledge that we need in order to build ”good
architecture”. There is ”architecture” but it is also ”psyché”, not ”psycho” because ”psyché”1
is related to soul, mental state, emotional state and has, in fact as complex denominations as
man has. I consider, as Jung remembered from his earlier writings, the human mind is not
just simple patterns of neurological processes, but one of the most incomprehensible
wonders of the world rather than been comprehensible or measurable . For example, the
common but the important notion of ”comfort” has dimensional-physical- connotations but
also an important psychological, emotional component. If the term "psychological" is pretty
well defined by specialists, "emotional" remains a word that is written on paper and read
between the lines.
So the big difference between the two terms is that ”psyhéarhitecture” links the architectural
space - designed and manufactured by man- and the human psyché, that is not reduced only
to its neurological processes - the tangible and material part of the human mind.
The interaction between construction and the environment, human or natural, have been
thoroughly studied and written about, as that one between man and the environment. There
are well known the written of Pallasmaa, Zumthor or Liebeskind about emotional
architecture. Gaston Bachelard talks about the ”poetics of space”. There has been a lot of
researches about the philosophy or architecture and space and I would remember Michel
Foucault or Christian Norberg Schultz with his ”Towards a phenomenology of architecture”.
Each of one deepened the study about some aspect of human reaction on specified layer of
existence. But philosophy or basic emotion, spiritual catharsis or simple comfort, all that state
of being are decoded and begin as a mental process. Simple taste reaction of like-dislike is
influenced not only by education, but the character, possible traumas, anchors memories or
mental patterns can be very important.
One of the areas of psychology, called environmental psychology and even one of the three
branches of ergonomics is cognitive ergonomics which study the interaction ways between
human and his environment. There is also psychology of art, but architecture is not only an
art but an inhabited art, as we aim, so it's influence and importance are much more complex.
Human being is so complex and has reaction and aspects of existence on many levels from
spiritual-divine to physical-pragmatic ones, that his interaction with built space is as well as
complex and diverse.
Psyhéarhitecture could be a concept and specific border-field between many specialties, a
scientific research field to bring new information both in architecture and psyché, bringing
together sociology, theory and history of architecture and art, psychoanalysis, aesthetics,
1”psyhe=the mind, or the deepest thoughts, feelings, or beliefs of a person or group”, source:
http://dictionary.cambridge.org/dictionary/english/psyche
cognitive ergonomics and the environment psychologies, philosophy, neuroscience.
The questions that direct to the paradigms of psyhéarchitecture are also the purpose of this
research:
Can the built space, really, influence the psyché as mental state, spirit, emotional state?
Is this influence just a pure subjectivity of perception given by the mindset of the inhabitant?
And if it does INFLUENCE, how much, what levels? How deep?
Is it about autosuggestion?
CAN BUILT SPACE BE DESTRUCTIVE OR A REAL HEALER?
Are the theories that sustain the positive effect of therapeutically environment or healing
architecture simple speculations?
The main research presented in my book Psyhéarchitecture state that, based on the
neuroscience researches, the influence are real and deep so they can not be excluded from
the analyse and conception of architecture.

Architecture, a sculpture into the emotional space

Ask you and anyone else a question: WHAT IS SPACE? You will observe that is one of the most
simple and complex question. The answers will be about limits, place, perspective and image,
about forms a compositions, maybe about proportions, colors, distance and proximities.

