The Psychologic-based Interior Design of Housing

You need to do paraphrase at first then add to 7000 words

Unit 10 Dissertation Handbook

A Student Guide to Academic Writing

BA (Hons) Interior and Spatial Design

Unit 10 History and Theory 3 (Consolidation)

6a Architects, Raven Row, Spitalfields, London.
Available at: http://www.6a.co.uk/projects#_raven_row

http://www.6a.co.uk/projects#_raven_row

Unit 10 Dissertation Handbook

A Student Guide to Academic Writing

BA (Hons) Interior and Spatial Design

Unit 10 History and Theory 3 (Consolidation)

Contents

Introduction 3

Dissertation Writing: a short guide 4

Bibliography and further reading 16

Last revised: 27.05.20
Kieran Mahon ([email protected])
BA ISD History and Theory Coordinator

2

mailto:[email protected]

Introduction

Welcome to the final History and Theory unit on BA (Hons) Interior and Spatial Design. The
aim of this handbook is to guide you through the process of writing an extended piece of
academic work and how you can best manage this challenge. Whilst the idea of a
dissertation can be daunting, we are sure that you will find the work satisfying and
worthwhile once you begin the process. Unit 10 is a unique opportunity for you to choose a
research topic that genuinely interests you. Such opportunities may not appear often so
please make optimum use of the time given to you to work on this project.

In return for tutorial support and guidance, we expect to receive work that is of a high
standard and shows that you have:

– researched and used a broad range of high-quality, reliable sources
– understood the researched material and its implications for interior and spatial design
– identified and discussed key issues that relate to the discipline
– applied the appropriate historical and/or critical perspective to your subject matter

Your tutor is here as a mentor to help you to develop your ideas, to ensure you use reliable
source material and to see that you correctly manage your time. They also have the role of
an editor, giving you feedback on how to develop your writing. In exchange, tutors expect
that you take the lead in presenting new material and ideas at each class. Your tutor will not
conceive your dissertation for you. You are responsible for the work and process of
developing it.

3

Dissertation Writing: a short guide

Writing a Dissertation is hard work but can also be very satisfying. It is not entirely different
from developing a design project. You need to think about content and meaning, form and
layout, structure, detail and the finish of the work. You will also need to work both
systematically and creatively.

In this section the following themes are explored:

1. Academic Writing
2. Choosing a Subject
3. Scheduling Your Work
4. Research
5. Reading
6. Structure
7. Writing
8. Parts of the Paper
9. Formatting
10. Types of Sources
11. Harvard Referencing
12. Quotations

There is a lot of information here and it will be best to read it over a period of time. Study it
carefully and make notes where something does not make sense and bring it to your tutor
to discuss. If you are still not sure you are doing things the right way, it is a good idea to
spend time reading other academic writing: examine how the work is structured, how
images are presented, how Harvard referencing is used or how quotations are formatted.
Ultimately the aim of the dissertation is to convince the reader that your subject is
interesting, that you have something to say about it and that you can do so in a clear,
consistent and transparent manner. Think of it as taking your reader on a tour through a
well-designed, well-organised building.

4

1. Academic Writing

The dissertation is an academic paper, which means it discusses a particular subject in an
objective and critical manner. Certain structural and formal standards and conventions
must be adhered to. This includes consulting and fully referencing primary and secondary
sources (see no.8 ‘Types of Sources’). Although there may be some shared features with
journalism and literature, academic work is different and you should familiarise yourself with
academic writing to give you an idea of how structure, argument, evidence and references
are used.

2. Choosing a Subject

At the end of Unit 8, in Stage 2 of your course, we ask you to research a topic that you
appeals to you, which relates to your extra-curricular interests. In other words, something in
your life that you are passionate about which lies outside university. We ask you to initially
think outside architecture, space and art and design. The rationale behind this is that
learning often takes place when students are genuinely engaged in their topic and feel they
have ownership over the own project.

As well as having an interest in the subject, you should bear in mind the following points for
what might make a good subject:

– Is it topical? Is it interesting to more people than just you as well as of some evident
cultural relevance.

– Is it manageable? Are there enough source materials available?
– Is there something you can visit or experience in relation to the research?

‘Less is more’ should be rule number one in choosing a subject. The broader your subject,
the more unspecific, shallow and potentially boring your dissertation is going to be. Try to
narrow your focus by considering possible subjects on three levels:

5

– What is your broad area of interest? (past-times/hobbies/ideas/what do you spend
your time doing outside of university/what do you like reading/watching/playing…
etc.)

– What is the particular aspect, issue or problem within this area that you will
consider? (a historical problem/political/design/sustainability/art/gender/
representation/something else found through your reading?)

– What is the specific object, example, or material that you will work with? (a room; a
series of spaces; a book; a building; a place; a city; something never built;
something that has disappeared?)

This requires a first round of research in order to chart the territory and the availability of
sources, evidence and materials. You will be asked to generate a literature review – a list of
relevant books and articles with a short explanation of what they are about and how they
will relate to your research question. By the end of the first term you are asked to write a
proposal and a detailed plan in which you outline your research and explain why it is
feasible.

Once you have agreed the topic with your tutor, it is your job to develop a research
question that drives your thinking about the subject which must involve an object(s) of
study that relates to architecture and interiors. This next level of developing your research in
relation to a question will take place over the summer holidays. You will therefore be
expected to have a good amount of research already prepared when you begin Stage 3.

3. Scheduling your work

Developing a schedule for your research and writing helps you to plan the lifecycle of your
project using a template which you can design yourself. You will need to make decisions
about time allocation over the long term (the academic year) and to set goals for the short
term, for each week or month.

A schedule lets you check that you are being realistic and planning something that is
feasible which you have agreed to. For this you will need to look at the deadlines and work
backwards from the final submission date. You might want to revise and update this

6

schedule later in the term when you have a more detailed idea of the research subjects you
wish to address (i.e. chapters or themes within the dissertation).

You could also bring this schedule to your tutorial for review, letting you both see where the
research is progressing well or not and to discuss the next steps as as required.

4. Research

Once you have identified a subject and created a schedule, you will continue your research:

– Use key-words and subject searches in the online UAL and RIBA Library catalogues
– or any other good library that you might have access to.

– Locate the relevant shelf areas in the library you use. Familiarise yourself with the
space and browse directly through the books on the shelves.

