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NA 402025419 Neuroarchitecture PDF
NA 402025419 Neuroarchitecture PDF
CHRISTOPH METZGER
Foreword 7
Architecture 12
Madeleine Region—Neural Paths 12
Architecture as a System of Memory 17
Return and Security 18
The Central Plan versus the Longitudinal Plan 21
Anthropological Requirements of Architecture 21
Mobility 64
Body and Distance 64
Movement as a Necessity 76
Quality of Movement 78
Movement and Dignity 83
Enclosure and Hermits 83
Body Consciousness 86
Neuromusicology—Neuroarchitecture 89
Music as Experience of Movement 89
Imagined Compositions 93
Compositions and Abstract Structures 93
Body, Space, Experience 95
Reduction and Structure 96
Limits of Musical Understanding 97
Movement, Structure, Surface 98
Stockhausen—Feldman—Ligeti 99
Neuroscientific Overlaps 109
Home 117
House—Community—Identity 117
Ethics of Living 122
Security—Grasping 125
The Tent-Shape as Archetype 132
Sheltering Places 137
Return—Fulfilment—Departure 140
Home as Structure—Corners of the House 146
Sensory Cycles: Seasons—Aromas 148
Appendix 212
Bibliography 213
Notes 215
Picture Credits 221
6
Venice, Mouth of the Grand Canal with Santa Maria della Salute (1687)
7
Foreword
Architecture
in the memory. Thus, the quality of the text is built on sensorily exaggerated
or even hypersensitive moments, whose stylized perception may lie outside
the boundaries of what is felt to be “healthy.” Exaggeration becomes sys-
tematic; sensual events become the cornerstones of the narrative. “The au-
thor develops border areas and nuances of human perception and feelings
with admirable precision; he reveals their changeability, their bewilderment,
their insincerity and ambiguity, as well as their nobility.”2 He also places his
narrative within the framework of an architecture that is described with equal
accuracy. The quality of the detail Proust achieves places him in an area of
literature that has its own distinct typology. “With regard to the structure, it
is possible to recognize features of literature that are closely associated with
the Enlightenment’s concept of sensibilité. The homme-sensible is a figure
promoting identification, intended to make the readership aware of their own
emotionality and moral quality. The aim of ‘sensitive’ literature in France and
England is not entertainment but emotional instruction.”3
The author describes himself as vessel and as a room, whose body
relates to other bodies in the form of people, things, and even architecture.
Deleuze uses the image of the box and nest of boxes, as well as their ar-
rangement in a chronological sequence, and draws attention to the musi-
cal composition of the narrative. It is about composed periods of time and
makes use of imagery that may refer back to Arthur Schopenhauer. Proust’s
portrayal of idealized rooms in the houses of his childhood, which are de-
scribed in past times as atmospherically charged environments, is worthy of
especial study. Here physical experiences are always experiences of spaces,
embedded in a delicate, unusually nuanced, depiction of the rooms, which is
conditioned by a particular view of the architecture.
Before the architectural details of the setting, we first have the pro-
portions, which Samuel Beckett described as follows: “The narrator cannot
sleep in a strange room, is tortured by a high ceiling, being used to a low
ceiling.”4 Reading these scenes thus offers a sensually exaggerated per-
ception, as experienced by the delicate, sickly, pubescent boy. The author
presents himself as the focal point of a scenario with a timescale alternating
between experience and memory, whose changing levels are set against
the constants of mental images. In order to make it possible to work out the
course of the narrative and its chronological relationships, the scenes are set
in a sequence determined by the seasons.
The seasonal composition is reflected in various places in a small
town and in private rooms. Summer and winter rooms of town and country
houses reveal their destiny by day and by night. Rooms become dynamic
stages, experienced as atmospherically charged zones and presented by
the author as a framework for sensory details and their contexts. Things
that appear fixed and immovable by day begin to move in the dark. For
18
exhausted from the journey. But sleep is out of the question in this inferno of
unfamiliar objects. All his senses are on the alert, on the defensive, wakeful
and taut, and as painfully incapable of relaxing as the tortured body of La
Balue in the cage in which he could neither stand upright nor sit down. There
is no room for his body in this extensive and dreadful apartment, because
his attention has peopled it with gigantic furniture, with a storm of noises and
an agony of colors.”23 The rooms, which have dissolved in the frenzy of im-
pressions, deny him the reference points of pattern and structure that make
identification and security possible. Ways into a system that is made possi-
ble only by security must first be found and developed, so that we can then
slowly inscribe in our memory the traces that become identifiable, at first by
day and later also at night. The imaginary defenselessness of the delicate
child is heightened by undressing and the onset of a feeling of isolation. The
moment of abandonment takes on the character of a leitmotiv as the image
of isolation in a wide space. “Being alone in this room that is not even a room
but a cave of wild beasts, surrounded on all sides by irreconcilable strangers,
whose private sphere he has disturbed, he wishes to die. His grandmother
comes in and comforts him.”24 The strange bed refuses to offer a place of
safety. One of the constants of the narrative is the emphasis on the connec-
tion between lying in the room and the displacement of perception that sets
in in the darkness of the night.
