Read Anytime Anywhere Easy Ebook Downloads at ebookmeta.

com

Programming for Health and Wellbeing in

Architecture 1st Edition Keely Menezes

https://ebookmeta.com/product/programming-for-health-and-
wellbeing-in-architecture-1st-edition-keely-menezes/

OR CLICK HERE

DOWLOAD EBOOK

Visit and Get More Ebook Downloads Instantly at https://ebookmeta.com

 Recommended digital products (PDF, EPUB, MOBI) that
you can download immediately if you are interested.

Tourist Health Safety and Wellbeing in the New Normal

https://ebookmeta.com/product/tourist-health-safety-and-wellbeing-in-
the-new-normal/

ebookmeta.com

Mixed Methods Research in Wellbeing and Health 1st Edition

Rachel Locke

https://ebookmeta.com/product/mixed-methods-research-in-wellbeing-and-
health-1st-edition-rachel-locke/

ebookmeta.com

Promoting Health and Wellbeing: For nursing and healthcare

students (Essentials) 1st Edition Bennett

https://ebookmeta.com/product/promoting-health-and-wellbeing-for-
nursing-and-healthcare-students-essentials-1st-edition-bennett/

ebookmeta.com

Starfinder RPG: Starfinder Enhanced 1st Edition Paizo Inc.

https://ebookmeta.com/product/starfinder-rpg-starfinder-enhanced-1st-
edition-paizo-inc/

ebookmeta.com
Marked In Flesh The Others 04 3rd Edition Anne Bishop

https://ebookmeta.com/product/marked-in-flesh-the-others-04-3rd-
edition-anne-bishop/

ebookmeta.com

New Kingdom Trilogy 1 Mask of the Gods 1st Edition Micky

Carre

https://ebookmeta.com/product/new-kingdom-trilogy-1-mask-of-the-
gods-1st-edition-micky-carre/

ebookmeta.com

Her Final Victim 9th Edition Nj Moss

https://ebookmeta.com/product/her-final-victim-9th-edition-nj-moss/

ebookmeta.com

Overcoming Obstacles in Drug Discovery and Development:

Surmounting the Insurmountable■Case Studies for Critical
Thinking 1st Edition Kan He (Editor)
https://ebookmeta.com/product/overcoming-obstacles-in-drug-discovery-
and-development-surmounting-the-insurmountable%e2%80%95case-studies-
for-critical-thinking-1st-edition-kan-he-editor/
ebookmeta.com

The Kenyan TJRC An Outsider s View from the Inside Slye

https://ebookmeta.com/product/the-kenyan-tjrc-an-outsider-s-view-from-
the-inside-slye/

ebookmeta.com
Pediatric Collections LGBTQ Support and Care Part 3 Caring
for Transgender Children 1st Edition American Academy Of
Pediatrics (Aap)
https://ebookmeta.com/product/pediatric-collections-lgbtq-support-and-
care-part-3-caring-for-transgender-children-1st-edition-american-
academy-of-pediatrics-aap/
ebookmeta.com
PROGRAMMING FOR HEALTH AND
WELLBEING IN ARCHITECTURE

Programming for Health and Wellbeing in Architecture presents a new approach to architectural pro-
gramming that includes sustainability, neuroscience and human factors. This volume of con-
tributions from noted architects and academics makes the case for rethinking the practices
of programming and planning to incorporate evidence-based design, systems thinking and a
deeper understanding of our evolutionary nature.
These 18 original essays highlight how human and environmental health are closely related
and should be incorporated as mutually reinforcing goals in every design project. Together,
these chapters describe the framework for a new paradigm of building performance and design
of the human experience.
Programming—the stage at which research is conducted and goals established—provides an
opportunity to examine potential impacts and to craft strategies for wellbeing in new buildings
and renovations using the latest scientifc methods. This book expands the scope of the pro-
gramming process and provides essential guidance for sustainable practice and the advancement
of wellbeing in the built environment for architecture and interiors students, practitioners,
instructors and academics.

Keely Menezes, MPH uses public health frameworks to emphasize design as a tool for
population wellness. She is a writer, artist, and interior designer based on Martha’s Vineyard,
Massachusetts.

Pamela de Oliveira-Smith is a Boston-based writer, editor and creative director.

A. Vernon Woodworth FAIA is Life Safety & Code Consulting Service Leader at Fitzemeyer
& Tocci Associates, Inc., in Woburn, MA and a member of the Faculty at the Boston Architec-
tural College. He serves as Secretary to the Human Architecture and Planning Institute, Inc.
(theHAPi.org), a non-proft devoted to improving the user experience in the built environment.
PROGRAMMING FOR
HEALTH AND WELLBEING
IN ARCHITECTURE

Edited by
Keely Menezes MPH, Pamela de Oliveira Smith,
and A. Vernon Woodworth FAIA
First published 2022
by Routledge
605 Third Avenue, New York, NY 10158
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2022 selection and editorial matter, Keely Menezes, Pamela de Oliveira Smith, and
A. Vernon Woodworth; individual chapters, the contributors
The right of Keely Menezes, Pamela de Oliveira Smith, and A. Vernon Woodworth to be
identified as the authors of the editorial material, and of the authors for their individual
chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs
and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Menezes, Keely, editor. | De Oliveira-Smith, Pamela Jean, editor. | Woodworth,
A. Vernon, editor.
Title: Programming for health and wellbeing in architecture / edited by Keely Menezes
MPH, Pamela de Oliveira Smith, and A. Vernon Woodworth FAIA.
Description: New York : Routledge, 2022. | Includes bibliographical references
and index. |
Subjects: LCSH: Architecture—Human factors. | Design--Human factors. |
Well-being.
Classification: LCC NA2542.4 .P765 2022 (print) | LCC NA2542.4 (ebook) |
DDC 720.87—dc23
LC record available at https://lccn.loc.gov/2021020284
LC ebook record available at https://lccn.loc.gov/2021020285

ISBN: 9780367758844 (hbk)

ISBN: 9780367758868 (pbk)
ISBN: 9781003164418 (ebk)
DOI: 10.4324/9781003164418
Typeset in Bembo
by codeMantra
Dedicated to John P. Eberhard
Whose insights paved the way
CONTENTS

Contributor Biographies xi

Introduction 1
A. Vernon Woodworth, FAIA

PART 1
Human Factors 7

1 Programming Interior Environments: Human Experience,

Health and Wellbeing 9
J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

2 Biophilia and Human Health 25

A. Vernon Woodworth FAIA

3 Beauty Is… 31
Donald H. Ruggles AIA, NCARB, ICAA, ANFA

4 Stress 39
J. Davis Harte, PhD, WELL AP with A. Vernon Woodworth FAIA

PART 2
Buildings 53

5 Programming for People 55

Keely Menezes, MPH

6 Empathetic Programming to Foster Inclusion 65

Robin Z. Puttock, RA, LEED AP BD+C, WELL AP
viii Contents

7 Programming for Efective Learning 81

Laura A. Wernick FAIA, REFP, LEED AP and Erika Eitland, MPH, ScD

8 Programming for WELL Certifcation on a University Campus 94

Robin Z. Puttock, RA, LEED AP BD+C, WELL AP and
Angela Loder, PhD, WELL AP

PART 3
Streetscapes 107

9 Placemaking: Programming Urbanism for Human Engagement 109

Robert S. Tullis AIA

10 Programming for the Subliminal Brain: Biometric Tools Reveal

Architecture’s Biological Impact 136
Justin B. Hollander, PhD, Gideon Spanjar, PhD, Ann Sussman AIA,
Frank Suurenbroek, PhD, and Meng fei Wang

11 The Future of Codes and the Architecture Profession 150

A. Vernon Woodworth FAIA

PART 4
Region 157

12 Programming in the Bioregion 159

Philip Norton Loheed AIA, NCARB, Assoc ASLA
with A. Vernon Woodworth FAIA

13 Regenerative Development and Design: Nature and Healing 171

Bill Reed AIA and A. Vernon Woodworth FAIA

14 Programming for Human Health in a Challenged Climate 177

John Gravelin, Eleanor Hoyt and Jim Newman

15 The Post-Pandemic City 194

Lawrence A. Chan FAIA

PART 5
Commissioning 213

16 Programming and Commissioning: A Bookend Approach to

Evidence-Based Design 215
A. Vernon Woodworth FAIA
 Contents ix

17 Life-Enhancing Habitats: Biophilia, Patterns and Wholeness 222

Gregory Crawford

18 Epidemiologic Methods for Evaluating Architectural Design 234

C. Robert Horsburgh, Jr., MD, MUS

Conclusion 242
A. Vernon Woodworth FAIA

Acronyms 249
Glossary 251
Index 259
CONTRIBUTOR BIOGRAPHIES

Lawrence A. Chan FAIA has over 45 years of experience as an architect, urban designer and
teacher. A co-founder of Chan Krieger & Associates, he has designed and planned projects
across North America and overseas on initiatives in complex urban settings at multiple scales
with emphasis on shaping the public realm where buildings and open spaces are integrated com-
ponents of a larger whole. A Fellow of the American Institute of Architects, his degrees include
a BA (Fine Arts) from City College of New York, an MArch from the University of California,
Berkeley, and an MArch in Urban Design from Harvard University.

Gregory Crawford is co-founder and co-owner of Surplus, a permaculture design collective;

co-founder and co-owner of Locus, a pattern language design and placemaking organization;
member of Blueprint, an international coalition for regenerative development in the human-
itarian feld; and founder and owner of Elsewhere, an immersive experience design company.
He has worked—designing, teaching and consulting—in over nine countries, and is currently
restoring an abandoned village in Portugal in accordance with pattern language methodology
and biophilia. He is the author of one novel and several scientifc papers, with another experi-
mental novel and a non-fction book about design in the works.

Erika Eitland, MPH, ScD is the Director of the Human Experience (Hx) Lab at Perkins&Will
where she is focused on K-12 schools, afordable housing and urban resilience. She received
her doctorate from the Harvard T.H. Chan School of Public Health in Environmental Health
where she was the lead author of Schools for Health: Foundations for Student Success report that
examined more than 250 scientifc articles on the association between building quality and stu-
dent health and performance. She also holds a Master’s in Public Health in Climate and Health
from Columbia University.

John Gravelin is a Program Manager at The Energy Coalition, a non-proft organization

based in Southern California that helps public agencies pursue energy efciency and distributed
energy resource projects. John graduated from the Boston Architectural College in 2013 with
a Bachelor of Design Studies in Architectural Technology, and received graduate certifcates in
Sustainable Design and Sustainable Community Planning and Design.
xii Contributor Biographies

J. Davis Harte, PhD, WELL AP is Director and Faculty of the Design for Human Health,
Master of Design Studies program at the Boston Architectural College. She is a wellness design
researcher, educator and translator, bridging evidence and practice through work in children’s
places, trauma-informed design spaces and in childbirth environments. Dr. Harte is immersed
in social justice design, attention restoration theory, resilience, salutogenic and therapeutic de-
sign, symbolic interactionism, neuroscience and evidence-based design, and work centers on
the margins and with those who carry trauma. She co-leads the Global Birth Environment
Design Network and traumainformeddesign.org.