– Use internet book sellers for books that you might want to invest in
– Use www.abebooks.co.uk and similar book websites to to buy cheap and out-of-

print second-hand books
– Consult the bibliographies of recent books and articles on your topic: this will

provide you with further references and often give you a clue as to the more useful,
standard, or important sources

– In the case of long or difficult books, pay attention to the editor’s or author’s
introduction: this is often a very useful guide to understanding a work and locating
relevant chapters

– Improve your skim-reading skills to quickly check a book’s usefulness or locate
what’s important to you in a book or article

Be careful when using the internet for research: chances are that information from the web
is trivial, wrong or out of date. Be discriminating about your web research. Major university
department websites and staff websites (ending in .ac.uk or .edu) as well as sites by major
organisations can be great resources (museums, learned societies, galleries etc – often with
.org). Other sites, especially if they do not contain author information, are often not only
useless but misleading.

7

http://www.abebooks.co.uk

Outside of the library, use your imagination and research skills to find out which council,
interview partner, archive, organisation or site can provide you with information and
material.

If you decide to research people who are still alive, please discuss the ethical implications
with your tutor (there may for instance be issues of privacy to be taken into account if you
want to use sensitive quotes or photographs of people).

It is advisable to come up with a rigorous method to avoid getting lost in your research:
whether you use filing cards ordered by topic and/or author, or take continuous notes on
what you have read (and thought) in a notebook, or just have themed boxes on your desk
to drop your notes and copies into: be systematic and disciplined. Do not rely on
remembering where something was said once you will actually use the quote in a draft – the
chances are that you won’t remember where it came from. It is also a good idea to
prioritise: what material is absolutely central and needs to be read first, what is of
secondary importance and what seems to be of marginal interest only?

5. Reading

Without a thorough understanding of the relevant material you have identified, you won’t be
able to effectively use it in your dissertation. A common cause of student frustrations with
reading, writing and discussion is difficulty in understanding the primary and secondary
messages of a reading (reading comprehension). Although there is no single right way of
reading (you have to find what works best for you), consider the following tips:

Tip 1: Read at the right time
What time of day are you most productive – morning, afternoon or evening? It sounds
obvious but whatever time of day that you are most focused and clear-minded is the time
you should devote to reading. For many people the morning is the best time. Your mind
and body are rested and focused attention can come easier. Another productive time, as
research has shown, is shortly after exercise. Identify what time works best for you and
make reading habitual. Try to read at the same time daily as part of a routine, rather than
reading at different times of the day. Likewise, for longer readings, break your reading into

8

smaller blocks of time over several days, rather than trying to read everything in one sitting
on one day. The more frequently and regularly you are exposed to a text, the more deeply it
will become part of your long term memory. Reading at the right time will lead to greater
clarity and interest in what you read.

Tip 2: Read in the right place
Where do you work most productively and where do you most like to read – sitting at a
desk, lounging in a comfy chair or lying in bed, in the studio or in the library? As students of
interior design, you know that the built environment affects us physically, psychologically
and emotionally. We should not be surprised that our surroundings would affect our ability
to process information, such as reading. Like finding the right time, the right place, once
identified, needs to be part of the reading routine. The right physical place will help to put
and keep you in the right mental place.

Tip 3: Read in the right way
Like times and places, there are many different ways to read. There is a three-phase
process that students can find helpful: ‘skim, reflect, remember’. Phase 1 is simply looking
through the article briefly, at section headings and images, and first and last lines of
paragraphs. This gives you the basic picture of the text. Phase 2 – reflect – involves a full
reading of the text and writing down your thoughts about what you have read. This is a
process of both highlighting the major points of the text and noting down your own
thoughts. You can make notes on separate sheets of paper, in your sketchbooks or even
digitally. However you decide to do it, try to keep a consistent method so you get into the
habit of taking notes. Try to identify the author’s main points and to write down your own
thoughts about these main points. Connect the text to your previous knowledge or
experiences and consider the extent to which you agree or disagree with the ideas. Phase
3 – remember – is a simple re-reading of the text from beginning to end (you will often have
to read a complicated text several times to properly understand it). The purpose of this is to
gain clarity and long-term memory of the main points and phrases in the text. (Smith, 2012,
pp.398-400).

9

6. Structure

An academic paper conveys ideas and facts that are inter-related in complex, network like
and multi-dimensional ways. However, texts are linear constructs and reading a text is more
or less a linear exercise, so you are faced with the tricky task of organising a network of
ideas into a continuous text as clearly and elegantly as possible. This requires a major
structural effort. You will have to reshuffle your dissertation repeatedly and turn and twist –
and at times rewrite – your paragraphs and sections. You need to prioritise, organise,
subordinate interesting but non-essential ideas and sometimes you will need to say the
same thing twice, in different places, in different ways to reiterate the point. So be patient
and persistent, you almost certainly won’t get it right at the first go.

An academic paper usually contains:

– An introduction which establishes the overall field of study, your specific subject and
why and how you will go about discussing it

– A main body of text where you discuss a number points and issues based on your
sources

– A conclusion where you summarise your argument and findings, and perhaps pose
questions for further investigation

A much quoted piece of advice for structuring an academic paper goes like this:

‘Say what you’re going to say, say it and then say it again’

This doesn’t mean repeating yourself three times but encapsulates the principle of tripartite
structure: introduction; main body of writing; conclusion.

Try putting yourself in the position of the reader. Although you might know what you are
writing about and what you are going to argue, the reader does not. He or she therefore
needs plenty of signposts and directions to be able to be successfully guided around the
research you have uncovered. Logical sections and paragraphs which deal with one point
at a time help and connect with each other help the reader to follow your thinking.

10

Here are a few helpful expressions to start sentences and paragraphs:

Although…
In spite of…
However…
In addition to this…
On one hand…
On the other hand…
Following from this…
As has been stated above….
In order to…

These conjunctions and phrases create logical connections and are to a text what stairs,
elevators, doors, windows and hallways are to a building.

7. Writing

A dissertation is almost always written in an ‘academic style’ that is impersonal, objective,
without colloquial or poetic language. It can be helpful to think about what academic writing
is not. It is not an informal blog entry, a collection of tweets or a text message to your
friend. That said, according to your subject and approach you may not have to strictly
adhere to these rules and exceptions can be made in agreement with your tutor, if the
subject requires an unusual approach.