mon features can be found in the opinions expressed. It becomes very clear
that all the authors were critical of the way people in the expanding cities
were compelled to live, which could be observed in the planning and projects
between 1890 and 1910 and would continue to be updated as the ideology
of a mechanistic “machine for living.” In Darmstadt—and this is what makes
the reports of the conference so forward-looking—the contributions of Hans
Gerhard Evers, Otto Bartning, Otto Ernst Schweizer, Rudolf Schwarz, Martin
Heidegger, and Jóse Ortega y Gasset provided convincing arguments with
clear anthropological and philosophical requirements, successfully mounting
a logical counterargument against the functionalism that already character-
ized the residential building of those years and would continue to do so. “The
human mind somehow has the secret ability to set up abstract systems,
in which it fetters and incarcerates itself. The nineteenth century invented
such systems with immense constructivist perspicacity.”26 The participants
lamented the loss of holistic living, which from the very start had systemati-
cally suppressed vital needs through the increasing industrialization of hous-
ing areas. “I only need to remember Scheler, …, who tried to show that the
concept never delivers the truth, because in itself it has only realized the
clutching, gripping hand, and that one only becomes aware of objects when
feeling is added to the concept of the hand as something that grips. … When
another person comes along and says that the ear is also necessary for rec-
ognition of the world, …, because it can perceive the sound in the world,
this concept by no means sufficient; man must use all his senses” to free
28
his signature mark. “Ich” (German for “I”) was the simple, somewhat arro-
gant, inscription on the dome of the first Goetheanum in Dornach. To begin
with, a tenable interpretation of the few buildings by Steiner that could justify
attribution to the field of organic architecture is scarcely defensible in terms
of historical concepts.
Various aspects can be cited as evidence of an architecture that
could be described as organic. The use of local and regional building materi-
als and the way the structure is integrated into the topography usually mean
that the panorama of the landscape determines the line and shape of the
ORGANIC AND ANTHROPOLOGICAL ARCHITECTURE 45
roof. The architecture copies the lines of the topography. Contrasting materi-
als and forms are avoided in what is understood as organic architecture. The
result is often the addition of an extra mythological dimension to the site of
the building and its grounds. In discussions of organic architecture, it mostly
becomes clear that it concerns a structure that is close to nature and usually
avoids rectangular shapes or at least breaks them up into component parts.