Inner space-outer space

Some years ago I conduct a workshop about self-exploring through indoor projection on the
forms that we draw or we prefer. I led the workshop together with a psychotherapist
specialized in the fractal therapy. The participants have to draw an image about the inner
space and personal boundaries. They were put together in groups of 4-5 and invited to draw
together, on the same white sheet of A3 paper, their image of inner space and personal
boundaries. The rule by they've been grouped was the preference upon the same fractal
image. Each of them begun to express trough an entropathy process. After the drawing
process, they discuss the experience and there works. There were, as we'll see in the
illustrations, three teams. What resulted was interesting to observe how each sees its limits
and intimate space, but also how they communicate.
There were formed three types of groups each of them drawing the inner boundaries and
space after their inner perceptions about what their needs are but also taking into account
the neighbors of the sheet I name them after the specificity:
 The good neighbors- where the participants occupied the hole page, in good
communication and understanding with each other
 The conflictual board make strong boundaries, creating even spying places for the
others
 Go with the flow , wich, in my opinion is the most spectacular one: you cannot see
wich and what are the individuals.
Fig. 3, The conflictual border: you can see the personality Fig. 4, Go with the flow- can not distinguished the
well sorrounded and even the two on the up side, attaking particpants, becouse theymake their inner space
each other. Each of the drawing present an well together.
distinguished personality, easy to observe

This workshop shows to the participants a flash of an image about themselves and their
personal borders. Our inner space is private, personal and so intimate and sometimes,
trauma or simply a lack of knowledge hide it from conscious mind. Exercise like this make us
more connect with our inner parts. On the other hand, outside is the space that contain us,
that is public, exterior, but encompass our private things. Interior space is in our mind or in
our soul? It seems that we are creating, through the power of imagination, both the interior
and the exterior space. The experiment from the workshop described above, teach us man is
establishing the limits and borders depending the perception that he has upon the
surrounding environment and about self. If he feel strong, the limits will be less important
and we do have the courage of exploring, expressing and communicate. If we feel weak we
will build strong limits, very well defined. One will be much introverted and preoccupied to
hide his inner sensible core. Therefore the outer accepted and perceived-understood space is
a projection of interior in exterior.
This contrast and duality between public - private, interior-exterior creates a sort of
heterotopy space, like in Michel Foucault theories. In his thesis, this so called ”other space”
has the power to juxtapose different types of space with opposite significance: inner-outer,
self-others, familiar-unknown. In fact, because of the way that we understand and project
outer in inner and inner on outer, we can say that all men are living in a sort of heterotopy.
After Foucault, walls can have a dual role of closure: close inside to outside as well as outside
to inside. So we can affirm that: EVERY MAN IS LIVING IN HIS OWN UNIVERSE. Like Foucault
writes about heterotopias: ”an illusional space that denounce more illusory the real space”
(Michel Foucault, 1984, 46-49).
 Formal composition and neuronal response
In 1924, researchers Poffenberger and Barrows of Columbia University published a book
called "The feeling of lines" after a survey done on 500 subjects who were asked to link the
emotions produced types of lines, curves, straight, angular , sinuous etc. For each of these
were three types of lengths: large, medium and small. Each dimension has three different
directions: up, down, horizontal. Surprisingly or not but most have responded the same.

 The vertical line expresses stability,

 Curves express some sort of motion or
change, in C case processes of ruination
 Lines with short waves and acute angles
symbolize state of strong motor
expression (D,E,F)
 Line with short waves and sharp angles
are associated with slower weaker
emotion (G,H,I)
 Line pointing downward is associated
with relaxation
 The line pointing upward means power
(K). A line associated with strengh is a line
that tends to upwards, expressing energy,
force, ambition.
 Line going down loss of energy, weakness
or depression. (L)

Fig.5 original image from the book, pag. 192

Colin Ellard says on his website2: ”Some theories of aesthetics suggest that some of our
responses to patterns are deeply inbuilt biological responses that come from ancient circuits
designed to respond to important events like the presence of predators or bounty, and I
think it quite likely that some of our universality in responses to designs do come from such
connections...Most obvious in the case of the lines is that our eyes follow them. The
movements of our eyes as we follow the line produce feelings which, according to Puffer, we
attribute to the lines themselves. So the feelings come from inside us and they are
generated by the movements that we, ourselves, make as we observe the lines. ”
Artistic composition rules and laws are basic lessons of any visual art school. Repetition,
symmetry, dominant are some of the main elements underlining any style. Repetition of an
element in the spatial composition suggests predictability and circumvent unexpected. Man
has the tendency to believe that predictability is good, it protects him from unknown that can
mean new contingencies dangers. Symmetry and repetition are the preferred compositions
of Renaissance styles, classical, antique, when theories about mathematically calculable and
determinable beauty, were aimed and used.