Justin B. Hollander, PhD is a professor of Urban and Environmental Policy and Planning
at Tufts University. His research and teaching is in the areas of physical planning, Big Data,
shrinking cities, and the intersection between cognitive science and the design of cities. He
co-edited the book Urban Experience and Design: Contemporary Perspectives on Improving the Public
Realm (Routledge, 2020) and is the author of seven other books on urban planning and design.
He was recently inducted as a Fellow of the American Institute of Certifed Planners and hosts
the Apple podcast “Cognitive Urbanism.”

C. Robert Horsburgh Jr., MD is Professor of Epidemiology, Biostatistics, Global Health and

Medicine at Boston University. He holds an AB in Architecture and History from Princeton,
a Master’s in Urban Studies from Yale and an MD from Case Western Reserve University. A
specialist in Infectious Diseases, his career has taken him to the Peace Corps in Iran, the Centers
for Disease Control in Atlanta and to tuberculosis research sites in India, South Africa, Tan-
zania, Peru, Brazil and the Philippines. Among his over 250 publications, Dr. Horsburgh has
written several articles on hospital design and on the use of epidemiologic techniques to analyze
the built environment.

Eleanor Hoyt is a sustainability professional with expertise in GIS-based hazard analysis, em-
bodied carbon assessments and energy modeling. She is currently a sustainability consultant
with Linnean Solutions and is excited by the intersection of technology, data science and cli-
mate resilience. Eleanor holds a Master’s degree in sustainable building systems from Northeast-
ern University and a bachelor’s degree in geology and math from Colby College.

Angela Loder, PhD, WELL AP is Vice President, Research at the International WELL
Building Institute where she helps identify current gaps and opportunities around health and
building research and activates interdisciplinary collaboration on metrics and case studies.
Recent projects include the 2020 Global Research Agenda on Health, Well-being and the Built
Environment with the international IWBI Research Advisory and management of the pre-ap-
proved survey provider program for all WELL Certifed projects. Her book Small-Scale Urban
Greening: Creating Places of Health, Creativity, and Ecological Sustainability was published with
Routledge in 2020.

Philip Norton Loheed AIA, NCARB, Assoc ASLA is the Principal Architect of Design Part-
nership Plus since 1990; President Earthos Institute, a non-proft research organization since
2009; and a Member of the Faculty of Boston Architectural College since 1972. He is a former
Partner of AIA Gold Medalist Benjamin Thompson FAIA, from 1968 to 1990. He holds both
Bachelor and Master of Architecture degrees from the University of Michigan together with
a minor in Cultural Evolution theory; and later studied Landscape Architecture and terrain
analysis at Harvard’s Graduate School of Design (GSD). His studies in cultural evolution have
 Contributor Biographies xiii

informed and infuenced many aspects of his practice as an architect, researcher and educator.
Mr. Loheed has designed and built hundreds of projects worldwide in many cultural contexts.

Jim Newman is founder and Principal at Linnean Solutions, which provides resilience analysis
and planning, and energy and carbon modeling. Mr. Newman helped found the Massachusetts
Chapter of the United States Green Building Council (USGBC), and is a Past Chair of the
Chapter. He is also a founding board member of the Resilient Design Institute, a Board member
of the Center for Living Environments and Regeneration (CLEAR) and a member of the RELi
Steering Committee. RELi is a resilience rating system from USGBC. Mr. Newman holds
degrees from MIT and Lehigh University.

Robin Z. Puttock, RA, LEED AP BD+C, WELL AP is a Visiting Assistant Professor and In-
terim Associate Dean of Undergraduate Studies at The Catholic University of America’s School
of Architecture and Planning. Robin is also a practicing architect with over 20 years of expe-
rience in award-winning, sustainable civic architecture which has been recognized by the U.S.
Department of Education and President Barack Obama. Her teaching and research focus is on
sustainability, neuroarchitecture and wellbeing, and she has presented her work at the Environ-
mental Design Research Association, the ACSA and the National AIA. Robin has a Bachelor of
Architecture and a post-professional Master of Architecture, both from Virginia Tech.

Bill Reed AIA is an internationally recognized planning consultant, design process orchestra-
tor, author, a founding Board Member of the U.S. Green Building Council and co-founder of
the LEED Green Building Rating System. He is a principal of Regenesis Group, Inc.—whose
work centers on a living system design process. This work is known as Regenerative Develop-
ment. The objective: to improve the overall quality of the physical, social and spiritual life of
our living places and thus the planet.

Laura Regrut IIDA ASID NCIDQ is the founder of LRD/Laura Regrut Design, a multidisci-
plinary design and research practice. LRD employs the power of design and its psychological
infuence to create environments that seek to increase the health and wellness of end users.
Project areas include commercial, educational and residential sectors. Laura is also an interior
design educator and teaches in several Boston area interior design programs with a focus on
design process, sustainability and wellness. In addition, Laura enjoys bringing collaboration
with national design frms into the classroom at the forefront of the latest design thinking. She
holds a BS in Interior Design from the University of Cincinnati, and an MArch from the Boston
Architectural College. Laura is currently working toward WELL AP certifcation.

Donald H. Ruggles AIA is CEO of Ruggles Mabe Studio, a boutique residential architecture
and interior design frm based in Denver, Colorado. Founded in 1970, the frm is dedicated
to the idea that beauty can improve the lives of its clients. Their award-winning projects have
been featured in publications worldwide. Don is the author of the book Beauty, Neuroscience &
Architecture (2017) and Executive Producer of the full-length documentary movie Built Beautiful
(2020).

Gideon Spanjar, PhD is project leader and senior researcher of Sensing Streetscapes (www.
sensingstreetscapes.com) and of the European Union-funded Cool Towns project (www.cool-
towns.eu) at the Centre of Expertise Urban Technology at the Amsterdam University of Ap-
plied Sciences (AUAS). He is a member of the chair Spatial Transformation and the chair Urban
xiv Contributor Biographies

Water at AUAS. Gideon is also professor of Innovation & Urban Green Spaces at Aeres Univer-
sity of Applied Sciences. His professorship conducts research on the transition toward a Biobased
Economy, Rewilding Cities and Climate Change Adaptation Strategies for the promotion of
human wellbeing and future-proofng cities. He is an associate fellow at the Centre for Econics
and Ecosystem Management and a member of the editorial board of Rooilijn, a peer-reviewed
Dutch journal on science and policy in the feld of spatial planning. His research focuses on the
redesign of the built environment to promote human health and wellbeing. Gideon holds a PhD
in Landscape Architecture from the University of Essex.

Ann Sussman is passionate about understanding how buildings infuence people emotionally.
A registered architect, researcher and college instructor, her book, Cognitive Architecture: Design-
ing for How We Respond to the Built Environment (Routledge, 2015), coauthored with Justin B.
Hollander, won the Place Research Award from the Environmental Design Research Associ-
ation (EDRA) in 2016. The second edition of the book, with full-color images of eye-tracked
architecture, comes out in July, 2021. An instructor at the Boston Architectural College (BAC),
she founded and became president of The Human Architecture and Planning Institute, Inc
(theHapi.org), a non-proft dedicated to improving placemaking, in 2020.

Frank Suurenbroek, PhD is Professor of Spatial Urban Transformation at the Faculty of Tech-
nology at the Amsterdam University of Applied Sciences (AUAS). His Chair conducts multiple
applied research projects around the question of how today’s spatial projects can shape and ac-
tively contribute to livable and future-proof cities. His research acts on the intersect between
the physical and social space and the way new technologies can improve our understanding and
renew the professional skills. Sensing Streetscapes is one of these projects (sensingstreetscapes.
com). Frank is Board Member of two Centers of Expertise: Urban Technology; and Urban
Governance & Social Innovation. He is also part of the Executive Committee organizing the
Media Architecture Biennale in Amsterdam (mab20.org) and was member of the founding
council for the new Amsterdam Institute to fght inequality. Frank received his Master’s degrees
at the Vrije Universiteit Amsterdam and University of Amsterdam and wrote his PhD about
incremental urban transformation. In 2014, Frank was appointed as Full Professor at the faculty
of Technology at the AUAS. Preceding this position, he worked for nine years in the practice of
urban planning and design as a senior advisor at the Architekten Cie. and Inbo Urban Design.

Robert S. Tullis AIA, a 40-year Boston architect, migrated to real estate development in 2008.
His well-known placemaking projects include University Park at MIT, The Grove at Farm-
er’s Market, Americana at Brand, BelMar and Waterline Square. As Senior VP and Director
of Design, he oversees the GID Development Group’s mixed-use projects. He is co-chair of
the Boston Society of Architects’ Placemaking Network, taught placemaking at the Boston
Architectural College and lectures on the importance of an architect’s awareness of the spaces
between buildings and the characteristics that transform them from space to place. Robert holds
an AB from Colgate University and MArch from the Harvard Graduate School of Design. He
is a member of the BSA, AIA, ULI and CNU and is a LEED AP.

Mengfei Wang, MDS received a Master’s degree in Design Studies from Harvard University
in 2020 and a bachelor’s degree in Architecture from South China University of Technology
in 2017. With a deep interest in the aesthetic experience of the built environment, Mengfei has
conducted a range of research and applied her skills to the emerging feld of neuroarchitecture.
As a research assistant, she contributed to the book Cognitive Architecture (2021, by Ann Sussman
 Contributor Biographies xv

and Justin Hollander), second edition, and their “Sensing Streetscapes” study in Boston. She
works as a user experience (UX) designer and researcher in Shanghai, China.

Laura A. Wernick FAIA, REFP, LEED AP is a Senior Principal at HMFH Architects, with
over 40 years of experience in the planning and design of public schools. She pairs her planning
expertise with her design skills to create environments that adapt to changing pedagogy and
help students fourish. Currently, she is serving as Project Director for multiple concurrent proj-
ects at Bristol County Agricultural High School. Ms. Wernick is an AIA Fellow and member
and past president of the Boston Society of Architects. In 2014, she was awarded the Boston
Society of Architects Women in Design Award of Excellence.
INTRODUCTION
A. Vernon Woodworth, FAIA

Our world is in upheaval. Technology is altering our cultures and our workplaces at a previously
unprecedented pace, and scientifc discoveries are transforming our understanding of ourselves.
Likewise our understanding of the world and our place in it is evolving. These changes are re-
wiring our roles, our relationships and likely our brains as well. We are coming to understand
that, for good or ill, we live in a world of our own making, and that decisions we make today
will impact the quality of life for future generations. There is clearly a need to address resource
availability and distribution, the impacts of climate change, and the implications of increased
urbanization in our planning and design of the built environment. We have gained an under-
standing of the consequences of human activity on the natural world as well as the nature of
ecological, social and individual health, all of which can now be integrated into our building
practices. The future depends upon this.