However, when a building that has already become an iconic example in the
history of architecture—such as Frank Lloyd Wright’s Fallingwater, which is
52
vr Rudolf
Steiner,
Goetheanum,
Heizhaus (1914)
ww Goetheanum,
Glass House (1914)
ORGANIC AND ANTHROPOLOGICAL ARCHITECTURE 53
64
Mobility
is constantly filled with a play of colors, noises, and fleeting tactile sensations,
which I cannot relate precisely to the context of my clearly perceived world,
yet which I nevertheless immediately ‘place’ in the world, without ever con-
fusing them with my daydreams.”126 Separating sensory perception from the
human body, which becomes aware and assured of itself in the processes
of perception, individualizes the act. “Truth does not ‘inhabit’ only ‘the inner
man’, or more accurately there is no inner man … and only in the world does
he know himself.”127 In the field of a phenomenology extended to include
cognitive performance, he updates the practice of a theory of perception
that can only partially be generalized as physical experience. “Sensational-
ism ‘reduces’ the world by noting that after all we never experience anything
but states of ourselves. … The eidetic reduction is, on the other hand, the
determination to bring the world to light as it is before any falling back on our-
selves.”128 The individual is characterized by sensory experiences. “To seek
the essence of perception is to declare that perception is, not presumed
true, but defined as access to truth.”129 Various sources can be equally im-
portant for deciphering regularly occurring events. “True philosophy consists
in relearning to look at the world, and in this sense a historical account can
give meaning to the world quite as ‘deeply’ as a philosophical treatise.”130
We move around in our environment and are stimulated by attractions and
turn toward them. “Our perceptual field is made up of ‘things’ and ‘spaces
between things’.”131 Thus the distances between things acquire the status of
a space that can be newly evaluated in the way that has been developed as
aura or atmosphere from Benjamin to Böhme. Merleau-Ponty has described
this distance: “If we set ourselves to see as things the intervals between
them, the appearance of the world would be just as strikingly altered.”132 We
seem to be predestined from the start to have to detect vital functions in all
things. “This rich notion of sense experience is still to be found in Romantic
usage, for example in Herder. It points to an experience in which we are
given not ‘dead’ qualities, but active ones. … Vision is already inhabited by
a meaning (sens) which gives it a function in the spectacle of the world and
in our existence.”133 Personalized perception, which is crucially dependent
on a stimulating environment, has been proven to have properties that are
relevant for recognition. It even appears that “a true and exact world”134 has
its first source in perception. In the human body, in the process of sensory
comprehension a center is formed that functions only when a vital cognitive
area is available. “It was necessary to link to centripetal conditions the cen-
trifugal phenomenon of expression, reduce to third-person processes that
particular way of dealing with the world which we know as behavior, bring
experience down to the level of physical nature and convert the living body
into an interiorless thing.”135 The body of the other person is now discovered.
“It was merely a machine, and the perception of the other could not really be
74
each point on the skin and the motor muscles which guide the hand, it is
difficult to see why the same nerve circuit communicating a scarcely different
movement to the same muscles should not guarantee the gesture of Zei-
gen as it does the movement of Greifen.”146 A world that no longer provides
tactile experiences can literally no longer be grasped. Metaphor comes into
the picture. “Pathological phenomena introduce variations before our eyes in
something which is not the pure awareness of an object. Any diagnosis, like
that of intellectual psychology, which sees here a collapse of consciousness
and the freeing of automatism, or again that of an empiricist psychology of
contents, would leave the fundamental disturbance untouched.”147 Motor
functions and thinking are opposed. “It is then in some sense mental space
and practical space which are destroyed or impaired, and the words them-
selves are a sufficient indication of the visual origin of the disturbance. Visual
trouble is not the cause of the other disturbances, particularly that directly
affecting thought. But neither is it a mere consequence of them.”148
MOBILITY 75
v Video still,
swimmer in the
drinking water
system,
Arsenale,
15th Architec-
ture Biennale,
Venice (2016)
ws Olympic village,
Elstal,
Wustermark,
swimming pool
(1936)
88
Neuromusicology—
Neuroarchitecture
No. 2 from 1983, which, in the form of a graphic score of abstract fields
of events, hints at the model of a carpet pattern. Carpets embody original
handicraft and are the result of many stages of work. In addition, they can
be described in patterns. Feldman wrote: “For the rugs, listen, the degen-
eration of rugs happened when people wouldn’t sit for three months like
an idiot 10 hours a day, you see, they started to use synthetic dyes – well,
they started to value their time, that’s when the rug world disappeared.”214
Against this background, for Feldman color acquires the value of a basic
material, which he used as the program for his composition Why Patterns?