2
http://colinellard.com/the-feeling-value-of-lines/
People who are anxious in a new environment will prefer this kind of composition. A person
who tends to control, will prefer circle space: he will be in the center and will see everything
like in Foucault panopticum concept.
On the other hand, if we know everything from the beginning, life may seem boring so,
predictable space can became boring. The unexpected, which gives us by nonsymmetrical,
complex and irregular composition, are making in the brain new calculations by multiple
variables. Instead, during a stressful activity, itself full of unexpected and new calculations for
the brain, visual stress given by complex forms and compositions, in addition, would only be
added to the one we live anyway. So the conclusion is that it's good to work in a well-known
space that creates a state of relaxation through predictability, as described by Deleuze and
Guatari as ”smooth spaces”, with no new information (visual) for the brain. Instead,
relaxation could involve new and unexpected experience to shake off the monotony and to
change the register of neural calculations from the everyday activity to something new. This
can be refreshing. Therefore we are leaving on holidays trips, looking for some new
adventures, so we feel the need for change and accept the mess and complex composition of
shapes, "striated space" with information and visual obstacles.
Symmetrical composition with repetitive elements form a predictable environment, well
known universe, deprived of surprise. Asymmetrical and irregular compositions simulate new
experience, the new. A creative person, on the other hand, accustomed to change, maybe
even dependent on it, would prefer asymmetrical styles: deconstruction, organic style, the
playful postmodernism.
In one of the Salk Institute conferences on "The Psychology of Architectural and Urban
Design”3, Colin Ellard exposes several studies about the inhabitants reaction to what is called
"striped space"- visual information in the course of a city. It was observed that the facades
with "streaks", ie visual information given by style, formal composition, different materials
etc, involved in bystanders speed route: they slow down till stopping. Also it is established
that these types of facades attract more passersby at a rate of up to 80% of those with
smooth space, 20%.
In terms of urban contrasts, the research has revealed that are preferred contrasts as green
interventions: public gardens, parks and even cemeteries. The research found the following
information about the preferences of passersby:
 Brief exposure to the nature in cities produce positive affect
 Evidence for emotional effect of facade design
 History matters, they reacted positively
 Our surroundings influence our ability to direct attention and this can be measured in
the field.
Colin Ellard shows the researches establish that balance of smooth-striated place is most
preferred. He points out that harmony, balance, absence of dominant elements, the
presence of the sky perspective and the natural elements, effectively lowering the
substances produced by the brain from stress therefore is not only aesthetically beautiful but
also has a component that produces health. They stimulate and generate response not only
from the conscious, responsible for taste and conscious choice, but also directly from the
3
https://youtu.be/ClTeJror1sQ?list=PLvid0q94ZYG1Hw7hlD9XJmwIysPJup-SI
oldest part of the brain "The lizard brain" where are the instincts. It is clear that a much
bigger element than us seems overwhelming, if not scary, at least dominant. Therefore
anything exceeds too much the perspective where we can see the sky becomes stressful.
"House of god" is much larger than human scale. Apart from the type compositions, it can be
identified more three important elements in the impact of environment over the human
psyche: light, color and proportion.