The Role of Programming

Architectural programming—the framing of a project’s goals for economic and functional
performance—provides the basis for design, and therefore for the functioning of a building
throughout its lifetime. In the chapters that follow we seek to expand the boundaries of the
architectural programming process to include a broader understanding of human factors, and to
make optimal environmental and social performance of a building fundamental project goals.
In addition our intent is to reframe programming in terms of systems thinking. A program
typically outlines goals in terms of productivity and fnancial yield. Human and environmental
health and wellbeing have a frequently ignored fnancial aspect. The long-term life-cycle im-
plications of our buildings infuence human perception, behavior and neural responses for 50 to
100 or more years. When we program, design and construct a building today we are creating
tomorrow.
Our understanding of the environmental impacts of our buildings and cities has grown by
leaps and bounds in recent decades. Yet much remains to be done in putting this understanding
into everyday practice. Those who practice sustainable design successfully incorporate goals
and best practices into their earliest programming eforts. Yet the topic has not received more
than cursory mention in texts describing the programming process. If careful decision-making

DOI: 10.4324/9781003164418-1
2 A. Vernon Woodworth, FAIA

regarding sustainable strategies is to occur, the options and implications must be explored before
design begins.
A program is the essential instrument of evidence-based design. Site conditions, prec-
edents, space needs and cost considerations are the backbone from which the anatomy of the
program evolves. Establishing the appropriate level of analysis, the right amount of information
to include, determines a program’s usefulness. A program is a contract, or at least the basis of
understanding, between an owner and their architect. It is also an instruction booklet, the direc-
tions to the design team regarding the intended outcome. Sustainability goals should be straight-
forward and succinct: energy use in annual KBTU/SF/YR, priority spaces for day-lighting, and
benchmarks often associated with the USGBC LEED rating systems such as percentage of re-
cycled construction waste and indigenous building materials, water conservation strategies and
indoor environmental quality metrics. Stating these goals in the programming stage allows for
their costs to be included in preliminary pricing, increasing the likelihood of their realization.
However this metric-based approach is insufcient for the realization of a future where our built
environment is a vital component of the living landscapes that promote healthy ecosystems.
Such a goal requires a transformation of our way of seeing and our way of being.

Defning Value
One dimension of sustainability in building practice that receives insufcient attention in the
programming process is “service life,” the intended useful life of a building. Many building
systems, from roofs to HVAC equipment, have a standard service life of 25 years. But the bones
of a building can (and should) last longer, a minimum of a century or more. When calculat-
ing energy consumption and building productivity service life is the second most signifcant
variable.
The most signifcant variable in a building’s productivity is the wellbeing of its occupants.
With the exception of the rare structure assembled without any intent of occupancy, buildings
are built to house human activity. The functioning of the building is intended to facilitate the
functioning of the people in it. This is where neuroscience and environmental health enter the
equation. We now understand enough about the complex interaction of the brain and central
nervous system with our environment to be able to design for optimal neural responses. We
have evidence of the specifc dynamics by which our built environments can contribute to ei-
ther the nourishment or ill-health of our minds and bodies. These are breakthroughs that have
the potential to retool our entire design process, with incalculable implications for the quality
of the built environment and our daily lives.

Integrating Architecture and Neurobiology

The brain was once thought to establish its neural networks in childhood and young adulthood
with little subsequent modifcation. We now know that complex systems of neural pathways
work constantly to process environmental and physiological information according to both
learned and inherited cognitive patterns. We also have established that the experience of sub-
jective states (emotions, esteem, wellbeing) depends upon environmental triggering of built-in
afective potentials within the central nervous system. Establishing the neurological basis for
this phenomenon opens the door to a world where emotional engagement, productivity
and happiness are more frequently facilitated by positive environmental contexts. Learning,
working, healing and communing all have been shown to be facilitated by the environments in
which they take place. In the face of these fndings we can no longer justify the construction of
buildings that lack appropriate neurological resonance.
 Introduction 3

Recent design practices have not acknowledged or accommodated the several million years-
old evolution of our unique human brain. While we are capable of unlimited abstract explo-
rations and imaginings, the inherited processes of our central nervous systems and primitive
brain stems retain an instinctual, autonomic basis that requires the attention and understanding
of environmental designers. The autonomic nervous system functions creatively when regu-
lated, that is, when stimuli from all sources are systematically processed and integrated into a
cohesive, coherent and conscious mind/body state. When this is not the case the autonomic
nervous system is thrown into dysregulation, allowing inherited survival strategies to dictate
our responses.

(Dys)regulation
Regulation as an emotional/physiological state is initially established in the caregiver/infant
bonding relationship and subsequently expanded to incorporate the family group, and then the
wider community. The role of ritual and traditions, group identity and belief systems, in the
regulation of our central nervous systems is fundamental to the evolution of human culture.
As a result indigenous architecture and the historic structures that we admire and take pains
to preserve communicate these values and traditions, as if regulation is among their primary
functions. And this may very well be the case.
We instinctually abhor dysregulation, as it threatens our survival. And yet dysregulation is
present in each of us, and increasingly in the environments that we create. Personality disorders
can be shown to originate in faulty bonding with the primary caregiver in infancy. Hierarchical
social systems inequitably distribute stress and promote disharmony. Recent technology from
the automobile to the internet has disrupted fundamental and long-standing patterns of human
interaction. A barrage of sensory stimuli and a paucity of meaningful communication have si-
multaneously overwhelmed and starved our inherent social instincts.

Interdependence
To the extent that our daily experiences are designed to promote cognitive and behavioral
responses it is commercial or ideological manipulation that provides the underlying agenda.
Our environments rarely support what anthropologist Victor Turner termed “communitas,”
a sense of mutual identifcation that promotes social wellbeing. The agora and the temple, pi-
azza and duomo, synagogue, mosque, or sanctuary and marketplace, campo, or town square,
have been supplanted by television and computer screens, or the mall and the movie theater.
The value of rituals and festivities in strengthening community identity has been subsumed by
corporate interests, symbols have been replaced by brands, and the everyday pedestrian experi-
ence of casual interaction with neighbors and friends has been replaced by trafc jams and long
commutes. With the exception of communities bound by historical identifcation or common
interests modern cultural values are creating a landscape of degraded social interaction. Never-
theless our biology recognizes that community is not a commodity.
Environments of human habitation that create community and communicate safety were
once produced spontaneously, perhaps instinctively. It is imperative that we fnd our way back
to an understanding of scale, detail, sociability and safety that serves our deep human need for
community. When we can rediscover the joy of place, and the deep release that togetherness
can ofer, perhaps we will be able to let go of the hunger that drives us to consume at a rate far
in excess of the earth’s ability to provide for us.
Commercial interests seek to stimulate the central nervous system in order to motivate spe-
cifc behaviors. Think Times Square and the Super Bowl. What I will call “communitas spaces”
4 A. Vernon Woodworth, FAIA

seek to regulate the central nervous system in order to bring the individual and the group into
harmony with one another and their environments. Think Notre Dame de Paris and the Lion
Court of the Alhambra.

Familiarity
We recognize therapeutic places, be they buildings, public places or landscapes, because they do
“something” to us, or for us. To understand this “something” the concept of regulation is inad-
equate. The central nervous system (CNS), which includes the continuous monitoring activity
of the second-largest brain to have evolved on the planet (elephants’ brains are bigger), connects
our vital organs by means of the vagus nerve. Several fundamental neural pathways in the brain
rely upon information from the vagus nerve for their proper functioning. Most well known are
the fght/fight and freeze/fawn responses, which trigger autonomic nervous system reactions
that are designed to assure our survival. This fundamental survival mechanism is constantly
monitoring environmental cues for signs of danger. Safety is provided by familiarity, especially
the reassuring presence and facial expressions of friends, colleagues and family members. But
familiar places can also have a reassuring impact, promoting regulation and relaxing the fght/
fight response. Eye-tracking technology has also demonstrated that our attention is automat-
ically directed to buildings with face-like qualities, such as bilateral symmetry and fenestration
that suggests facial features. The working hypothesis for this inclination is that we possess a
behavioral trigger to evaluate new visual stimuli for recognition purposes. Neuroscientists refer
to this process as “appraisal.” According to Daniel Siegel:

“Appraisal involves a complex web of evaluative mechanisms, in which both external and
internal factors play active roles. The specifc nature of appraisal incorporates past expe-
rience of the stimulus, including emotional and representational elements of memory;
present context of the internal emotional state and external social environment; elements
of the stimulus, such as intensity and familiarity; and expectations for the future [1].”

All of this happens literally in the blink of an eye, and without conscious participation. The
psychologist Stephen Porges calls this process “neuroception,” defned as “how neural cir-
cuits distinguish whether situations or people are safe, dangerous or life threatening” [2]. But
appraisal informs more than the fght/fight response. Our neural wiring is also constantly
evaluating our sense of our body in space (“proprioception”), the outside world (“exterocep-
tion”) and the presence of pain or hunger (“interoception”). The efcient functioning of our
cognitive and relational circuits requires that all systems are communicating “safety” signals to
our amygdalae. If these are lacking we default to fght/fight mode.

Meaning
Alan Soufre has described the lack of a safety signal in terms of a “discrepancy” in the gen-
eration of emotional engagement with the environmental surround. Discrepancy occurs when
the external features of a stimulus do not match internal expectations. Siegel explains that “In
Soufre’s terms, the emotional arousal generated in response to such a discordance is called ‘ten-
sion.’” Emotion and its regulation are examined within a “tension modulation hypothesis”:

“Such tension is not in need of reduction, but is managed within an individual’s in-
teraction with the environment, especially with signifcant others in the social world.
 Introduction 5

Emotional forms of arousal are distinguished from other forms of arousal—such as those
arising from exercise or drinking cafeinated beverages—in that they refect a subjective
sense of meaning, which is evaluated in response to engaging with experience (internal
or external) [3].”

The fact that emotional arousal triggers a unique internal reaction in the form of “a subjective
sense of meaning” is the key to success in the design of spaces for human activity. The neural
circuits that appraise for discrepancy fnd comfort in certain visual patterns including symme-
try, prospect, refuge and familiarity [4]. While our wiring seeks such comfort in human con-
nection, the environment can satisfy this human need. Eric Fromm identifed a phenomenon
he called “biophilia,” which Edward Wilson has subsequently described as “the urge to afliate
with other forms of life” [5]. Biophilia has been used to explain the therapeutic efects of pets
on autistic individuals and the elderly, as well as the documented expedited healing experienced
by in-patients provided with views of natural scenery. Could biophilia provide an explanation
for the prevalence of natural forms in architectural decoration, from column capitals and friezes
to gargoyles and caryatids?

Connection
An architectural setting that incorporates natural features provides subliminal reassurance,
facilitating the ability to interact in social contexts. Without the interference of fght/fight
signals our resonance circuits are able to engage. Siegel describes these as follows:

“A set of interconnected neural regions I have called the “resonance circuits” enables us
to tune into others and align our internal states with others. This circuit involves the
orbitofrontal cortex and anterior cingulate, as well as other midline structures that
interact with frontal (midline vertically) cortical areas. Other portions of the resonance
circuit involve “mirror neurons” which enable us to perceive the intentional state of
another person, and then imitate the other’s behavior and simulate the other’s internal
state. Mirror neuron properties are found in the anterior cingulate, as well as a portion
of the ventrolateral region called the anterior insula. The insula has also been shown
to be involved in the appraisal of internal visceral states, and plays an important role in
our awareness of our own bodily selves via a process called “interoception.” The reso-
nance circuits enable us to tune into others, and even to our own internal states for self-
awareness. These areas also register the state of the body and also directly afect its states of
activation. Information from these areas is passed on to the hippocampus for “cognitive
mapping” and, in some cases, transferred into explicit memory. The orbitofrontal cortex
and other middle prefrontal regions also play a major role in coordinating these appraisal
and arousal processes with the more complex representations of “higher thinking” and
social cognition [6].”

