In the last decades, the rapid growth of functional brain imaging methodologies allowed cognitive neuroscience to address open questions in philosophy and the social sciences. At the same time, novel insights from cognitive neuroscience research have begun to influence various disciplines, leading to a turn to cognition and emotion in the fields of planning and architectural design. Since 2003, the Academy of Neuroscience for Architecture has been supporting ‘neuro-architecture’ as a way to connect neuroscience and the study of behavioral responses (...) to the built environment. Among the many topics related to multisensory perceptual integration and embodiment, the concept of hapticity was recently introduced, suggesting a pivotal role of touch and haptic imagery in architectural appraisal. Arguments have thus risen in favor of the existence of shared cognitive foundations between hapticity and the supramodal functional architecture of the human brain. Precisely, supramodality refers to the functional feature of defined brain regions to process and represent specific information content in a more abstract way, independently of the sensory modality conveying such information to the brain. Here we highlight some commonalities and differences between the concepts of hapticity and supramodality according to the distinctive perspectives of architecture and cognitive neuroscience. This comparison and connection between these two different approaches may lead to novel observations in regard to people-environment relationships, and even provide empirical foundations for a renewed evidence-based design theory. (shrink)

Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition is physically (...) and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity. (shrink)

Neuroarchitecture uses neuroscientific tools to better understand architectural design and its impact on human perception and subjective experience. The form or shape of the built environment is fundamental to architectural design, but not many studies have shown the impact of different forms on the inhabitants’ emotions. This study investigated the neurophysiological correlates of different interior forms on the perceivers’ affective state and the accompanying brain activity. To understand the impact of naturalistic three-dimensional (3D) architectural forms, it is essential to perceive (...) forms from different perspectives. We computed clusters of form features extracted from pictures of residential interiors and constructed exemplary 3D room models based on and representing different formal clusters. To investigate human brain activity during three-dimensional perception of architectural spaces, we used a mobile brain/body imaging (MoBI) approach recording the electroencephalogram (EEG) of participants while they naturally walk through different interior forms in virtual reality (VR). The results revealed a strong impact of curvature geometries on activity in the anterior cingulate cortex (ACC). Theta band activity in ACC correlated with specific feature types (rs (14) = 0.525, p = 0.037) and geometry (rs (14) = - 0.579, p = 0.019), providing evidence for a role of this structure in processing architectural features beyond their emotional impact. The posterior cingulate cortex and the occipital lobe were involved in the perception of different room perspectives during the stroll through the rooms. This study sheds new light on the use of mobile EEG and VR in architectural studies and provides the opportunity to study human brain dynamics in participants that actively explore and realistically experience architectural spaces. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)