The pleasure of beauty

Before we enter in the subject, we should make some remarks about the words significance.
The word "beauty" arises too many comments, discussions and controversies. This term
takes on multiple meanings, even in very different schools of aesthetic criticism. Often the
term "beautiful" is used without any distinction, we are dealing with simple opinions or
comments limited to the judgment of taste, far from any rigor that could bring to light
regulatory paradigms or valid assumptions. Therefore, most often, "beautiful" is presented as
an observation, without exceeding its really common sense. A simple description is not
sufficient to describe the forms. The same happens to the established classifications
language, where the notion of "type", "style", "current", for example, have generalizing
connotations, as imprecise as the notions of "beautiful" they recommend.
"Each style represented for humanity that has created, the greatest happiness," writes
Worringer. ( Worringer, 1970, 30) Neither the erudite terminology of arts theory do not get
off the concept ambiguity of the ”beauty”. "Beautiful" after Michelis, is characterized by a
certain apathy and apparent indifference for motion, to such an extent that, its harmony
movements is perfect and balanced trough itself" ( Michelis, 1970, 385 ). In appreciation of
beauty it appears to be a strong emotional act, but also a lack of objectivity. All these
comments are meant to emphasize that "beauty" is the description with the highest
coefficient of relativity and ambiguity. Worringer draw attention that the appreciation as
"beautiful" arises from the fact that we are all subject to enthropaty law. ”De gustibus non
disputandum” or ”it's nice what I like”, are replicas meant to close any dispute on the
subject.
But how do I choose? Do I really like it? Why do I like it? Why some things repulse me, while
others things seem to me irresistible? Worringer writes: „To enjoy the esthetic means to
relish me into another sensorial object, to transpose me into it."(Worringer,1970, 22 ). In other
words we love to find in the artistic object, we love what is familiar to us, even if we do it
unconsciously. If our spirit does not prefer the safety of rigor, we will feel comfortable
between colors and soft forms, we will appreciate a messy corner as something bearing the
human imprint, rejecting from the start a rectangular style, perceiving it as inhumane and
almost impersonal. If our spirit is rational, he will appreciate the right angle and simple clear
shape as they shown unequivocally in the clear light. In both cases, will miss the discernment
to see any deficiencies in the certain object or scene, excelling the pleasure to enjoy that
something "beautiful". „If I can let me without opposition in this activities of contemplating,
than I do have the feeling of freedom and this is an emotion of pleasure...The sentiment of
interior conflict gives the feeling of unpleasant.", affirms Worringer in the same book.4
Apart from our way of being, there are other factors that disturb the perception of an object:
education, training visual sensitivity, aesthetic sense, temper emotion of the moment. ”...We

4
The activity of positive contemplation
see because we foresee, we hear because we hear first in ourselves and, in a word, we
correct what appears as imperfect before our eyes... Our emotion is creative: recreates the
universe as we live. On the occasion of an aesthetic experience that we have in front of an
artistic work, we recreate it according to our spirit and not by his reality, because we read
through the lines the idea and don't just limit ourselves to the sensations inspired by it.”
(Michelis, 1982, 317).
When we refer to a "beautiful" creation, we talk also about inspiration, talent, spirit. In the
classical period, Euterpe was considered the muse of lyric poetry and was portrayed with a
flute. Euterpe name comes from the Greek words εὖ (good, well) and τέρπ-εω (pleasure,
pleasant) and means "the one that makes a lot of pleasure". Euterpe is one of the nine
Muses, daughter of Zeus and Mnemosyne's. In psychology analyze the "emotion of pleasure",
described a large class of mental states in which man experiences a series moods as positive,
pleasant, and specific mental states such as happiness, joy, ecstasy, euphoria.
Psychology presents the "pleasure principle" as a positive feedback mechanism, motivating
the organism to recreate in the future that specific condition that has experienced as
pleasant and avoid situations that caused pain in the past. Pleasure consists of a plurality of
brain processes, including that of like, to desire, to learn, processes served by distinct neural
networks partially overlapped. According to Freud, the pleasure principle is one of the two
fundamental principles governing the functioning of the human psyche.