Both biophilic contexts and the activation of resonance circuits support our neuroendocrine
and immunological systems. Being alone, being lost, being in threatening or unfamiliar cir-
cumstances, creates stress and “discrepancy,” a dissonance with our environment that promotes
dysregulation and the activation of our fght or fight responses. Social systems pay a high price
for this dissonance, in the form of mental and physical health, lost productivity, social un-
rest and crime. Many eforts at social reform propose job-training, early childhood education
or afordable housing while ignoring the subliminal messages of our environmental context.
6 A. Vernon Woodworth, FAIA

The fndings of neuroscience support the assertion that these subliminal messages are decisive
in terms of behavioral and psychological outcomes.

Narrative
There is a common thread in the felds of neuroscience and environmental design that ofers
a bridge between the two felds. This is the human predilection for narrative. It seems that
our brains are constantly ordering experience in terms of an evolving internal story or stories.
Our conscious minds “hear” this story more than they write it. We largely inherit a sense of
ourselves from our families and our social contexts. Our parents tell us their stories and, often
quite aggressively, assert their expectations and projections as the basis for our own personal
narratives. But it is the central nervous system’s appraisal of our environmental context that
most deeply infuences our evolving internal story. We fnd our measure in our relationship to
the world that we inhabit.
When the urban planner Kevin Lynch began soliciting mental maps from city dwellers he
noticed several recurring themes that suggested predetermined categories of environmental
perception. The subjects of his investigation tended to repeatedly identify nodes, edges, dis-
tricts, paths and landmarks in their graphic representations of the city’s form. The inescapable
conclusion of this observation across several cities and populations is that we carry within us
the expectation of these basic patterns of urban expression. It is as if a narrative structure of the
built environment is part of our DNA. Urban planners have learned from this discovery of sub-
jective narrative predispositions to provide spatial experiences that resonate. This may be only
the beginning of what we can do to intentionally create a built environment that reinforces our
fundamental human expectations.
However the narrative for our future development as an urban species is now very much in
question. While the scientifc understanding of our environmental crisis mandates immediate
adjustments, our political leaders and corporate interests pursue denial as if it were a policy
option. As long as the narrative of our current status ignores the reality of our neurological
make-up and environmental predicament we court extinction. The alternative is not utopia, as
Buckminster Fuller suggested a half century ago, but a dynamic equilibrium of human activity
with natural processes. To achieve this the normative social forces of community and regula-
tion must become central to the narrative of our environmental contexts. The dysregulation
of commercial over-consumption and environmental exploitation can no longer be sanctioned
by corporate or governmental forces. For designers, architects, planners and policy makers, it
is imperative that we act now to direct future growth toward health and harmony. The regula-
tion of our central nervous systems and cognitive processes is the precondition for a sustainable
habitat within the larger context of healthy environmental systems. This is our program for
tomorrow.

References
1. Siegel, D. (2012). The Developing Mind. Guilford. 150.
2. Porges, S. W. (2004). Neuroception: A Subconscious System for Detecting Threats and Safety. Zero to
Three ( J). 24(5):19–24.
3. Ibid. 150.
4. Browning, W. D., Ryan, C. O., Clancey, J. O., Andrews, S. L., & Kallianpurkar, N. B. (2014). Bio-
philic Design Patterns: Emerging Nature-based Parameters for Health and Well-being in the Built
Environment. International Journal of Architectural Research. 8(2):62–76.
5. Wilson, O., & Kellert, S. (1993). The Biophilia Hypothesis. Shearwater.
6. Siegel, D. (2012). The Developing Mind. Guilford. 157.
PART 1

Human Factors
1
PROGRAMMING INTERIOR ENVIRONMENTS
Human Experience, Health and Wellbeing

J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

The complexities of human/environment interaction form the basis of our sense of place and of
ourselves. As such, our health and wellbeing are entwined with this relationship along multiple
dimensions. In this chapter the authors explore the intricacies of environmental psychology and
the potential of evidence-based design to inform programming that ensures the built environment
frames our activities and interactions with wellbeing in mind.

Designers are more interested in “health-frst” designs than at any time in recent memory. Our
collective global experience with an invisible chronic environmental stressor—COVID-19—
has shifted our common understanding of what makes a place healthy. It is more important than
ever to deliberately program spaces to actively support health and wellbeing, on both physical
and mental levels. It is also essential to design with culturally enriched approaches. There is over
half a century of evidence showing that environmental psychology principles can beneft design
and users. More recent neuroscientifc fndings now contribute additional important layers to
this health-frst approach. The better we understand the human response to stressors and our
need for social cohesion, the better we can deliberately design spaces that beneft the health and
wellbeing of the occupants.

Design Meets Science

As we emerge from the COVID-19 pandemic many of us have a heightened awareness regard-
ing the power of connection and community. We are tired of the isolation and ready to be
with friends, family and co-workers again. It is not the place of this chapter to determine how
returning to the workplace and life in general will occur. This will be diferent for each indi-
vidual, place of gathering, workplace, town, city and country. The current situation is merely a
benchmark for a sea change happening which will alter the feld of design forever. For instance,
Gensler, an industry leader, in their Design Forecast 2021 wrote: “Human-experience design is
a powerful opportunity to bring people back together safely and provide spaces that allow them
to feel healthy, inclusive, and purposeful; places that support community and social connection
perform better” [1].

DOI: 10.4324/9781003164418-3
10 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

Such simple words. But how does the designer put this insight into action? Where does the
designer go for guidance? This book is full of information on how our biology afects our per-
ceptions, sensations, interpretations and resultant stress and recovery levels. In this chapter, we
suggest designers ground their design work in science and research by employing evidence-based
design (EBD) principles from the felds of psychology, neuroscience, neuroaesthetics and salu-
togenic design to achieve health-frst environments that support social connection. We aim to
inspire conversation about the importance of evidence-based design, including neurobiological
and environmental psychological strategies, so that designers can create interiors that promote
health and wellbeing.

What Is Evidence-Based Design (EBD)?

Evidence-based design (EBD) is a deliberate process that flters high-quality scientifc research
to guide and create the best possible design solutions and outcomes for physical environments.
Many design scholars have been working to defne and describe EBD and how it can be ap-
plied in practice. Typically it has been used in healthcare settings. EBD is defned by design
researchers Stichler and Hamilton as “a process for the conscientious, explicit, and judicious use
of current best evidence from research and practice in making critical decisions, together with
an informed client, about the design of each individual and unique project” [2].
We argue that there are actually three intersecting elements that need to be included if EBD
is going to succeed in practice. The frst is the actual evidence—published peer-reviewed de-
sign research. The second element to consider is individual and client preferences. The third is
the designer’s expertise and experience in applying the evidence and preferences in the design
plan. This understanding originates in the medical profession’s defnition of evidence-based
medicine—the root of EBD—which sees evidence-based practice as a guide, not as an absolute
mandate [3].
EBD practice is fourishing in the industry, with platforms to help train and monitor the
impact of EBD, such as The Center for Health Design’s Evidence Based Design Accreditation
and Certifcation (EDAC) process. There is substantial evidence that using an EBD approach
for hospital-based projects signifcantly improves factors such as patient outcomes and staf satis-
faction [4]. For instance, when a hospital is designed with EBD approaches, including biophilic
design elements, patients tend to create more positive associations with the healthcare setting.
These gains have been shown to lead to improved patient outcomes, which, in turn, reduce
healthcare system costs [5]. With a typical monthly expenditure of over $40 billion for healthcare
construction costs in the U.S. in 2019, an application of EBD practices for better outcomes is
worth incorporating [6]. Such gains in complex hospital settings suggest that an EBD approach
yielding similar or greater positive efects in other interior environments is possible. Applying
EBD approaches should intersect with individual client preferences, which we will discuss in
the following sections.

Environmental Psychology and Interior Design

Along with EBD practice the feld of environmental psychology is our next focus as a means to
better understand individual and client preferences. Environmental psychology investigates and
considers the interactions between people and environments (Figure 1.1). Design scholars have
investigated the environment-behavior relationship since at least the mid-1960s, with the frst
books about environmental psychology published in the early 1970s (see, for instance, Proshan-
sky et al. 1976, Mehrabian & Russell, 1974 and Stokols, 1978) [7–9]. Recent work by Giford
(2014), Bechtel (2010) and Kopec (2018) further contribute to our understanding [10–12].
 Programming Interior Environments 11

FIGURE 1.1 Environmental psychology bridges considerations between design and psychology. Im-
age courtesy of Dax Morton, 2020.

What is environmental psychology and how is it applicable to programming? Let’s frst

accept that our state of mind and wellbeing are infuenced by both internal and external fac-
tors. You might wake up one morning and decide to feel eager for the day. That decision is an
internally derived attitude. However, let’s say that the external environment, your bedroom,
is disorganized in such a way that you trip, step on something painful or unpleasant, become
disoriented or discouraged. The original state of mind to be eager and optimistic is transformed
to a negative state of mind. Our biology interacts with our environment, and vice versa. We are
infuenced by layers of conditioning, identity construction, cultural meaning and expectation.
Our mind/brain/body has the built-in tools of sensory processing to help us make sense and
meaning of our world. At times we would rather be in a more alert state, while at other times
we want to be in a more relaxed state. To clarify, environmental psychology seeks to understand
this interplay between people and their surroundings, and to determine how one’s environment
might be changed to maximize environmental quality. Understanding and applying both EBD
and environmental psychological principles will help your designs be simultaneously more ef-
fective, functional and beautiful.
Learning about environmental psychology opens a door of understanding to show that mul-
tiple perspectives can all be “correct,” and that the space in which a diverse group is gathered
can also succeed in helping all these points of views to generate states of both alertness and
relaxation. One factor that helps determine how you feel and behave is the theory of environ-
mental load, or how much and to what degree the environment provides stimulation and how
much attention we can put on the stimuli [13, 14]. For some, a tile pattern on the foor is per-
ceived as elegant, while for others, this material might be perceived as cold and hard, or even
create an optical illusion that is perceived as unsafe. These responses are individual and context
dependent.
Environmental psychology for design is a large feld which we cannot do full justice to in this
brief chapter, however we hope this introduction provokes curiosity for the reader to explore
this fascinating feld more fully. Designers who leverage an environmental psychology approach
are adept at understanding how stimuli afects behaviors, thoughts and the emotional states of
their clients and end-users [15]. Designers can incorporate user needs assessment tools used by
environmental psychology to target these emotional processes in project development.

Stages of Design: Programming for Health and Wellbeing

Next we’ll discuss how EBD and environmental psychology ft within the design process, from
both a research and programming framework (Figure 1.2). Dickenson and Marsden in their
book Informing Design clarify that “research is discovery that can be generalized, while program-
ming is information gathering pertaining to a specifc project” [16].
12 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

FIGURE 1.2 Overview of design programming process. Image courtesy of Laura Shue, 2020.

FIGURE 1.3 Levels of design research. Image courtesy of Laura Shue, 2020.

Dak Kopec, a contributor to the expansion of environmental psychology for design, out-
lines three programming phases for designers to better meet end-users’ needs—Kopec calls this
“research.” They are pre-design research, occupancy evaluation and post-occupancy evaluation
(Figure 1.3). The frst step, pre-design research, is a natural activity for most designers. This is
an assessment and evaluation of clients’ needs prior to design, which recognizes the diference
between temporary and long-standing needs, and considers creative means to bring more to
the design than is readily perceived, such as scenario-planning. This may include EBD fnd-
ings, creative scholarship (original and new contributions) or conducting studies, as the project
allows.
The second step in design programming is occupancy evaluation. This is an evidence gath-
ering exercise performed by conducting observations, interviews and/or surveys of end users,
who are familiar with the needs and constraints of the project, to determine improvements
needed, and the review of precedents and contemporaneous writing on relevant topics. The
fnal step is post-occupancy evaluation, performed after move-in to determine if the design
meets the user’s needs and how it can be improved. When a design team employs these methods
the outcome is more likely to match the client’s ethos or company culture and to create a space
that facilitates wellbeing.