for flute, glockenspiel, and piano. In it, individually notated instruments meet
for the first time towards the end of the composition where, “a series of
different patterns are linked together on the chain and then juxtaposed by
simple means.”215 As in a row of bricks, individual patterns occur and are
strung together. Single events and sequences form into a freely developing
program. Feldman tells us: “For me, patterns are groups of sounds com-
pletely enclosed in themselves that give me the chance to break off without
preparation and immediately enter a new musical state.”216 For hearing that
has been trained in principles of order, the patterns may be recognizable as
a type, which is given its most distinctive structure and unmistakable Präg-
nanz in the gestural expression of theme and melody. The acts of cognition
that then become effective may be similar to traditional reception processes,
and this appears to be what Feldman has in mind. He speaks several times
of modular constructions,217 which he understands as the basis of an organic
development that has retained a spiritual core. Feldman criticizes in no un-
certain terms the dominance of serial techniques filled with mathematics that
have been predominant in contemporary music events in Darmstadt, Witten,
and Donaueschingen in the years since 1947. “It may seem strange to call
Boulez and Stockhausen popularizers, but that’s what they are. They glam-
orized Schoenberg and Webern, now they’re glamorizing something else.”218
Nevertheless, this cannot be described as a mass phenomenon reaching
out beyond the narrow circles of contemporary music or even a popularity,
as Helga de la Motte-Haber notes, with a glance at a 1979 survey by the
Swiss Radio and Television Company.219
Irritation leads to innovations. In the 1960s the new music scene
was considerably disturbed by György Ligeti and became aware of a new
direction. Since the sensation caused by Igor Stravinsky’s Rite of Spring in
Paris in March 1913, criticism in the press has been seen as a seal of quality
among artists. “Ligeti called the entirely negative notices for his Atmosphères
the best review I have had in my life. ‘Everything is at a complete standstill;
during the nine minutes the piece lasts, which stretches to an eternity, abso-
lutely nothing happens.”220 Ligeti’s pleasure in the negative criticism is only
seemingly paradoxical; in the critics’ bafflement, the composer recognized
NEUROMUSICOLOGY—NEUROARCHITECTURE 107
György Ligeti, Continuum for harpsichord (1968) © 1970 SCHOTT MUSIC, Mainz
116
Home
House—Community—Identity
Home: this can be an explosive topic and was the theme of the Ger-
man Pavilion at the 15th International Architecture Biennale in Venice: Making
Heimat. Germany, Arrival Country.239 It not only deals with current waves of
migration but also covers problems and experiences of hospitality, integra-
tion, and cooperation for those settling into new urban situations. However,
I will not go as far as that yet. First it is necessary to explain the concept of
Heimat (home) in the context of architecture. Where in the house does the
experience of home occur? What images remain in the memory until very old
age? Do requirements for dwelling change at different stages of life? What
can blueprints for the future glean from the past? What factors play a part in
determining what is home, apart from the atmosphere of rooms?
The following section will discuss not only the memory of rooms
and the associated stages of life but also describe models of communities
and their architectural frameworks. Currently, the significance of communi-
ties and their local characteristics in the field of architecture are being redis-
covered. The French Pavilion at the International Architecture Biennale in
Venice in summer 2016 also focused on this topic under the title Nouvelles
Richesses,240 displaying models of historical settlements and neighborhood
meetings in modern projects, introducing the idea of village communities as
having worthwhile potential in urban contexts. Home and community are
becoming the focus of interest. Home as a concept? Probably work in prog-
ress? What actually makes up the art of current architectural planning in re-
lation to requirements for housing in the changed lifeworlds at the turn of the
nineteenth and twentieth century? These are simple questions, encouraging
us to look back into the history of the topic when it is a matter of finding the
ideal forms for creating a typology. The theme of modern living can be under-
stood from the extremes, whose fundamental principles reach into the past
and into the future. A broad spectrum opens up, stretching from the ideal
of a return to the countryside and stylized rural simplicity to narrow, strictly
functional dwellings in densely populated urban areas. Aspects that came
122
to the position and importance of their occupants. The house creates the
space within which a communal life formed according to a system of rules
emerges. The interaction of living and the social structure and self-image of
communal life are dependent on this—a pattern that can be transferred to
any cultural community.
The image of the person is always reflected in organized forms of
living and dwelling and particularly so in all constructive stages of planning
through to the erection of the building. Quality and livability always have a
long prehistory. Clients and architects determine the framework. The way
our lives are organized in spaces reflects the way we live. Since the afore-
mentioned positions of Muthesius, Le Corbusier, and Steiner concern com-
peting types that are influenced by changing fashions and values in respect
of preferred materials and forms, it is important to consider these types and
their origins and reception in more detail.