8. Parts of the Paper

Title Page (should contain dissertation title; unit title; date – please do not include your
name, but only your student number as ID)
List of contents of below (include page numbering)
Final word count, excluding bibliography
Abstract
Introduction
Chapters (1, 2, 3, 4 etc)

11

Conclusion
Bibliography (books; journals; websites; films; archival material)
Image sources
Appendices

9. Formatting

We encourage you to develop a professional layout for your final submission, which can be
produced on InDesign or similar. By asking you to do this there is an element of freedom to
generate a layout which you think is visually interesting but it is fundamental that you take
into account the following principles:

– Images should be placed close to the text that they support. They can be indexed
in the text: e.g. ‘Le Corbusier’s first design for Algiers (Fig.3)’

– There should be captions for all images and a reference to its source in the
bibliography

– The text will need to have paragraph breaks where appropriate. You can either
mark these with an indentation or a line break and no indentation. Whichever you
use, be consistent

– You should use clear sub-titles for new chapters. A chapter can have a number and
a title

– Half-empty pages are acceptable at the end of an introduction or chapter, but not
halfway through chapters or sections (unless you have deliberately chosen another
approach to the formatting which should be agreed beforehand with your tutor)

– Refer to essays in edited books or journals to get a sense of rhythm for paragraph
breaks and the occasional empty line between sections

– Always use page numbers
– Use an easy to read font (serif tends to be easier than sans serif) at 11 or 12 point

size
– 1.2 – 1.5 spacing
– Margins no less than 2.54cm (so your tutor can add comments)

12

The design of the paper should relate to the content and ambition of the work. You will
need to think carefully about this, but remember that the quality of text is the most
important aspect of the work, so plan your time accordingly.

Before submitting, always use spell check, print a copy out and check it by reading it out
loud, or ask someone to read it for you. It is a good idea for a fresh view who can ask you
questions about the content and also spot formatting errors. By printing it out you will
invariably see mistakes you were not able to see on the computer screen.

10. Types of Sources

Whether conducting research in the social sciences, humanities (especially history) or art
and design, the ability to distinguish between primary and secondary source material is
essential. At the most basic level, the difference between the two terms is the degree to
which the author of the work is removed from the actual event being described or depicted.
This informs the reader as to whether the author is reporting first hand impressions of an
event, or immediately after, or conveying it second hand, through the experiences and
opinions of others.

Primary Sources
These are contemporary accounts of an event, written or made by someone who
experienced, witnessed or was involved in the event in question. These original documents
(i.e. they are not about another document or account) are often diaries, letters, memoirs,
journals, speeches, manuscripts, interviews and other such unpublished works. They can
also be published pieces such as newspaper or magazine articles (as long as they are
written soon after the fact and not as historical accounts), photographs, audio or video
recordings, research reports or original literary works. Primary architectural source material
can include correspondence between client and architect, sketches, orthographical
drawings, models and so forth, created at the time of the event (i.e. the design process of
creating a building or space).

13

Secondary Sources
The function of these is to interpret primary sources and so can be described as at least
one step removed from the event, piece of work or phenomenon under review. Secondary
source materials, then, interpret, assign value to, conjecture upon, and draw conclusions
about the events reported in primary sources. These are usually in the form of published
works such as journal articles or books, but can include radio or television documentaries
or conference proceedings.

Somewhat confusingly, a secondary source can become a primary source. For example, if
you wanted to research about how a particular author writes about architecture, their work
which would normally be considered secondary now becomes the primary source of your
research. In this case, the primary/secondary source relationship is informed by the position
you are taking as a researcher with the object of study.

Questions to help you evaluate whether you are looking at a primary or secondary source,
are as follows:

– How does the author know these details (names, dates, times)? Was the author
close by at the time of event or writing several centuries afterwards?

– Where does this information come from – personal experience, eyewitness
accounts, or reports written by others?

– Are the author’s conclusions based on a single piece of evidence, or have many
sources been taken into account (e.g. diary entries, third-party eyewitness
accounts, impressions of contemporaries, newspapers etc)

Ultimately, all source materials that you use must be assessed critically and decide the
quality and reliability of a source. This must be taken into account when one is attempting
to arrive at the ‘truth’ how an event happened and how it can be assessed.

For further information on the nature of evidence, see:
http://www.wwnorton.com/college/history/ralph/research/prisec.htm#primary [accessed
11.04.16]

14

http://www.wwnorton.com/college/history/ralph/research/prisec.htm#primary

11. Harvard Referencing

Referencing sources in a consistent, academic way shows that you can research
conscientiously and systematically. You are acknowledging that the work is not your own
but that you have found relevant sources to inform your ideas. Referencing sources is not
seen as an indication you were unable to think of an idea or argument yourself, rather the
marker will see it that you have responsibly and honestly dealt with your sources. It is also
there to help you if you ever come back to your work for later research or study. Careful
referencing can therefore save you time and help you access other ideas more quickly.
Most importantly proper referencing can guard you against charges of plagiarism. There are
different referencing systems but University of the Arts London uses the Harvard system,
which also has variations. See Cite Them Right on Moodle for more information:

http://www.citethemrightonline.com.arts.idm.oclc.org [accessed 30.03.16]

There are many variations for different sources so you will have to check your work, but this
is an example of a bibliographic reference for a published book:

Hart, C. (1998). Doing a Literature Review; Releasing the Social Science Imagination.
London: Sage Publications.

And an example of this as an in-text citation would be: (Hart, 1998)

12. Quotations

There are different ways of using sources: you may use information and ideas of other
authors in a general manner, or use more specific ideas and explain them in your own
words, or you may quote literally from the text. Always set quotes in quotation marks.
When quoting more than forty words or four lines, create a block quotation (begin it on a
new line, indented from the left margin of the main text, 1 point smaller font and no
quotation marks.

15

http://www.citethemrightonline.com.arts.idm.oclc.org

Bibliography and Further Reading

Books
Borden, I. and Ruedi, K. (2000). Dissertation: An Architectural Students Handbook. Oxford:
Architectural Press.
Brooker, G. and Stone, S. (eds.). (2013). From Organisation to Decoration. Abingdon:
Routledge.
Brooker, G. and Weinthal, L. (eds.). (2013). The Interior Design Handbook. Bloomsbury
Academic.
Davies, C. (2011). Thinking About Architecture: An Introduction to Architectural Theory.
London: Laurence King.
Smith, K. (ed.). (2012). Introducing Architectural Theory: Debating a Discipline. Abingdon:
Routledge.
Spector, T. and Damron, R. (2012). How Architects Write. Abingdon: Routledge.
Taylor, M. and Preston, J. (eds.). (2006). Intimus: Interior Design Theory Reader. Chichester:
John Wiley and Sons.
Weinthal, L. (ed.). (2011), Toward a New Interior: An Anthology of Interior Design Theory.
Princeton Architectural Press.