Design-Related Hypotheses and Theories That Inform Programming

In design scholarship and practice it is important to have a basic understanding of theory. We
defne theory in the context of programming for health and wellbeing as the creation of in-
formed explanations and predictions about how various ideas are funneled into practice. This
is substantially diferent from the common use of the word. There are a number of infuential
design theories that we would like to introduce here. Multiple theories can be applied in over-
lapping ways in a theoretical framework to guide the process of using EBD and environmental
psychological principles in design programming.
Prior to developing a theory, design researchers and social scientists frst develop a hypoth-
esis, which can be understood as a starting point to describe or explain a phenomenon. Design
 Programming Interior Environments 13

researchers and environmental psychologists are familiar with a large body of both hypotheses
and theories, as well as conceptual models and approaches (see, for instance, Kopec, 2018). We
will limit our discussion to a few of the most salient theories for programming.
The way people interact with and are infuenced by space can be understood as having roots
in biophilic, pleasure-arousal-dominance, and frustration-aggression hypotheses. Each of these
contributes to how we make sense of our biological wiring. For instance, our early ancestors
were motivated to be in a prospect-refuge location, which means that they sought to be in a
protective “refuge” spot, while also having a clear sightline to the horizon to see approaching
threats. There is some connection between the prospect-refuge theory [17], and biophilia, or
“love of life,” a hypothesis developed by E. O. Wilson [18]. The biophilic premise has captured
the imagination of many designers, who work to better incorporate natural elements into their
designs. There is still much to learn about the mechanisms that help make natural design fea-
tures successful, but the impacts have been extensively documented as benefcial.
Prospect-refuge theory posits that humans prefer unobstructed sightlines or views to antici-
pate oncoming danger, with a protective bufer behind them. Expansive views with grasses and
landscape are highly favored and can be translated to building interiors. This sense of prospect
and refuge afords the ability to feel safe as a result of semi-enclosed surroundings, lower ceil-
ings, and cozy lighting. It’s no wonder that booth seating is so highly sought after in a dining
setting. A sea of tables can be equivalent to being exposed in the middle of a feld.
The second hypothesis relevant for designers, according to Kopec, is the frustration-aggression
hypothesis, frst proposed by Dollard et al. in 1939 [19] and later amended by Berkowitz in the
1960s and 1970s [20, 21], who added the need for behavioral cues to be present. Dollard pro-
posed that typical behavior of aggression would ensue when stress and frustration built over the
person’s inability to attain a goal, such as failure to arrive at a gate on time due to crowding,
poor circulation patterns and unclear wayfnding. Therefore the person may be more likely to
exhibit aggressive behavior, especially if there are behavioral cues to prompt such a response.
Times have changed, and moreover, our understanding of human behaviors has increased since
1939. Our current approach to this important early hypothesis is to make an efort to design
interior spaces with a reduced level of possible frustrations and increased attunement as to how
space can infuence stress responses.
The third hypothesis is the pleasure-arousal hypothesis, which was frst proposed with the
concept “dominance” included, by environmental psychologists Mehrabian and Russell [22],
and later revised and expanded by Russell [23]. They attempted to describe emotional states in
terms of both environment and behavior, with emotions being a mediator, or a process connect-
ing environment and behavior. Russell’s later version, the “circumplex model of afect,” created
a spectrum of rankings to help generalize and score emotional states, or afective states, such as
arousal, distress and sleepiness [24].
The most commonly used theories in design, as described by Kopec, are organized around
the following four theories: integration (such as the interrelated complexities among parts of our
environment that draw us in or repel us), stimulation (such as blandness, arousal, familiarity),
control (such as our ability to decide where to sit or what temperature the air is) and behavior-
setting (which leverages our customs and social norms, such as how to act upon entering a gro-
cery store). These overarching theories are helpful to frame our understanding.
For example, integration theory considers the complexity around multiple design features,
as individual components and as a comprehensive whole and how these design features impact
the users. There is much to consider in terms of environmental triggers, attractants and aspects
that are counter to their original aims. For instance, one may want to increase daylighting in a
space, but then there are new problems to manage, such as glare from screens. Giford [25] has
contributed much to our understanding of integration theories.
14 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

Let’s consider gestalt theory now, as design and the human experience can’t be parceled into
fnite pieces. Gestalt is a theory and psychological approach which relates to human perception
that can be summarized as, “the whole is greater than the sum of its parts.” A combination of our
cognition, our culture, our place in the lifespan, our situation and mood in that moment, and so
forth, all infuence how we perceive a space. Gestalt, an important theoretical framework devel-
oped in the late 1930s by Wertheimer and colleagues, reminds us not to divide our understand-
ing up into smaller and smaller parts, but to appreciate the wholeness of our perceptions [26].
This is especially true in interiors, flled with numerous details, where it is the whole experience
and feeling with which we connect. A client may not be able to articulate why a space doesn’t
work for the ethos and culture of the company, but when the gestalt is right, the space works.
Stimulation theory involves designing spaces that facilitate levels of stimulation appropriate
for the activities that will occur in them. Environmental Load theory states that humans have
a limited ability to handle environmental stimuli based on our attentional capacities [27]. This
means that during the programming phase designers with an understanding of environmental
psychology know that future users will likely have a range of abilities to screen the environ-
ment. Some will want more stimulation, while others may get easily overstimulated, resulting
in negative behaviors. It is possible and desirable to create spaces that have a balance between
enough and not-too-much sensory input.
Stemming from early social and personality psychology work, control theory is currently a
popular trend in design research and practice. We have come to understand that spaces that ofer
choices will increase occupants’ perceived sense of control over their environments, improving
mood, wellbeing and productivity [28]. Our understanding of these aspects of human experi-
ence can be attributed to early work by Altman [29], relating to territoriality, privacy, personal
space and crowding.
The last relevant theory is behavior-setting theory, a form of social learning theory. Gen-
erally, this can be understood as humans looking toward each other for positive reinforcement
of behaviors. Barker and Wright as early as 1949 were exploring “person-behavior-situation
variables” (p. 131) that could account for human and ecological psychology. These ideas became
more formalized in the following decades and remain valid today—specifcally, when we enter
certain settings we know from cultural expectations how we should behave. We act one way in
a school or library, and another way at a football stadium or shopping mall [30]. Designers can
use these norms as guidelines or break the rules to promote a new behavior norm such as the
now common “loud” spaces in libraries designed for social interaction.
Understanding design theories—of which there are many beyond those discussed here—can
help us during the programming phase when designers learn about future users of the space,
including both known and unknown needs and preferences. With a foundational knowledge of
design theories we can more efectively tap into an empathetic understanding of the user and
foster designs that support health and wellbeing in human-environment relationships. This is
likely to have major positive implications when taken cumulatively, with a positive return on
investment. Defensible design goals will have a theoretical basis, relevant research and outcome
verifcation through POE. Let’s delve now into more details of environmental processing, start-
ing with the human brain from a neuroscientifc perspective, followed by a look at sensation and
perception through the lenses of sociology and psychology.

Neuroaesthetics and Neuroarchitecture: Brain and Environment

We move now from broad design theories to more specifc neuroscientifc topics. Neuroscien-
tifc knowledge is becoming more accessible each year, and more relevant for designers. There
 Programming Interior Environments 15

is growing interest in neuroaesthetics and neuroarchitecture among design and architecture

professionals. For example, the Academy of Neuroscience for Architecture (ANFA) grew out
of an AIA convention in 2002 and has become a valuable resource to the design professions.
Post-graduate programs are being ofered at the intersection of architecture and neuroscience
[31].
Neuroscientists who also understand design study the balance between incoming stimuli and
the resulting bodily process of secreting hormones and neurochemicals, and how our neural
pathways respond. Our brains interpret sensations and perceptions before we are even aware
that this process is happening, making the subliminal perception of our environmental contexts
both powerful and invisible [32].
Recent writing by Ruggles [33] and Kopec expound on the relationship between neuro-
science, human health and wellbeing as facilitated by design. Neuroscientists know that the
human brain (which includes the eyes) has fve primary roles: to receive, manage and interpret
“sensation, perception, feelings/emotions, thoughts, actions/behavior” [34]. Thinking of these
in terms of design helps us make sense of how to program a space for health and wellbeing. It
isn’t important to know the specifc names of the brain systems, but an overarching understand-
ing of human responses to the environment can shed light on how to program for health and
wellbeing.

Design for Health and Wellbeing Framework to Understand

Stimulus Response
So far we have taken a high level look at design theories and provided a brief introduction to
neuroscience and design. We now ofer a general understanding about how people and environ-
ments infuence each other. As a point of reorientation, our goal for this and the previous sections
is to provide an overview of the second component of applying EBD in practice—understanding
the individual/client preferences—intersected with the evidence and your expertise.
We propose to view design, theory, evidence including neuroscience, and the other com-
ponents we have introduced, through three lenses. Each is always present, but when we zoom
in on one or the other, we can make better sense of the individual variables (Figure 1.4). These
lenses are physical, sociological and psychological. By physical, we include both human biology
and materiality of buildings and fnishes. For instance, within spaces we occupy the physical
can be windows, which afect solar gain and daylighting, and also the indoor air quality of a
building. The other leg of “physical” is the biological processes of our bodies, such as circadian
rhythm, allergies and digestion. The sociological dimension includes our cultural and societal
infuences, such as our school, government, region and religious systems. Finally the psycholog-
ical dimension includes our emotional states, personality, preferences and cultural associations
with spaces and situations.
Sensations and perception, and subsequent emotions and behaviors, as fltered through these
three lenses, provide insight into how we experience design. Consider the environment to
be the raw material with the potential to fulfll wants and needs, with programming being
the critical opportunity in the design process to organize, listen and include these needs and
wants. Using the three lenses of physical, sociological and psychological insight, the program-
mer knows how to leverage evidence-based design research to achieve an appropriate design
intent. If the end user isn’t satisfed with the design it is likely because during programming the
wants and needs of the future occupants were inadequately documented.
It is essential for programmers to incorporate inclusive design as a project objective. This
means that appropriate design objectives that consider the “diferently-abled” are thoughtfully
16 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

FIGURE 1.4 Design for Human Health framework. Image courtesy of J. Davis Harte.