Ethics of Living
The Deutscher Werkbund [German Association of Craftsmen] and
the early criticism of functionalism combine experiences and theories that
began with the Arts and Crafts Movement in England and the United States—
represented by William Richard Lethaby (1857–1931), Sir Thomas Graham
Jackson (1835–1924), Charles Francis Annesley Voysey (1857–1941),
Charles Robert Ashbee (1863–1942), and Geoffrey Scott (1884–1929)—and
became the basis of the ideas of Hermann Muthesius (1863–1927). Muthe-
sius spent seven years in England studying architecture and the history of
architecture before producing the three-volume collection of his experiences
entitled The English House (1904). During the years between the founding of
the Deutscher Werkbund (1907) and his death in 1927—he was struck by
a tram while visiting a building site in Berlin-Steglitz—Muthesius, a Prussian
building officer, architect, and author of many publications, became deeply
critical of the contemporary rationalization of living. After his death his ideas
and his buildings were soon forgotten. However, the background of his ar-
chitectural opinions, the English country house, whose layout and interrela-
tionship with the image of the feudal community he adopted and made the
basis for the plan of the house, would continue to exist as a concept, at least
in its approach. His main concern was to introduce the value of community
living into contemporary architecture as the basis of planning.
According to Muthesius, the true value lies in the house itself and
the way the parts of the building are arranged so they always function as an
ensemble. He was musically inclined and trained in the theory and practice
of music; he knew about the material composition and resonances of rooms
and saw the house as the basis of all kinds of aesthetic education. “It is obvi-
ous that here the house alone can provide the basis for our artistic education
HOME 123
Arsenale, Venice
132
Hermann Muthesius,
detached house,
Berlin-Schlachtensee
Potentials of Neuroarchitecture
that large windows would divert the concentration of schoolchildren and stu-
dents, but it later turned out that large windows have a positive effects on
learning behavior because they provide stimuli. The structure and layout of
easily identifiable hallways and stairs was (again?) taken over from the field of
Alzheimer’s research.327 Spatial orientation and adaptation to new situations
are described by Kayan as individually determined neural activities that rely
on recallable memory stores, with which children can find their way intuitively
in new spaces. She also makes use of a description that can function as a
pattern and memory of those adaptations that lead to success328—in this
case, to success in rediscovering rooms in strange buildings, a cognitive
process that can no longer be assumed to be functioning in small children
and people with age-related impairment. There is an important suggestion
that the activity of our senses can adapt to different surroundings in such
a way that this appears to be inherent in the individual disposition of our
neurons.329 According to Kayan, while the other senses, such as sight, hear-
ing, and smell, work independently of one another, all the senses seem to
combine in the sense of touch. The sense of touch is therefore accorded
a special position in the neuroscientific planning of architectural spaces.330
This has an impact on the composition of all the interior surfaces; the tactile
experience, the visibility, and absorption properties of walls, ceilings, and
floors point to the fact that orientation in a building is due to a multisensory
combination of light, shadow, sound, and resonance, the sensual composi-
tion of the material, and the spatial divisions.331 Bernhard Waldenfels has in-
troduced the concept of Findigkeit (ingenuity or resourcefulness) to describe
the individual’s movement in a room and his capacity for multiple forms of
orientation. It is a concept that “is supported by experience that is anchored
in phenomenology.”332 The procedures described by Waldenfels, looking
back to the philosophy of antiquity, which he can trace through as far as
Merleau-Ponty, are evidence of the fact that basic features of a knowledge
of the importance of orientation in space have been known for at least 2,000
years. However, there is a standard experiment that provides evidence of the
effects of differing spaces on mammals, discussed below.
The effect of stimulating surroundings on the development of cog-
nitive performance was investigated in an experiment with thirty-six rats that
were placed for a period of thirty days in three different cages. They had the
same food, free access to drinking water, and the same lighting; the differ-
ences to be tested in the experiment were that the cages were of different
sizes and had different furnishings. After thirty days, the brain activity of all
the animals was traced. It was shown that the animals living in a larger cage
with richer furnishings and diverse materials had developed distinctly greater
brain activity and action skills than those that had to live in smaller and very
small cages. Visible evidence of this was also shown through imaging proce-
POTENTIALS OF NEUROARCHITECTURE 171
r Christoph Mäckler,
Opera Tower,
Frankfurt am Main (2010)
w Christoph Mäckler,
Goethestrasse 34,
Frankfurt am Main
(renovation 2016)
Gestalt from an original story of creation, starting from the body of the indi-
vidual and the image of the mother and then describing further circles. “The
first kingdom of Gestalt has no space for the mother, because it requires
none. Its works come directly from God. Her Gestalt has reached perfec-
tion at the moment when she is conceived. At the same moment she is
also born. … However, the works of the second kingdom of Gestalt need a
mother room as the workspace in which the organs of the creation are
prepared, until he is complete enough to move alone outside the mother
space.”383 The workshop thus becomes the place of creation; the hand of
God and the hand of the artisan are guided by similar spiritual powers in
order to create a home in space for mankind. “The elements already bear
male and female qualities within them.”384 However, the forms that Häring
developed into his main idea are realized only through interaction; for him,
architecture is the frame for the task of educating man in the community:
“The highest aim of the teaching plan of the educational work is the object.