Academic Writing Websites
There are many website guides on best academic writing practice. Try to keep to university
or recognised institutional websites. Here are three good examples:

• The Royal Literary Fund Essay Guide has an excellent range of articles and exercises to
help your writing develop: https://www.rlf.org.uk/resources/introduction-dissertation/

• Short guide from University of Leicester on the difference between critical and
descriptive writing: https://www2.le.ac.uk/offices/ld/resources/writing/writing-resources/
critical-writing

• UAL’s Academic Support Online has a range of materials and resources to support you
with your writing practice: https://academicsupportonline.arts.ac.uk/streams/university-
wide/resources

16

https://www2.le.ac.uk/offices/ld/resources/writing/writing-resources/critical-writing

https://www2.le.ac.uk/offices/ld/resources/writing/writing-resources/critical-writing

https://academicsupportonline.arts.ac.uk/streams/university-wide/resources

https://academicsupportonline.arts.ac.uk/streams/university-wide/resources

Assortment of Online Platforms and Resources
• BBC iplayer – lots of amazing documentaries (some listed below) on art, culture and

architecture.
• Dezeen – Architecture and design documentaries to binge while in self-isolation.
• Places Journal – Public scholarship on architecture, landscape, and urbanism
• Open Library – Amazing resource for borrowing books
• If all else fails, you can purchase books online. Addall and Alibris scour all online

bookshop catalogues globally, including and especially independent stores.
• British Library Sound/ Oral History Archive
• www.ubu.com – Great source of many, many avant-garde papers, films, sound

recordings. www.soundsurvey.org.uk – All kinds of sounds of London and beyond,
contemporary and historic.

• Pathé News – British Pathé TV is a subscription video-on-demand service designed
for specialist audiences such as history buffs, royal watchers, cinema aficionados
and train enthusiasts. It complements the British Pathé newsreel archive, which is
free-to-view on the main website.

• The Internet Archive is a vast archive of films, images, and much more, all free.
• Open Culture is an amazing collection of everything you can imagine available

digitally, including lots of links to free films, including Hitchcock, Chaplin, and
Tarkovsky.

• Open Democracy provides thoughtful, scholarly, in-depth news-focused articles.
• An immense wealth of maps, images, documents and so much more at the British

Library’s digital collections.
• The National Library of Scotland’s map archive is a wonder. Of course they also

have larger digital collections, just click home.
• The International Documentary Film Association (IDFA) has made 300 films

available to watch for free.
• If you are in London and want to get some exercise, there is a good collection of

London walks at London Footprints. You will have unimpeded views of buildings
and landscapes.

17

https://www.bbc.co.uk/iplayer

https://www.dezeen.com

https://openlibrary.org

https://sounds.bl.uk/Oral-history

http://www.ubu.com

https://www.britishpathe.com

https://archive.org

http://www.openculture.com

https://www.opendemocracy.net/en/

https://www.bl.uk/catalogues-and-collections/digital-collections

https://www.bl.uk/catalogues-and-collections/digital-collections

https://maps.nls.uk

https://www.documentary.org

https://www.london-footprints.co.uk

Some Podcasts

• 99% Invisible – ’99% Invisible is about all the thought that goes into the things we
don’t think about — the unnoticed architecture and design that shape our …

The Psychologic-based Interior Design of Housing

Qingyu Tian

18/11/2020

PROBLEM： How to harness psychology to design a more comfortable housing

KEYWORDS

Psychology, architecture, interior design, wellbeing, mental illness, housing

ABSTRACT

More than 70% of a person’s lifespan is spent indoors”(Hamdy Mahmoud, 2017).The focal point of the architectural side is the background and capability of the designer to create a comprehensive vision with respect to the psychological intervention of all parameters involved in his design and to identify the considerations must be taken into account. “One of the essential roles of architecture is to provide built environments that sustain the occupants’ psychological well-being. This role is made even more important because, in modern society. This paper will discuss what kind of psychological reactions the interior space can bring to the residents, and how to utilize the positive reactions to design a more comfortable house.

TABLE OF CONTENTS

page
LIST OF TABLES
LIST OF FIGURES
CHAPTER
1. INTERODUCTION
1.1 What is Interior Design
1.2 The Meaning of Home
1.3 The Relationship Between Psychology and Interior Design
2. ARCHITECTURAL PSYCHOLOGY
2.1 History of Architectural Psychology
2.2 Architectural Examples of Applying Psychology
2.3 The relationship between Architecture and Interior Design
2.4 The societal Influence of architectural Psychology
2.5 How to apply psychology to architectural design conception.
3. HUMANIZATION AND PSYCHOLOGY
3.1 What is Psychology
3.2 The Relationship Between Design and Psychology
3.3 How Psychology Reflected in Design
4. INTERIOR SPACE AND PSYCHOLOGY
4.1 The Effect of Indoor Light on People’s Mood
4.2 How does indoor air affect people
4.3 The effect of home colors on people’s mood
4.4 How to harness psychology to improve residents. Wellbeing
5. EXPERIMENT AND TEST
5.1 design of experiment
5.2 method and process
5.3 result
6. CONCLUSION
BIBLIOGRAPHY

INTRODUCTION

1.

What is Interior Design

Interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. An interior designer is someone who plans, researches, coordinates, and manages such enhancement projects. The foundation of an interior, space is a fundamental concept to understand, ensuring you’re best equipped to take advantage of what is available to you. The available ‘space’ usually can’t be easily changed (though sometimes a designer may have the luxury of doing so), so you need to work with what you have within the physical boundaries of the room. Natural or man-made light is a critical aspect of any space. Without it, all of the other elements would not be able to shine to their full potential. Light can be broken into the categories of task lighting (defined purpose), accent lighting (emphasizing objects) and mood lighting (adding ambience). Color is a science all on its own and is another extremely important element that interior designers master. It has the ability to create mood, define unity and alter the perception of how large or small a space is. Paired with color, pattern offers a similar use to texture in that it can add appeal to a room. A pattern is created by the use a repetitive design and can be found in wallpaper, soft furnishings, rugs and fabrics. Patterns come in various types, such as stripes, geometric, pictorial, organic, motif and animal prints.

2. The meanings of home

Domesticity, like dwelling, is a word which suggests a pattern of activity and the role people play in those activities as much as a particular type of environment. While physical access and domestic inhabitation are important ways in which we connect to our homes, our psychological connections and ideas of home are equally profound. Clare Cooper, an architect and psychologist who draws on the work of psychoanalyst Carl Jung, suggests that home may be understood as a shared archetypal experience in which people express themselves through a language of symbols. For Jung, home was a combination of a strong tower and a sheltering cavern. Cooper uses Jung’s symbolic interpretation to understand what people desire in their homes, and how those things affect people at a psychic level. Addressing the idea of home as an expression of the “separate, unique, private, and protected” family unit, she cites statistics that 85 percent of Americans hold the single-family residence as ideal. Cooper argues that these psychic desires play out at a social level in the cultural patterns of suburban housing and how we speak about our homes, and questions whether these attitudes are sustainable in the forms they have taken. (Section 5: Meanings of Home – The People, Place, and Space Reader, 2014)