and deliberately included. Changes to our sensory processing abilities across the lifespan are
part of life. For example, babies see with diferent visual abilities than a teen or octogenarian.
Sensory detection abilities can change along with our brains, by means of neuroplasticity.
Sometimes neuroplasticity is positive and the brain changes to help a person reach a goal, such
as learning a new language. However, plasticity can also occur to compensate for a modifed
or injured sensory system. For instance, if a mammal loses eyesight, changes in the brain occur
quite quickly to modify the input receiving abilities, by heightening the auditory processing
abilities [35]. We have all adapted to specifc social and environmental conditions resulting in a
wide range of cognitive and behavioral proclivities. Our environments are least stressful when
they support the full spectrum of human abilities [36].
With appropriate sensory input and balance in our built environments we are able to make
sense of and interpret our experiences. Too much sensory input will prompt anxious states,
while not enough will also put the nervous system into a dysregulated state. Therefore it is im-
perative that during the programming process the biological and cultural needs of the users are
understood and addressed in the statement of goals and guidelines.
Given that we are an ocularcentric species—visual processing is known to involve about 50
percent of our brain [37]—it is important that we understand how visual input afects percep-
tion. As Sussman reports the visual cues from our environment subliminally direct our behav-
iors. If we see a streetscape devoid of interest we won’t feel safe walking in that direction. We
much prefer moving through a space with a certain level of visual detail and stimulation [38,
39]. Our level of attention informs our sensory processes, and the stimulation of our sensory
processes informs our attention. Extensive research exists on the role of focal attention and vi-
sual perception in our ability to process and perceive environmental information [40].
An example of visual processing is how an elderly person might perceive the following foor
patterns (Figure 1.5)—tile juxtaposed against wood grain with too much contrast between the
 Programming Interior Environments 17

FIGURE 1.5 Disorienting design in fooring. Image courtesy of Janet Roche, MDS, 2017.

dark and light sections, might be misinterpreted as a change in elevation [41]. Flooring that is
too glossy can cause glare issues or be perceived as wet and create anxiety.
Our brains can create other environmental illusions when trying to make sense of perceived
stimuli. Perception is the process of understanding and organizing incoming stimuli into mean-
ingful patterns. If there is a lack of consistency or stimuli are too extreme or outside of our
understanding, inconsistent design patterns can create sensory dysregulation. Think of how
you feel when you come across novel stimuli and feel attracted, as opposed to when you see the
same stimuli regularly, and become habituated to it. In research on birth unit designs the nurses
and midwives have stated “oh, sure, those gurneys and IV poles in the hallway—we stop seeing
them. We do imagine that when families frst see them they might feel upset by all the med-
ical equipment, but it becomes invisible to us” [42]. This is a good example of environmental
numbness, which can be “potentially dangerous because it can cause us to overlook problems
or hazards…[H]owever, [it can] be prevented by consciously redirecting our perceptions and
cognitions within environments we cannot alter, and periodically updating or refreshing our
personal spaces” [43].
18 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

Vision and hearing are our most “prominent” sensory receiving modes, but it is interesting
to consider how senses of touch and smell play a part in perception and interpretation of our
environments. Think of arriving at a new restaurant for a meal with your friends or family. You
arrive and the aroma in the air and the ambient temperature in the building inform you that
the food will be delicious and the atmosphere is pleasing. The feel of the fabric on the chair or a
tablecloth will also symbolically communicate to you what type of dining experience to expect.
Through the modes of taste and touch, and the shared experience with your friends, the memo-
ries will become more deeply rooted than for an experience with less positive associations [44].
The next level of understanding about sensory experiences is perceptual consistency and
associations between stimuli, and the learned response process. Even the way we communicate
with facial expressions plays a role in how we navigate the world. This sensory processing ability
of “reading” each other’s expression has been explored by Malcolm Gladwell in his book Talking
to Strangers [45]. Gladwell explores how facial expressions carry diferent meanings in diferent
time periods and cultures. Voice and facial expressions are part of our inborn neurological wir-
ing, related to our polyvagal system, and are connected with our ability to sooth and re-regulate
ourselves after stress. Social concepts such as an “angry” face or a “confused” face, are not as
universal as we may believe. Couple this with attitude, or the readiness of the mind and nervous
system to respond to input, and it’s understandable how misunderstandings can arise.
Design interpretations can have similar consequences as much of our perception, interpre-
tation and processing happens below consciousness and is reliant on unconscious processes. We
need to be intentional about how we direct scientifc literacy around perception of stimuli such
as colors, shapes, textures, patterns, contrast, light and darkness, as well as weight, movement
and the gestalt experience. Similarly, we need to remember and acknowledge that design ele-
ments carry diferent meanings and weights in diferent cultures. Let’s look at one fascinating
area of design—color—in both its biological dimension and how it can be leveraged to change
perceptions.

Color: Biology and Perception

As many learn in design school, color is fascinating and rich with information that can strengthen
the impact of interior environments. We use color to perceive and judge space, and to under-
stand behavioral cues—think dark moody interior, fresh white or sterile interior, color-coded
signage and so on. Color also afects our emotions and can alter our mood by afecting our
neurohormonal system, our chemical responses to sensory stimuli. The concept of color is a
complex one. In this section, we touch on the neurobiology of color, how our bodies respond
through the nervous system, when we view colors. We also explore color perception, diferent
perceptions of similar spaces with color application. There are many other aspects to color as
an important design feature that can be used with thoughtful evidence-based knowledge [46].
The biological impact of color is determined by visible light waves along the electromagnetic
spectrum. Light and color are inseparable. Warm colors have longer wavelengths and cooler
colors have shorter wavelengths. The perception of color is a biological function with the eyes
and brain working together to interpret these wavelengths of electromagnetic energy; the eyes
using light receptors to send signals to the brain which interprets sensations as color. The retina
of the eye has millions of rods and cones which are light-sensitive cells and considered part of
the brain. Rods help process black and white, and cones help process color.
Knowing how colors are processed by the occupants will help guide the evidence-based
design decision-making process during the programming phase. For instance, the color choice
of a highly specialized operating room must interact with the proper lighting choice, so the
 Programming Interior Environments 19

medical team is able to make accurate diagnoses that rely on skin color, or being able to quickly
visualize blood [47]. Color impacts people in non-healthcare settings in a diferent way than
in an operating room, a topic that requires further study to reveal its neurophysiological basis.
The primary perceptions that are infuenced by color are size/spaciousness and temperature.
There is an interesting body of research regarding human emotions based not just on color, but
on each of these color dimensions individually, as well as their interactions: hue, saturation and
brightness [48]. For instance, designers are familiar with the efects of light colored walls, or
brightly lit rooms, appearing more spacious than dark ones [49].
Humans subconsciously create cognitive maps, or mental spatial images, to help navigate
space. Interior designers who apply information about color perception, such as applying warm
colors to create a sense of welcome, can aid in appropriate wayfnding plans.
There is cultural meaning associated with color. For example in the U.S., most would agree
that yellow is seen as uplifting, energizing, helpful to stimulate memory and cognitive activity,
and aids digestion and pain relief. However elsewhere around the world yellow can repre-
sent: “betrayal, weakness, and contradiction.” In both France and Germany yellow represents
jealousy [50]. Kopek observes that “many Egyptians associate (yellow) with mourning. Many
Chinese associate yellow with pornography. Conversely, African cultures, including Egyptians
associate yellow with money, quality, and success, while the Japanese equate the color with
bravery, wealth, and refnement” [51].
A seminal study by Valdez & Mehradian [52] may be helpful for those who would like a deep
dive into the science of color and emotions using the pleasure-arousal-dominance emotion
model discussed in the earlier theory section. Kopec suggests these key takeaways for interior
design and the application of color:

• Conceptual and symbolic: serves as a symbol to convey a message, such as in branding

or meaning. For instance, green has become symbolic of nature and biophilic principles
and is often used in branding for environmentally connected companies.
• Wayfnding and placemaking: color-coding and universal use such as red for stop.
• Association with typology: for instance, color will help create behavior-setting cues to
communicate expected behavior to the users. For instance, white walls and foors mean
clean and sterile and are often associated with labs and medical facilities.
• Fashion/style trends: The 2017 launch of the metallic options for the iPhone 7 in silver,
gold, rose gold, (matte) black, jet black or RED had a large infuence on the interior
design and furniture industry, which was already morphing millennial pink into a revi-
talized version of 1980’s Po-Mo mauve.

Salutogenic Design, Nature and Biophilia in Shaping “Health-First” Design

If you were asked to describe one example of “being healthy,” the image of a child playing in
nature, making sand castles at the beach, or swinging under a tree might come to mind. Health
is a dynamic spectrum that is constantly adjusting and shifting as variables change. It is well
known how benefcial time in nature is for children, as seen in the work of such design academ-
ics as Chawla [53]. The question is, what about the needs of our inner children? Adults also need
play and nature opportunities. We reiterate that complex natural elements that create positive
development in children, such as rich sensory experience, will also beneft adults, by providing
opportunities for imagination-development, fow-states, social cohesion and stress-reduction.
The encompassing nature of places like forests, streams and felds prompts play, creativity and
experimentation.
20 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

Being separated from nature in our modern world has negative consequences, according to
multiple studies [54] . We support the use of biophilic design elements, including complex stim-
ulation for all our senses, to create soothing spaces that seek to reduce anxiety, evoke feelings of
wellbeing and promote healing. This could be a functional and aesthetically pleasing combina-
tion of design elements, such as water features, nature sounds, vegetation, views, and whimsy
through patterns, forms, color and light. Psychologists Stephen and Rachel Kaplan developed
the Attention Restoration Theory (ART) with the premise that “positive distraction, soft
fascination, extent and getting away” by engaging with nature can lead to mental and cogni-
tive relief from fatigued “directed attention” [55]. More recent research supports nature as an
important contributor in both disease prevention and health promotion [56]. Space afects our
health, and biophilic design supports our innate need to connect with nature.
Consider design as a disease-fghting remedy, to promote wellbeing and prevent disease at
the molecular level. Can design be salutogenic, or have a prophylactic impact on human health?
Salutogenesis, defned as “the origins of health,” is a perspective that deals with the relationships
between health, stress and coping, and is a term coined by Aaron Antonovsky [57], a professor
of medical sociology.

“Salutogenic design, as I’ve come to defne it, focuses on the positive impact of design
on human health. It’s a measurable aspect of design that can help a building’s inhabitants
operate at their peak performance. Additionally, it can help them maintain physical and
mental well-being, actually helping them lead healthier and potentially longer lives. It is
the ultimate investment in people, in an architectural sense [58].”

As corporations realize that caring for the health of their employees is a beneft to the bottom
line and simultaneously results in healthier, happier employees, programmers are including
wellness as a specifc goal. This also translates to the reduction of illness and injury for staf,
and a likely increase in proft in the corporate setting. A review of RAND, Employee Benefts
Plan and a study out of Harvard Business School report that there is typically a 6-to-1 return on
investment for wellness programs in industry [59].
The role of chief wellness ofcer is now beginning to emerge. Several organized pathways
have been developed that aid designers in incorporating elements to achieve a “salutogenic de-
sign” such as WELL Building Certifcation, WELL accredited professionals (AP) and the Petals
of the Living Building Challenge. Designers are tasked to incorporate solutions that focus on
program elements associated with comfort, nourishment, ftness and mind, in addition to air,
water and light. The use of biophilic elements produces designs that nurture our innate human
connection to nature. Why do these elements make a diference in environmental design? Re-
search supports the human need for restorative environments. Views of nature, biophilic shapes,
patterns and forms, plants and vegetation, water and it’s acoustic properties, natural and artifcial
soothing light, all

“provide a sense of scale and a calming evolutionary memory which have been shown
to reduce blood pressure and stress levels. These spaces provide a place for unconscious
processing in the brain and allow a renewal of attention and focus [60].”