Conclusions: the knowhow of psyhéarchitecture in the process of creating

architecture
About the influence of architectural space on human psyche there is not a simple and unique
answer. There are situation when architecture plays an important role in people experience.
An important clue here is the kind of experience involved and the human aspect touched.
We'll see in the following chapter some of the situations when architecture is used and useful
in the process of becoming of people. There are, also, situation when architecture is only a
decor, a scenography, as Alain de Botton demonstrates. As it was emphasized, the psyche
typology is also a clue: some people are more sensible than others, some are visual, some are
touched by music, each of us have one of senses more sensible.
The important thing to do as architect -the creator of the constructed environment- is to put
in the equation of his creation the human psyche value and variable. In this spirit he will be
able to create architecture for people not only beautiful and functional, well dimensioned
and stable but also vivid, empathic, and alive, an architecture like a human creation, not just
a great an important unlived object, a creation for all human aspects in all its complexity.
Psyhéarchitecture is a research field with a special goal: to change the paradigm in
architecture for increasing the human wellbeing by more profound understanding.
Liebeskind says architecture is like a language. The architects draw ideas using symbols and
signs, like an alphabet that tells a story, creating a new universe. And humans, the
architecture inhabitants, more that visual esthetic pleasure, receive and decrypt those
symbols by a particular and unique inner code. Only after decoding the images, the pleasure
emotion or the good feeling appears or not.
We architects should understand more clearly how human mind works, precisely because
we work with layers of translucent paper, looming plans of unborn spaces. Our drawings
illustrate magic images of the illusory construction of their designed dreams, using, in fact,
symbols. Isn't the imagined forms, symbols which expresses our beliefs about people and
space. In the same way, but in a reverse process, the mind records the information given by
the environment and decoded by the sensitive human system through the emotions, the
odors, the images... on the layers of the mind. Man can chose a single layer - one memory or
emotion- or can combine some of them, creating a new picture of a part of his universe. This
forms his own image about the his universe. Some see more, some less. Some attend high,
some stays at the same level. This own and particular image is continuously changing,
depending the new formed or gained layers of memories or emotions from reality. The
memories are not remaining as they were. Fresh, they have power in our mind. Once in the
lower planes the influence on the perception became more pale. Because they haven't a
consistency fixed position, they influence each other, in a continuously changing state.
Our thoughts form large visual fields in which the vast universes can be foreseen, cosmic
winds can be felt; sometimes even see the light of creation. And still there are small and dark
corners where dust tightens unlived emotions or thoughts consciously denied. Our mind is
like a house. It has basement -the sub-consciousness, ground floor-conscious, floors and attic
- the layers of our thoughts. It has a sky overhead where the stars are watching us. We live in
our minds because everything begins and ends there. Winds of thoughts can shatter the
fragile inner walls of our house. They crack windows and leap into sharp pieces and, although
all are just thoughts, they are hurting us and each other, frightened and stray like sparrows
caught in hermetically sealed rooms. We should know them, make friends and coordinate
them. We should care about our”mind-home” because is the only really important home.
We should aim to understand not only how the built environment changed man but to
examine how is perceived by the human mind, how influence human emotions, feelings and
behaviors to help us to improve his comfort. It is interesting to see how the built
environment, that cluster of cold and impersonal material, assembled by the artist's vision, is
filled with life by its inhabitants, how the two worlds are intertwined so far: the blunt -
material concreteness- and emotion - fluid , unreal and impossible to palpate. Everyone has
his own life story as they select the set of own truths. But whether it is the story of our similar
beginning, the common origins or unconscious, there is a common denominator that makes
people to act an feel similar in some situation, in front of a piece of art or in a cathedral
interior. The reality demonstrates how we all perceive the same the wavelengths of light as
colors. The same mood given by musical arrangements proves the same. Anyone can
remember the feeling that same architectural space has left it upon himself, depending on
the mood he had at the time.
It was always a strong link between form and function, the concept of beauty and the social
conditions.
It is our role, of architects, to gather all the information about the subject, to filtrate trough
our talent and intuition and to introduce it in the processes of building conception.
All of that looks very bright in theory. But what is the protocol in fact for doing the correct
thing? Is there one or all remains to the mercy of the creators? I think it is very important
that the architect keeps in mind that his final goal is not only his glory and its creations but
the benefit of the inhabitants. Creating architecture is an act of art but architecture cannot
be built only for the ”conaisseurs”, as they say about some form of art, because, one of its
first qualities must be functionality. Another quality is comfort on all levels of perception:
 Visual- beauty, visual harmony at the level of forms, colors, ambiance, perspective
 Tactile- smoothness and suitable materials, climatic factors etc.
  Kinetic- some form of visual stability, dimension ergonomics, etc
 Olfactory- controlling the smells
 Hearing- controlling the sound at all aspects
Still, we cannot forget, one of the most important level of comfort, the emotional, the mental
level that can rise you up or bring you down, despite the beauty that surround you. If the
architect introduces in the equation of the design process the human psyché factor, he will
take the first step toward an architecture for the people. But this step brings another one
after it. To answer the principal question of this chapter, the protocol is to include in the
process of designing architecture researches, in the psychological field, about the community
or the inhabitants, mostly for big project for public or community functions. We must keep in
mind that the building is not only in his beneficiary and inhabitants behalf but is included in
the community site, human, natural or constructed environment. So, the first point is the
good harmonious relationship between architecture and his site, human, natural and
constructed.
The design team must include sociologists and psychologists. Must take in consideration
studies in the field that gives the coordinates about the future users of that building. There
are sociological dates about:
 The social needs:
o of the community,
o of the inhabitants of the building,
 The expectations of the community about the building,
 Information about the cultural, native, local specificity are very important for the
architect so he can express his art into a language, set of symbols, colours, materials,
forms with certain significance for the inhabitants. In this way his building will be
recognized, accepted and integrated in the city:
o The set of local traditions or habits,
o The level and kind of education,
o Their spiritual beliefs
There are some psychological dates about:
 Age particularity-different age has different universe. One cannot design in the same
set of esthetical universe something for children or for elders.
 Other particularity like mental specific state or other traumas or particularities
(victim of war, mentally incapacities etc.
 Sex differences and particularities specific to the society beneficiary of the project.
Returning to the first Vitruvian
architecture principles,
psyhéarchitecture introduce
some substantial aspects and
introduce too more:
 COMFORTABLE for body,
mind and spirit
 HEALTHY , including the
echologycal meanings