Every place where we spend sometimes during life plays a role in influencing our existence at different levels, but one of the most relevant is, of course, our home. This term, as Hayward clarifies, encompasses the concepts of family, social network, personal identity, privacy, continuity, customization and behavior. Smith defines “home” as a multi-dimensional concept that people feel at the same time as physical environment, social domain and as a place where they can satisfy personal needs. Indeed, the concept of home can be described by five main attributes that differentiate it from the more neutral “house”. First, it’s a primary territory for the inhabitant, who holds exclusive control upon it. Then it provides a sense of continuity, which corresponds to the sensation of safety, stability and belonging; this is the feature that children mention the most about home. Privacy is another peculiar quality of homes: according to Altman a home promotes the mastery of social interactions within a precise space, defining the Self; for Seamon it guarantees rest and recharging of both physical and psychological energies. Furthermore, our home gives us a huge chance of self-expression (see and): as Csikszentmihalyi and Rothberg-Halton notice, a home is closely related to its owner’s identity, because individuals try to express themselves through the personalization of the environment and its objects, meanwhile displaying a self-representation and a self-presentation. Finally, home represents a crucial point of the social life and the relationships of its residents. All these features contribute to make home a comfortable and friendly place, promoting a feeling of comfort and satisfaction. Given these assumptions, an interesting question would be: why do we like one home more than another? Since the Seventies, specific branch of psychology, the environmental psychology, has been investigating “the relationship between human behavior and existence, and the related physical surrounding, or even better physical setting”. Interlacing with disciplines like architecture and design, many researches explored the role of particular characteristics of the environment intended in a broad meaning, for example cities and neighborhoods or landscapes and natural environments, in relation with psycho-social constructs like stress, sense of safety etc.; housing places had been considered too, but mainly as residential zones and more general places for dwelling, not exactly as “home”. Recently, a stronger partnership between psychology and design led to a deeper analysis of how the individual experiences, on both cognitive and emotional levels, his/her presence and his/her interaction with specific environments (e.g., shops, hospital room or waiting room, as in), and the concept of environment even exceeds its boundaries including virtual places and online backgrounds. But an organized and detailed study of the cognitive and emotional effects of the representation of what is a “home”, and not simply a “house”, in a perspective that embraces both psychological and design-related approaches, has not been conducted yet, to our knowledge(Colombo, Laddaga and Antonietti, 2015)

3.1

The Relationship Between Psychology and Interior Design

The experiment of “The influence of the environment’s representation over emotion and cognition “showed that: Living environments should be composed by different elements, with a preference given to natural elements (grouped in order to create an attentional focus) and everyday life objects. Yet, if it is too complex, or too far from what people may expect from the ambient (e.g., a living room that does not look like a living room but more like a playroom), then both the cognitive and emotional responses will be negative. Interior designers should take this notion into account. From a marketing standpoint, the same considerations are true(Colombo, Laddaga and Antonietti, 2015).

4. ARCHITECTURAL PSYCHOLOGY
4.1
History of Architectural Psychology
Architecture is a form of human expression, portraying the psyche of the collective or individual designer. The father of analytical psychology Carl Jung describes a building architecture as a structural diagram of the human psyche that conceives and creates. It is an established fact that art and architecture offers a vehicle for conveying our deepest unconscious thoughts of human beings((PDF) Architectural Psychology, 2016).

A few decades ago, architects and construction companies were keen to engage psychologists for consultation in their designing process. However, designers lost interest in applying psychology in engineering across the world and today it is difficult to find psychologist working together with architects. Designers very rarely engage themselves into the end user psyche. Of course, designers consider various human aspects in the designing process; however, building designs seldom use the knowledge of psychology directly. If people don’t like a particular environment, they will not reside in it voluntarily and happily – be it a public space, a shopping center or our home. But deciding what environment is pleasing and soothing or preferable is a difficult task. It is where the role of psychology and psychologists are needed.

Psychology is directly related to culture, art, and architecture. Appropriate use of various artistic components such as color, space and size have the capacity of enlightening the atmosphere. For example, a room with white colored walls make us feel light and make the space brighter and more pleasurable to be inside. Architectural Psychology can be described as a branch of environmental or ecological psychology. It is the interaction between human and their environment. This includes spatial perception, orientation behavior, living requirement and satisfaction. The architecture provides a sense of space and support to all type of human activities if used appropriately and it provides firmness, service, and delight. Architectural psychology is an important multidisciplinary field, bridging traditional psychology, engineering, architecture, domestic planning, and much more to assist people design buildings and living spaces for better occupation. By understanding more about how people experience the built form, one can further take a more occupant-centered approach towards designing and engineering, which will lead to more truly innovative architectural designs.

Whether made up of concrete skyscrapers or ancient redwoods, the environment influences people’s lives in many ways; reciprocally, this environment is in many ways a product of human activity(APA PsycNet, 2011). A review of findings from the field of environmental psychology shows that humans are aesthetically attracted to natural contents and to particular landscape configurations. These features are also found to have positive effects on human functioning and can reduce stress. However, opportunities for contact with these elements are reduced in modern urban life. It is argued how this evolution can have subtle but nontrivial adverse effects on psychological and physiological well-being. These can be countered by integrating key features of natural contents and structural landscape features in the built environment(Joye, 2007).

4.2

Architectural Examples of Applying Psychology
4.2.1 Just Looking at Buildings Can Give People Headaches
The evidence suggests that the brain works harder to process images of buildings than it does to process natural scenes. In some cases, this extra workload can cause physical discomfort, pain, and even migraines. It’s the impact of these monotonous stripe patterns that are the source of headaches and other problems discussed. And unfortunately, such patterns are becoming increasingly common in architectural design. Wilkins singles out “stripes on doormats, carpets, and escalator stair treads” alongside other interior finishes, but as building designs become larger and more driven by structural efficiency and cost, repetitive stripe patterns are becoming more prevalent in the very structure of buildings themselves. An architect’s instinct can also sometimes exacerbate this problem, as they seek to express this structure artistically(Just Looking at Buildings Can Give People Headaches—Here’s How to Minimize the Problem | ArchDaily, 2018).
4.2.2 Hospital and Healthcare Architecture

Figure 1New designs of hospitals emerge with the concept of healing architecture.

Dr Tanja Vollmer, of Kopvol, examines how sick people react to buildings and spaces. She found out that in the majority of German hospitals, the built environment does not support the healing process. Waiting in the sterile corridors without any privacy enhances the feeling of stress and lowers one’s attention — making you more likely to miss important information from a doctor. 
Spaces of retreat, security and security are missing. Noise and neon lights disrupt the day-night rhythm and hinder the recovery of patients.