With wellness now an imperative in any designed environment the designer must go beyond
biophilic elements and exercise, yoga and meditation rooms. We agree with WELL-certifed
architect Rickard-Brideau who has said “wellness and well-being are about having a positive
impact on human health at the molecular level.” Understanding universal environmental factors
 Programming Interior Environments 21

such as circadian rhythm can facilitate designing spaces where people are productive when they
need to be, and can rest when it is the right time to do so. The blue spectrum of morning light
tells our bodies to release cortisol and wake up while the red spectrum of evening light causes
our bodies to release melatonin for sleep and physical restoration. Other environmental factors
afect us on an individual level, based on genetic wiring, which activates certain genes. Hence
our evolutionary memory responds to biophilic elements, like plants and natural materials.
Amazon, Apple and Microsoft are tasking designers to promote activity inside their build-
ings and across campus, through creative interior circulation stairs, outdoor spaces and paths,
and other unusual environments providing variety, novelty and delight that humans crave. As
Rickard-Brideau reminds us, enriched environments are essential for human thriving, specif-
cally targeting spaces that prompt regular and meaningful movement to encourage “the growth
of neurons in the region of the brain involved in memory formation, organization, and storage.
(As we) know that physically active people score higher on memory and cognition tests.”
Similar to designing spaces that encourage movement is the commonly held design principle
that beautiful spaces feel better to be in. The burgeoning feld of neuroaesthetics looks specif-
cally at how the human brain perceives beauty, and how people respond. For instance, Harvard
Professor Nancy Etcof studies how beauty has many potential benefts for occupants, such as
how fowers hold a powerful efect from both an emotional and evolutionary standpoint (fow-
ers indicating fertile soil), in ways that can help patients recover and elicit positive emotions [61].
But how to explain the variety of responses people have to art and how can we enjoy a sad
painting? According to Etcof our brain activates two systems that normally operate separately
when viewing art. One is focused on the piece of art or stimulus, and simultaneously the de-
fault mode network is activated which allows the mind to wander and consider ourselves, our
memories and the future. This is a complex brain response using disparate parts. “It may explain
why those feelings are difcult to articulate and yet are so profound” [62]. There is scientifc
research backing up a viewer’s response to beauty. For instance, Kawabata & Zeki [63] used
neuroimaging technology to view an area of the brain, the medial orbitofrontal cortex,
and found that it activates in response to viewing something considered beautiful. Researchers
study both biological and cultural, or learned, beauty. These insights support the EBD process
facilitating healthier environmental design, based on a client’s ethos, world-view of beauty and
aesthetic preferences.
Architect Don Ruggles is similarly convinced of the importance of creating beautiful spaces.
In his book Beauty, Neuroscience and Architecture he describes the neurological resonance of pat-
terns of nine, fractal patterns and other elements of scale, pattern, color and symmetry. The
root concept guiding these ideas is that humans are biologically hardwired—meaning we can’t
infuence, but we can harness—with a nervous system that either moves us toward pleasure
(approach) or away from danger (avoid). With this basic principle in mind, designers can better
leverage spaces that are seen through an empathic lens to foresee how future occupants might
be drawn to, or avoid, certain details, textures, materials or spaces. Mr. Ruggles provides yet
another lens through which to focus the power of design for an intentional outcome [64].
In closing, programmers who use EBD, environmental psychology and neuroscientifc per-
spectives, have access to information that can facilitate the creation of healthy and motivating
environments with a layer of credibility and a measurable aspect to the design. Can design
assist a building’s occupants in operating at their peak performance? In order to attempt this
the designer should understand the range of employee or client preferences and their individual
needs for a productive, healthy and creative environment, the types of stress the occupants will
be under, and the social spaces necessary for rest, relaxation, casual gathering and celebration.
Can design help users maintain physical and mental wellbeing? Designers can employ elements
22 J. Davis Harte, PhD, WELL AP and Laura Regrut, IIDA, ASID

that create restorative environments. Can design help users lead healthier and potentially longer
lives? Designers can consider a salutogenic approach incorporating activity, novelty and control.
Much of what designers already do is intuitively grounded in the concepts and ideas explored
in this chapter. Understanding the science behind human perception and emotional connection
will enhance outcomes that can be tested to prove or disprove research and theories and advance
our understanding of the interaction between people and their built environment.

References
1. Design Forecast editorial team. (2020). Design forecast 2021. Reconnect: Design strategies for a post-
covid world. Gensler Research Institute. https://www.gensler.com/research-insight/publications/
design-forecast/reconnect
2. Stichler, J. F., & Hamilton, D. K. (2008). Evidence-based design: What is it? Health Environments Re-
search & Design Journal (HERD), 2(2), 3–4.
3. Purohit, D. (2021). Episode 205. Dr. Rangan Chatterjee, we got it wrong when it comes to
weight loss, episode 205. Dhru Purohit. https://dhrupurohit.com/we-got-it-wrong-when-it-
comes-to-weight-loss/#ql-video
4. Brambilla, A., & Capolongo, S. (2019). Healthy and sustainable hospital evaluation—A review of
POE tools for hospital assessment in an evidence-based design framework. Buildings, 9(4), 76.
5. Sze, R. W., Hagerty, N. M., Sassano, C., & Kazmi, P. (2020). The business case for evidence-based
design in radiology departments. Journal of the American College of Radiology, 17(1), 152–156.
6. Ibid.
7. Proshansky, I., & Ittelson, W., Rivlin, L. G. (eds.). (1976). Environmental psychology: Man and his physical
setting. New York: Holt Rinehart and Winston.
8. Mehrabian, A., & Russell, J. A. (1974). An approach to environmental psychology. The MIT Press.
9. Stokols, D. (1978). Environmental psychology. Annual Review of Psychology, 29(1), 253–295.
10. Giford, R. (2014). Environmental psychology: Principles and practice. (4th ed). Optimal Books.
11. Bechtel, R. B. (2010). Environmental psychology. The Corsini encyclopedia of psychology, 1–3.
doi:10.1002/9780470479216.corpsy0311
12. Kopec, D. A. (2018). Environmental psychology for design. (3rd ed). Fairchild.
13. Cohen, S. (1978). Environmental load and the allocation of attention. Advances in Environmental Psy-
chology, 1, 1–29.
14. Colenberg, S., & Jylhä, T. (2020). Designing for health: Strategies for enhancing employee health by
workplace design. In Proceedings of the Transdisciplinary Workplace Research (TWR) Conference
2020 A. Kämpf-Dern and M. Will-Zocholl (Eds.), TWR Network. (pp. 84–95).
15. Ackerman, C. (2021). What is environmental psychology? Positive Psychology. https://positivepsy-
chology.com/environmental-psychology/
16. Dickenson, J. I., & Marsden, J. P. (2009). Informing design. Fairchild.
17. Appleton, J. (1975/1996). The experience of landscape. (rev ed). Wiley.
18. Wilson, E. O. (1984). Biophilia. Harvard University Press.
19. Dollard, J., Miller, N. E., Doob, L. W., Mowrer, O. H., & Sears, R. R. (1939). Frustration and aggres-
sion. Yale University Press. https://doi.org/10.1037/10022-000
20. Berkowitz, L. (1965). The concept of aggressive drive: Some additional considerations. In Advances in
experimental social psychology, 2 (pp. 301–329). Academic Press. doi:10.1016/S0065-2601(08)60109-4
21. Berkowitz, L. (1978). Whatever happened to the frustration-aggression hypothesis? American Behav-
ioral Scientist, 21(5), 691–708. https://doi.org/10.1177/000276427802100505
22. Mehrabian, A., & Russell, J. A. (1974). An approach to environmental psychology. The MIT Press.
23. Russell, J. A. (1980). A circumplex model of afect. Journal of Personality and Social Psychology, 39(6),
1161–1178. https://doi.org/10.1037/h0077714
24. Ibid.
25. Giford, R. (2014). Environmental psychology: Principles and practice. (4th ed). Optimal Books.
26. Behrens, R. R. (1998). Art, design and gestalt theory. Leonardo, 31(4), 299–303.
27. Cohen, S. (1978). Environmental load and the allocation of attention. Advances in Environmental Psy-
chology, 1, 1–29.
28. Hoskins, D. (2014, Jan 16). Employees perform better when they can control their space. Harvard Busi-
ness Review. https://hbr.org/2014/01/employees-perform-better-when-they-can-control-their-space
 Programming Interior Environments 23