These are important variables taken to considerations, in the process of conceiving

architecture, to ensure that we make good quality architecture in an age where everything
seems can be constructed, architecture for the people but well integrated in the site, natural
or architectural. While there is a great deal that still needs to be studied and tested to
develop an “evidence-based architecture,” what ANFA5 ultimately hopes to do, is create a
certification that would ensure a building followed brain-based principles of design”

I brought up studies, scientific researches, interviews, conclusions that direct to some possible
solution to build not only in the spirit of art and beauty but to include in the process of designing
paradigm more profound about the human kind, to design an architecture that have a conscious way
to contribute in the process of becoming. Keep in mind that the processes are interactive. If we
living in ugly spaces the tolerance for ugliness will be bigger enough to let us accept and create ugly
things. Same for all negative attributes: disrupted, disorder, unsafe. The citizen raised and educated in
that kind of spaces will increase his tolerance to them, as the law of adaptation stipulate so they will
pass on the ugliness and disorder, as it happened now in most of the cities.

References

Bachelard Gaston, (2015), The Poetics Of Space, Penguin Books Ltd, London,
De Botton Alain, (2014) The Architecture Of Happiness, Penguin Books Ltd, London,
Deleuze Gilles & Guattari Felix , (1980) Capitalisme Et Schizophrénie 2,Mille Plateaux, Les Editions De
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Academy of Neuroscience for Architecture