Therefore, Vollmer advocates a so-called “healing architecture” in which the needs of the patient come to the fore and the usefulness of the clinic construction becomes secondary. The decisive factor for the healing architecture is a new self-conception of the architects. Scientific data such as that of Tanja Vollmer is being used accordingly for the architecture of hospitals. In the intensive care unit of the Berlin Charité those findings were put into practice. Architects recreated two rooms to suit the needs of the patients. The rooms are designed with warm colors, wooden materials, lots of light and medical devices are hidden from the patients’ field of view. At nighttime, the noise of the medical machines is redirected into surveillance rooms, allowing patients to sleep without disturbing noises. Figure 3. Wooden floors and broad hallways avoid the feeling for patients of being locked in.
Figure 2.Entrance hall of the psychiatric clinic.

From another study Vollmer derived four recommendations for cancer patients accelerating the healing processes. She suggests separating speaking and examination rooms, so that patients can create intimacy. In addition, meeting corners should be designed so that a three-way conversation between the doctor, patient and relatives can take place on the same level — without the “protective desk wall” and light conditions should neither blind patient nor doctor. Furthermore, Vollmer recommends spaces that look into nature, as this is said to have a healing effect on the patient. Nature and the outer world help the patients to quickly regain control over a situation and reduce stress(Soler et al., 2018). For a new building of the psychiatric clinic of the University Hospital Tübingen, the theory of healing architecture was also applied. For the new building, wooden floors were laid throughout the space. All spaces were designed to be wide and spacious with a lot of daylight. The spatial allocation should counteract the “locked-in feeling” patients can feel. The concept of the healing architecture worked out. Comparing the new building to the old building showed that in the period after the move to the new building, the coercive measures declined to eighty percent (e.g., fixation of the body, the compulsory medication in crisis situations).

4.2.3 Rush University Medical Center 

The architecture firm Perkins Will has used the healing architecture approach for the design of the Rush University Medical Center in Chicago. The facade has been designed so that cylindrical light wells allow a lot of sunlight into the building. A rooftop garden and green indoor planting zones can be used as recreational oases. In the design process, the architects incorporated studies on how clinicians and patients use the building to best adapt the building to user needs.Figure 5 Cylindrical light wells with trees in the middle bring a lot of sunlight and nature into the entrance hall.

4.2.4 Workplace Architecture
: Zaha Hadid’s design of Galaxy SOHO Beijing
Figure 6 Daylight study of Zaha Hadid’s design of Galaxy SOHO Beijing.

There has also been a lot of research in the field of workplace analysis in recent years. Neil Usher worked as a workplace consultant for many years and identified 12 factors that are key to increasing effectiveness, productivity and well-being. He suggests that every workplace should have access to as much daylight as possible but should provide the choice to shut it away when needed. Bright office lighting, Sarah Chellappa et al. state, improves the performance of adults in the work environment. Usher also states that offices should provide enough space, more precisely, the amount of space divided by the number of occupiers should not fall under 6 square meters/per person. It makes sense that a good workplace should fulfill the physiological and social need, thus providing a welcoming and well-positioned refreshing space.
4.2.5 Housing Architecture
Figure 7 Pruitt-Igor was torn down only 18 years after its construction.

A large-scale study by Danny Friedman showed that “poor quality, overcrowded, and temporary accommodation have an impact on health, well-being, and the likelihood of criminality and educational attainment.” Scientist like Joan Meyers-Levy found out that there is a correlation between ceiling height and thinking style. In low-ceiling rooms people tend to be better in tasks where they have to focus on the details of an object or problem. In contrast to that, airy spaces support a feeling of freedom and thus facilitates more abstract thinking styles. When looking to support creative solutions we should probably go to more expansive spaces.
This research fits well to the findings of Dr Dak Kopec, director of design of human health at Boston Architectural College, who found out that “micro-apartments” are linked to psychological problems, domestic violence and drug abuse. They are especially critical for people in their 30s or 40s, as this group is often facing various stress factors (e.g., demanding job situations). Living arrangements with very little space apparently fosters alcohol use, which was shown by a research conducted among college students. It was also shown that children growing up and living in small apartments have trouble concentrating.
Scientists at the Lighting Research Center, for example, have found out that architecture that allows access to as much daylight as possible can increase occupant productivity and comfort as well as provide the mental and visual stimulation necessary to regulate human’s natural biorhythm.
A good example for failing architecture is the Pruitt-Igoe public housing building of St. Louis which was built in 1954. Pruitt-Igoe’s was praised by architectural experts for wasting no space by semi-private areas. Thus, it soon attracted substantial crime and vandalism. The structure hindered residents to interact. The whole complex was demolished 18 years later. A study by Leon Festinger proved that housing designed to encourage casual encounters with neighbors makes people interact better with one another(Soler et al., 2018).

4.3

The relationship between Architecture and Interior Design

A critical need in both architecture and interior design is to realize that their roles, methodologies, and service expectations are continually evolving within a shifting social, economic, and political culture. As such, a professional stature develops within a dynamic state of examination and critical re-examination related to a professional culture, economic system, and contemporary social value system. This specialized status of professionalism is buttressed by an intellectual rigor and continual evaluation of its theory and process. Equally important is the fundamental requirement of ongoing examination to facilitate interrelated participants in a setting conducive to sharing and clarifying current issues that impact all design related professions and professionals dedicated to the environments that exist within and around the building shell and the particular architectural condition. Traditionally, the disciplines of architecture and interior design view themselves as distinctive and singular; being both boundary-tied by professional legislation as well as seeing themselves as offering specialized service roles. This is reinforced by a protective “turf mentality” advanced and guarded by their respective professional and licensure organizations. While the line between services appears simplistically clear to the public— architecture is about mostly the outside of buildings, interior design directs itself to the inside—the complexity of an in-between ‘interior architecture’ obscures this view. What should be clear (and is to a small number of professionals, academics, and journalists) is there is a new set of circumstances in contemporary society that demands a shift in thinking: new problems require new approaches for creative solutions(Hildebrandt, 2005).

4.4

The social Influence of architecture

5.1.1 Healthcare

Several examples have emerged from the review, which demonstrate the contribution of architectural design on patient and staff satisfaction and stress levels, notably in UK hospitals, Poole hospital and Mill View mental health unit in Brighton. At Poole hospital 72 per cent of the patients in the new unit gave the highest rating they could for overall appearance, compared with only 37 per cent of the patients in the old units. This has been supported by findings at the new Mill View mental health unit where patients were judged by staff as significantly less aggressive in terms of verbal abuse and physical violence. In addition, the amount of time patients needed to spend in intensive supervisory care was reduced by 70 per cent from 13.1 days to 3.9 days.