29. Altman, I. (1975). The environment and social behavior: Privacy, personal space, territory, and crowding.
Brooks/Cole.
30. Barker, R. (1968). Ecological Psychology: Concepts and methods for studying the environment of human behav-
ior. Stanford University Press.
31. http://www.anfarch.org/resources/education/naad/
32. Nanda, U., Pati, D., & McCurry, K. (2009). Neuroesthetics and healthcare design. HERD: Health
Environments Research & Design Journal, 2(2), 116–133. https://doi.org/10.1177/193758670900200210
33. Ruggles, D. (2017). Beauty, Neuroscience and Architecture: Timeless patterns and their impact on our wellbeing.
Self-published.
34. Huberman, A. (2021, Jan 4). How your nervous system works & changes. Huberman Lab Podcast.
https://youtu.be/H-XfCl-HpRM
35. Wiesel, T. N., & Hubel, D. H. (1963). Single-cell responses in striate cortex of kittens deprived of
vision in one eye. Journal of Neurophysiology, 26(6), 1003–1017.
36. Wolf, K. (n.d.). We are all disabled. Hope Heals. https://www.hopeheals.com/articles-archive/
we-are-all-disabled
37. MIT News (1996, Dec 19). MIT Research – Brain processing of visual information. https://news.mit.
edu/1996/visualprocessing
38. Sussman, A. (2021, Feb 20). Seeing how cars and people grab us. Genetics of Design. https://genetic-
sofdesign.com/2021/02/20/seeing-how-cars-people-grab-us/
39. Ellard, C. (2020). Neuroscience, wellbeing, and urban design: Our universal attraction to vitality.
Psychological Research on Urban Society, 3(1), 6–17.
40. Kaspar, K., & König, P. (2012). Emotions and personality traits as high-level factors in visual atten-
tion: A review. Frontiers in Human Neuroscience, 6, 321. https://doi.org/10.3389/fnhum.2012.00321
41. Roche, J. (2017). Residential living: Flooring choices for elderly with visual acuity problems and the
impact on depth perception. [Masters thesis, The Boston Architectural College].
42. Harte, J. D., Sheehan, A., Stewart, S. C., & Foureur, M. (2016). Childbirth supporters’ experiences
in a built hospital birth environment: Exploring inhibiting and facilitating factors in negotiating
the supporter role. HERD: Health Environments Research & Design Journal, 9(3), 135–161. https://doi.
org/10.1177/1937586715622006
43. Kopec, D. A. (2018). Environmental psychology for design. (3rd ed). Fairchild.
44. Malnar, J. M., & Vodvarka, F. (2004). Sensory design. University of Minnesota Press.
45. Gladwell, M. (2020). Talking to strangers. Little, Brown and Company.
46. See, for instance, the International Colour Association https://www.aic-color.org/ or the accessible
book, “What is Color” by Eckstut & Eckstut, 2020.
47. Bosch, S. J., Cama, R., Edelstein, E., & Malkin, J. (2012). The application of color in healthcare settings.
The Center for Health Design, 1–78.
48. Wilms, L., & Oberfeld, D. (2018). Color and emotion: Efects of hue, saturation, and brightness. Psy-
chological Research, 82(5), 896–914. https://doi.org/10.1007/s00426-017-0880-8
49. Odabaşioğlu, S., & Olguntürk, N. (2015). Efects of colored lighting on the perception of interior
spaces. Perceptual & Motor Skills, 120(I). 183–201. doi:10.2466/24
50. Kopec, D. A. (2018). Environmental psychology for design (3rd ed). Fairchild.
51. Ibid. 152.
52. Valdez, P., & Mehrabian, A. (1994). Efects of color on emotions. Journal of Experimental Psychology:
General, 123(4), 394–409. https://doi.org/10.1037/0096-3445.123.4.394
53. Chawla, L. (2015). Benefts of nature contact for children. Journal of Planning Literature, 30(4), 433–452.
54. Louv, R. (2008). Last child in the woods: Saving our children from nature-defcit disorder. Algonquin Books.
55. Kaplan, S. (1995). The restorative benefts of nature: Toward an integrative framework. Journal of
Environmental Psychology, 15(3), 169–182.
56. Kuo, M. (2015). How might contact with nature promote human health? Promising mechanisms and
a possible central pathway. Frontiers in Psychology, 6, 1093.
57. Antonovsky, A. (1996). The salutogenic model as a theory to guide health promotion. Health Promo-
tion International, 11(1), 11–18.
58. Rickard-Brideau, C. (2015, Mar 31). What’s the next big step in building? Salutogenic design. Metrop-
olis. https://www.metropolismag.com/interiors/whats-the-next-big-step-in-building-salutogenic-
design/#:~:text=Salutogenic%20design%2C%20as%20I%27ve, operate%20at%20their%20peak%20
performance
59. Bravo. (2019, Mar 21). Do wellness programs save companies money? https://www.bravowell.com/
resources/do-wellness-programs-save-companies-money#:~:text=A%20report%20by%20the%20
International, on%20an%20employee%20wellness%20program.
Exploring the Variety of Random
Documents with Different Content
Blick suddenly dropped on his knees by the dead man’s side and
abruptly plunged a hand into an inner pocket of the clothing—into a
second—a third. Just as suddenly he produced a letter-case, and
from it drew out a wad of bank-notes and two papers. He dropped
the notes unconcernedly on the stones, and hastily unfolded the
papers; a second later he thrust these into the Professor’s hand.
“That’s what it means!” he said quietly. “There’s Spindler’s formula,
and there’s your opinion about it. And—this is the chap who killed
Guy Markenmore!”
Then he looked round at the three men. The Professor was staring
blankly at the papers just handed to him; Mr. Fransemmery was
staring at the Professor; Harborough, anxious and puzzled, was
looking doubtfully at the dead man. It was he who spoke first,
turning to the detective.
“You think he—that he killed Guy Markenmore in order to get
possession of—those?” he asked, in a low voice.
Blick rose from his knees.
“What else?” he said calmly. “I see the whole thing now! Sir
Thomas, there, and I already know something of it, but up to a few
minutes ago I didn’t suspect this man. But, as I say, now I see it—
clearly enough. This man, whom I met a few nights ago at the
Sceptre, posing as Crawley, a holidaymaker, taking a walking tour
round this country, is in reality Carter, an assistant of Sir Thomas’s at
his laboratory at Cambridge. It was he to whom Sir Thomas
entrusted a sealed packet for direct conveyance to Guy Markenmore
in London; he, Carter, was passing through London on his way here
for his holiday. Now, although Carter did not know the nature of the
precise contents of that packet, he had learnt from Sir Thomas that
they were of immense scientific and monetary value. He was
charged to put the packet into Guy Markenmore’s own hands. He did
so. Later that day Guy Markenmore travelled down here. So did
Carter. Probably they met on the train; probably they travelled in
company. But, at any rate, Sir Thomas and I have just found out
that Guy Markenmore and Carter were together on these downs late
that night, talking confidentially. Now from what I’ve learned about
him, Guy Markenmore was a talkative, free-and-easy sort of a man,
open and candid; probably, knowing that Carter was Sir Thomas’s
assistant, Guy took Carter into his confidence about the secret. And
Sir Thomas and I have just ascertained that Guy told Carter that he
would be at or about Markenmore Hollow at a very early hour next
morning. What does Carter do? He forms the plan of hanging about
all night—a warm night, mind!—waylaying Guy early in the morning
and murdering him for the secret and for the money which was to
be put together for it that night by Guy, Lansbury, and Baron von
Eckhardstein. And—he carries all this into execution. What does he
do, then? Goes quietly away amongst these hills and woods on his
walking-tour—who’s going to suspect an innocent-looking
pedestrian? But, having in the meantime read the newspapers, he
works round, in his character of tourist, to the Sceptre, where I met
him, and where, I confess, he thoroughly took me in. The
murderer’s old trick, you see, of hanging round the scene of his
crime, full of a morbid curiosity to know what’s been said and done.
Nobody suspected this man in the slightest degree—I, myself, never
dreamed of connecting him with this affair. He stayed his night at
the Sceptre and went away, crossing these downs. And here!—here
he met with this fatal accident, and if he hadn’t, and if we hadn’t
found this, and those papers on him, I don’t believe we should ever
have known who it was that killed Guy Markenmore! But—we know
now.”
He stooped down and drew the dead man’s soft cap more closely
over his face. When he looked up again the Professor was still
staring thoughtfully at the papers in his hands and Mr. Fransemmery,
unusually grave, was watching him. But Harborough was already
striding away through the trees, towards Valencia.
*** END OF THE PROJECT GUTENBERG EBOOK THE MARKENMORE
MYSTERY ***

Updated editions will replace the previous one—the old editions will
be renamed.

Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright in
these works, so the Foundation (and you!) can copy and distribute it
in the United States without permission and without paying
copyright royalties. Special rules, set forth in the General Terms of
Use part of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything
for copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such as
creation of derivative works, reports, performances and research.
Project Gutenberg eBooks may be modified and printed and given
away—you may do practically ANYTHING in the United States with
eBooks not protected by U.S. copyright law. Redistribution is subject
to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
 PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free

distribution of electronic works, by using or distributing this work (or
any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.

Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree
to and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be
bound by the terms of this agreement, you may obtain a refund
from the person or entity to whom you paid the fee as set forth in
paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be

used on or associated in any way with an electronic work by people
who agree to be bound by the terms of this agreement. There are a
few things that you can do with most Project Gutenberg™ electronic
works even without complying with the full terms of this agreement.
See paragraph 1.C below. There are a lot of things you can do with
Project Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project
Gutenberg™ electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright law
in the United States and you are located in the United States, we do
not claim a right to prevent you from copying, distributing,
performing, displaying or creating derivative works based on the
work as long as all references to Project Gutenberg are removed. Of
course, we hope that you will support the Project Gutenberg™
mission of promoting free access to electronic works by freely
sharing Project Gutenberg™ works in compliance with the terms of
this agreement for keeping the Project Gutenberg™ name associated
with the work. You can easily comply with the terms of this
agreement by keeping this work in the same format with its attached
full Project Gutenberg™ License when you share it without charge
with others.

1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside the
United States, check the laws of your country in addition to the
terms of this agreement before downloading, copying, displaying,
performing, distributing or creating derivative works based on this
work or any other Project Gutenberg™ work. The Foundation makes
no representations concerning the copyright status of any work in
any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project Gutenberg™
work (any work on which the phrase “Project Gutenberg” appears,
or with which the phrase “Project Gutenberg” is associated) is
accessed, displayed, performed, viewed, copied or distributed:
 This eBook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this eBook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived

from texts not protected by U.S. copyright law (does not contain a
notice indicating that it is posted with permission of the copyright
holder), the work can be copied and distributed to anyone in the
United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must
comply either with the requirements of paragraphs 1.E.1 through
1.E.7 or obtain permission for the use of the work and the Project
Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted

with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works posted
with the permission of the copyright holder found at the beginning
of this work.

1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files containing a
part of this work or any other work associated with Project
Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this

electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the Project
Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if you
provide access to or distribute copies of a Project Gutenberg™ work
in a format other than “Plain Vanilla ASCII” or other format used in
the official version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or
expense to the user, provide a copy, a means of exporting a copy, or
a means of obtaining a copy upon request, of the work in its original
“Plain Vanilla ASCII” or other form. Any alternate format must
include the full Project Gutenberg™ License as specified in
paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing

access to or distributing Project Gutenberg™ electronic works
provided that:

• You pay a royalty fee of 20% of the gross profits you derive
from the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
 about donations to the Project Gutenberg Literary Archive
Foundation.”

• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt
that s/he does not agree to the terms of the full Project
Gutenberg™ License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg™ works.

• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.

• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™

electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on, transcribe
and proofread works not protected by U.S. copyright law in creating
the Project Gutenberg™ collection. Despite these efforts, Project
Gutenberg™ electronic works, and the medium on which they may
be stored, may contain “Defects,” such as, but not limited to,
incomplete, inaccurate or corrupt data, transcription errors, a
copyright or other intellectual property infringement, a defective or
damaged disk or other medium, a computer virus, or computer
codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for

the “Right of Replacement or Refund” described in paragraph 1.F.3,
the Project Gutenberg Literary Archive Foundation, the owner of the
Project Gutenberg™ trademark, and any other party distributing a
Project Gutenberg™ electronic work under this agreement, disclaim
all liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR
NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR
BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH
1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK
OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL
NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT,
CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF
YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you

discover a defect in this electronic work within 90 days of receiving
it, you can receive a refund of the money (if any) you paid for it by
sending a written explanation to the person you received the work
from. If you received the work on a physical medium, you must
return the medium with your written explanation. The person or
entity that provided you with the defective work may elect to provide
a replacement copy in lieu of a refund. If you received the work
electronically, the person or entity providing it to you may choose to
give you a second opportunity to receive the work electronically in
lieu of a refund. If the second copy is also defective, you may
demand a refund in writing without further opportunities to fix the
problem.

1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED,
INCLUDING BUT NOT LIMITED TO WARRANTIES OF
MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied

warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted
by the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation,

the trademark owner, any agent or employee of the Foundation,
anyone providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with
the production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of the
following which you do or cause to occur: (a) distribution of this or
any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.

Section 2. Information about the Mission

of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers.
It exists because of the efforts of hundreds of volunteers and
donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the

assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a
secure and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help,
see Sections 3 and 4 and the Foundation information page at
www.gutenberg.org.

Section 3. Information about the Project

Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West,

Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact

Section 4. Information about Donations to

the Project Gutenberg Literary Archive
Foundation
Project Gutenberg™ depends upon and cannot survive without
widespread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can
be freely distributed in machine-readable form accessible by the
widest array of equipment including outdated equipment. Many
small donations ($1 to $5,000) are particularly important to
maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating

charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and
keep up with these requirements. We do not solicit donations in
locations where we have not received written confirmation of
compliance. To SEND DONATIONS or determine the status of
compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where

we have not met the solicitation requirements, we know of no
prohibition against accepting unsolicited donations from donors in
such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make

any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of
other ways including checks, online payments and credit card
donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About

Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.

Most people start at our website which has the main PG search
facility: www.gutenberg.org.

This website includes information about Project Gutenberg™,

including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how
to subscribe to our email newsletter to hear about new eBooks.