The instructions in the educational work apply to the essence of the object
and to learning the techniques by which it can be realized in the mortal
world.”385 Nothing less than a metaphysics of craft that may be reminiscent
of his father’s carpentry workshop is evoked here, in order to give people a
grasp of the specific material. Almost imbued with Anthroposophical qual-
ities, material that has been worked by hand seems to conceal spiritual
powers. This is even more important because, with handmade objects, the
trace of the human hand is immortalized in the material and revealed as a
gesture of friendship whenever and however the object is used. “In every-
thing that is taught, meaning that, in everything that should be improved for
working towards the light, it is about the mystery of the object and the
technical path that leads to its realization.”386 According to Häring, generat-
ing structure and form fulfills the task of divine creation. “Working on an
object is not an ingredient of life but the highest meaning of life, its true
purpose.”387 This brief utterance can hardly be valued too highly, as it draws
attention to the idea that the human body is only defined in space as a
physical environment that he has created. This is made clear by the refer-
ence to the vital significance of forming objects, which is placed at the
center of human activity as “the highest meaning of life.” These creative
powers bear within them the laws of Gestalt that, in the form of Theosoph-
ical powers in the effect of handcrafted objects, reveal a fullness of life in
the landscape. Their energy flows into the piece of work. “It must also be
the task of the mysterious powers of nature to develop powers in man that
render him capable of creative activity.”388 Release from the dictates of tra-
ditional basic forms can be seen when he turns to three-dimensional fig-
ures. “The doctrine of Gestalt in the new workrooms is no longer based on
geometrical figures but on a principle of design: the principle of organic
204
ent, apart from the literature considered here, we still know too little about
the fundamental importance of the spaces around us.
Neuroarchitecture now derives our understanding and the building
requirements from knowledge of the body and its needs, and thus has the
potential for greater social relevance. This affects all the forms of our archi-
tectural environment that must be revised to take account of the special
needs of various age groups. In Juhani Pallasmaa’s opinion, the concep-
tion and realization of architecture is an art that is more of the body than
of the eye. Thus, he takes on the role of critic of the prevailing dominance
of the eye. He repeatedly speaks in favor of penetrating the subconscious-
ly experienced layers of architecture in connection with the spiritual life of
man. All writers on neuroscientific themes systematically link them with the
achievements of Gestalt and perception psychology, and associate these
with specific phenomena relating to the experiencing of sensory moments.
The main background of these descriptions is the assumptions of Gestalt
theory, systematic scientific investigation of which began around 1860. Here,
neuroscientific questions link to and accentuate sensory learning processes
and their relationship to cognition. However, little consideration is given to
individual conditioning and its requirements. There is a risk of standardized
investigations that produce predictable results only expressed in systematic
form in scientific terminology or in data sets.
At the same time, a further field opens up, which it will be important
to consider in the future in the area of project development, particularly for
children and young people, but also for older people. If experience of tradi-
tional craftsmanship is recalled and updated in relation to specific building
projects, the satisfaction of the users of buildings will be seen mainly in
the range of opportunities for communication and the greatest number of
meeting places. Movement and social contacts will thus become the stan-
dard for a successful construction project that must endeavor to establish
its self-image in contrast to the dictates of functionalist architecture. The
early stages of research that has been carried out in the area of building for
dementia in order to provide intuitive orientation in the building at an appro-
priate level for its users can be drawn on for further scientific and practical
implementation.
However, neuroarchitectural questions concerning the interaction
of people and rooms can only be successful if these complex questions are
drawn up on the basis of concrete examples. Whether a new scientific field
can be successfully established depends on whether it succeeds in defining
more specifically the approaches that are currently formulated in rather gen-
eral terms. However, when it becomes possible in the future development
of sensory requirements for architectural spaces to be experienced as the
memorable entirety of a lifeworld, it will also be possible to draw conclusions
206
POTENTIALS OF NEUROARCHITECTURE 207
Droneport,
Norman Foster Foundation