The ability of architectural design to contribute to the health and well-being of patients and staff has been well documented with the research undertaken by Ulrich (1984) in the US being quoted often. He linked the benefits of having windows with a view with shorter postoperative stays for surgical patients and greater levels of work satisfaction by nurses. He went further to demonstrate substantial restoration and positive changes in less than five minutes in blood pressure, heart activity, muscle tension and brain electrical activity when viewing nature. This has been a view supported by research conducted by CABE (2003) in the UK where similar results have proven substantial on the impact of landscaped buildings on the health and well-being of patients.

5.1.2 Residential properties

In the literature review and study commissioned by CABE and DETR, The Value of Urban Design, all the case studies showed that the occupants felt that the developments contributed to some extent towards a new identity for their areas. For example, Exchange Quay in Salford, UK, provided a landmark through height and color, and Barbirolli Square in Manchester, UK, offered new cultural facilities. However, such impacts were not always viewed positively. Standard Court in Nottingham, UK, was seen as not valuing the historical associations of its site, Waterfront in Dudley, UK, was blamed for ruining Brierley Hill town center, and the regeneration impact of Exchange Quay was characterized by one occupant as ‘soulless out of town estate’. Other research studies identified that the regeneration of a place pushed prices up and caused the displacement of local resident communities. The literature review showed that people’s perceptions of a good place to live have centered on the issues of safety and security, low crime rates, and access to good facilities. Where houses overlooked other homes and streets, occupants felt safer and crime statistics have shown that they are safer, with much lower rates of burglary. Also, slower car speeds, more walkers and cyclists meant it was safer for children to walk to school or play outside.

5.1.3 Public space

The decline in a high street economy and the emergence of retail parks and hypermarkets has meant that the number of people walking to amenities has dramatically fallen. For example, those able to reach a food shop within six minutes’ walk of home fell from 68 per cent to 57 per cent. The distance walked per year per individual has fallen from 410 km/year in 1975/76 to 298 km/year in 1998/200057. Declining local economies can be seen as an indirect cost on people’s health. A Detroit study (Schulz, 2002) showed that poorer neighborhoods had fewer supermarkets, more liquor stores, and less access to recreational and commercial facilities. These physical conditions work against healthy behavior, such as regular exercise or eating fresh food. The Urban Green Space Taskforce reported in Green Spaces, Better Places that greater investment in parks has been worthwhile, as it adds value to regeneration and renewal and has cost savings in other areas, such as health, education and environmental management.(Hargreaves Mcintyre, 2006)

5. HUMANIZATION AND PSYCHOLOGY

3.1 What is Psychology

Psychology is the scientific study of the mind and behavior, according to the American Psychology Association. Psychology is a multifaceted discipline and includes many sub-fields of study such areas as human development, sports, health, clinical, social behavior and cognitive.

Psychologies founded by Sigmund Freud (1856-1939) was the dominant paradigm in psychology during the early twentieth century. Friend believed that people could be cured by making conscious their unconscious thoughts and motivations, thus gaining insight(What is Psychology? | Simply Psychology, 2019)
.

3.2 The Relationship Between Design and Psychology

 Design psychology is a new cross subject. Both seemed unrelated, actually, it is a close relationship between them. Design psychology is an auxiliary of helping Design concept creation. Design psychology is the basis and skills of the design concept(Sun, Wang and Sun, 2013). Today the tendency of user-centered design makes designers reconsider approach to their work and go deeper into the understanding of the target audience. Donald A. Norman in his book “The Design of Everyday Things” defines design as an act of communication, which means having the deep understanding of the person with whom the designer is communicating. In order to get better insight into people’s needs, designers are recommended to bear in mind the psychological principles of human behavior, aspirations and motivations.
The outcome of the work can be even more positive if a designer applies psychology in the creative process since the science gives the close understanding of the target audience. Psychology knowledge helps to create the design which will make users perform the actions they are expected to such as making a purchase or contacting the team(Psychology in Design. Principles Helping to Understand Users. | by Tubik Studio | UX Planet, 2017).

4. INTERIOR SPACE AND PSYCHOLOGY

4.1 The Effect of Indoor Light on People’s Mood

All in all, the effects of light on cognitive function have been well documented. Spaces with brighter illumination (e.g., large windows) improve cognitive performance in school children, healthy adults, and patients in early stages of dementia. Environmental lighting conditions influence a vast array of physiological and behavioral processes in humans, i.e., circadian rhythms, arousal, as well as mood and cognition. Furthermore, the design of buildings that allow lots of sunlight supports cognitive performance, human health and activities and reduces energy demand. Current findings prove that architecture that is clean, easy to orientate in, offers nice ornamentation, provides an open view, and has good illumination supports the well-being of its occupants.

The style of lighting fixtures strongly contributes to amenity (A10) brighter wall colors were perceived positively and the vacant wall areas without lighting fixtures were perceived as agreeable conditions for exhibiting artwork and paintings. Floor materials were perceived as meaningful, and the affordance level was not clearly distinguishable based on the higher and lower brightness levels used for floor materials. Ceiling shape, color, and direct lighting may be more affordable for improving perceptions of amenity. Furthermore, the layout of lighting fixtures and direct lighting style were perceived as agreeable.

4.2 How does indoor air affect people

4.3 The effect of home colors on people’s mood

Color is an inseparable part of our everyday lives and its presence is evident in everything that we perceive. It is widely recognized that colors have also a strong impact on our emotions and feelings (Hemphill, 1996; Lang, 1993; Mahnke, 1996). For instance, the color red has been associated with excitement, orange has been perceived as distressing and upsetting, purple as dignified and stately, yellow as cheerful, and blue has been associated with comfort and security (Ballast, 2002; Wexner, 1982). Moreover, some colors may be associated with several different emotions and some emotions are associated with more than one color (Linton, 1999, Saito, 1996). Red, symbolically known as a dominant and dynamic color, has an exciting and stimulating hue effect. It has both positive and negative impressions such as active, strong, passionate, warm, but on the other hand aggressive, bloody, raging and intense. Green has been found to have a retiring and relaxing effect. It too has both positive and negative impressions such as refreshment, quietness, naturalness, and conversely tiredness and guilt (Davey, 1998, Mahnke, 1996, Saito, 1996).

The relationship between color and emotions closely tied to color preferences. In particular, color preferences are associated with whether a color elicits positive or negative feelings. While particular colors 396 Relationship between Color and Emotion…/ 397 have been found to be highly preferred regardless of age, racial group, or culture (Adams & Osgood, 1973, Eysenck, 1941), there is some evidence that color preference may be culturally based. For example, Hungarian (1968) found that the colors red and blue were the most preferred colors among American subjects but were less preferred in other cultures. In a comparison of Japanese and Korean subjects, Saito (1996) found unique color preference tendencies between the two countries, and also with respect to age, gender, and geographical region within the individual country(Kaya, Epps and Hall, 2004).

4.4 How to harness psychology to improve resident’s wellbeing

Spatial design adequacy (SDA) means the spatial design qualities that can satisfactorily fulfill occupants’ goal in an actual space. Amenity, or comfort, is subjective satisfaction; occupants feel agreeable in spatial conditions that align with their lifestyles and social, cultural, and personal background, and their own experiences. Efficiency, or convenience, refers to the subjective satisfaction of occupants when they are not stressed because of spatial conditions that agree with certain behaviors and activities.
The SDA of amenity and efficiency in early design phases were discussed in previous studies based on the comparison between current spatial designs and previous post-occupancy evaluation (POE) results. However, the comparative evaluation in the previous studies showed several unavoidable shortcomings to examine the design quality and its suitability for the needs of the current occupants(Lee, Alzoubi and Kim, 2017). The TV location was an effective factor for the user of a space in terms of affordance of amenity (A11). However, it does not seem that the sofa style functions as an affordable factor for spatial perceptions of amenity (A13) In summary, the location of the TV, sofa arrangement, and location of vacant areas in a space play effective role toward positive perceptions of amenity. However, the sofa style was not a significant factor for amenity.

BIBLIOGRAPHY

(PDF) Architectural Psychology (2016). Available at: https://www.researchgate.net/publication/309432628_Architectural_Psychology (Accessed: 20 November 2020).
Alexander, L. (1956) ‘Therapeutic process in electroshock and the newer drug therapies: Psychopathological considerations’, Journal of the American Medical Association. American Medical Association, 162(10), pp. 966–969. doi: 10.1001/jama.1956.02970270026009.

APA PsycNet (2011). Available at: https://psycnet.apa.org/buy/2010-21055-001 (Accessed: 21 June 2020).

Clinical depression – Treatment – NHS (2019). Available at: https://www.nhs.uk/conditions/clinical-depression/treatment/ (Accessed: 18 November 2020).
Colombo, B., Laddaga, S. and Antonietti, A. (2015) ‘ScienceDirect Psychology and design. The influence of the environment’s representation over emotion and cognition. An ET study on Ikea design’, Procedia Manufacturing, 3, pp. 2259–2266. doi: 10.1016/j.promfg.2015.07.370.
Dunn, B. D. and Roberts, H. (2016) ‘Improving the capacity to treat depression using talking therapies: Setting a positive clinical psychology agenda.’, in The Wiley handbook of positive clinical psychology. Wiley Blackwell, pp. 183–204.
Hamdy Mahmoud, H.-T. (2017) ‘The Academic Research Community Publication The International Conference : Cities’ Identity Through Architecture and Arts (CITAA) Interior Architectural Elements that Affect Human Psychology and Behavior’. doi: 10.21625/archive.v1i1.112.
Hargreaves Mcintyre, M. (2006) Education A Literature Review of the Social, Economic and Environmental Impact of Architecture and Design A LITERATURE REVIEW OF THE SOCIAL, ECONOMIC AND ENVIRONMENTAL IMPACT OF ARCHITECTURE AND DESIGN. Available at: www.scotland.gov.uk/socialresearch (Accessed: 20 November 2020).
Hildebrandt, H. (2005) The Gaps Between Interior Design and Architecture. Available at: http://www.di.net/article.php?article_id=308 (Accessed: 20 November 2020).
James, S. L. et al. (2018) ‘Global, regional, and national incidence, prevalence, and years lived with disability for 354 diseases and injuries for 195 countries and territories, 1990–2017: a systematic analysis for the Global Burden of Disease Study 2017’, The Lancet. Lancet Publishing Group, 392(10159), pp. 1789–1858. doi: 10.1016/S0140-6736(18)32279-7.
Joye, Y. (2007) ‘Architectural Lessons from Environmental Psychology: The Case of Biophilic Architecture’, Review of General Psychology. SAGE PublicationsSage CA: Los Angeles, CA, 11(4), pp. 305–328. doi: 10.1037/1089-2680.11.4.305.

Just Looking at Buildings Can Give People Headaches—Here’s How to Minimize the Problem | ArchDaily (2018). Available at: https://www.archdaily.com/897933/just-looking-at-buildings-can-give-people-headaches-heres-how-to-minimize-the-problem (Accessed: 20 November 2020).
Kaya, N., Epps, H. H. and Hall, D. (2004) RELATIONSHIP BETWEEN COLOR AND EMOTION: A STUDY OF COLLEGE STUDENTS.
Lee, S., Alzoubi, H. and Kim, S. (2017) ‘The Effect of Interior Design Elements and Lighting Layouts on Prospective Occupants’ Perceptions of Amenity and Efficiency in Living Rooms’, Sustainability. MDPI AG, 9(7), p. 1119. doi: 10.3390/su9071119.

Psychology in Design. Principles Helping to Understand Users. | by Tubik Studio | UX Planet (2017). Available at: https://uxplanet.org/psychology-in-design-principles-helping-to-understand-users-10bcf122f4b0 (Accessed: 20 November 2020).

Section 5: Meanings of Home – The People, Place, and Space Reader (2014). Available at: https://peopleplacespace.org/toc/section-5/ (Accessed: 19 November 2020).
Soler, J. E. et al. (2018) ‘Light modulates hippocampal function and spatial learning in a diurnal rodent species: A study using male nile grass rat (Arvicanthis niloticus)’, Hippocampus. John Wiley and Sons Inc., 28(3), pp. 189–200. doi: 10.1002/hipo.22822.
Sun, J., Wang, Z. Y. and Sun, X. Z. (2013) ‘The relationship between design concept and design psychology’, in Applied Mechanics and Materials, pp. 712–715. doi: 10.4028/www.scientific.net/AMM.415.712.
Wang, P. S. et al. (2007) ‘Use of mental health services for anxiety, mood, and substance disorders in 17 countries in the WHO world mental health surveys’, Lancet. NIH Public Access, 370(9590), pp. 841–850. doi: 10.1016/S0140-6736(07)61414-7.

What Is Depression? (2020). Available at: https://www.psychiatry.org/patients-families/depression/what-is-depression (Accessed: 18 November 2020).

What is Psychology? | Simply Psychology (2019). Available at: https://www.simplypsychology.org/whatispsychology.html (Accessed: 20 November 2020).

OTHER REFERANCE：

The Definition of Depression

Depression (major depressive disorder) is a common and serious medical illness that negatively affects how you feel, the way you think and how you act. Fortunately, it is also treatable. Depression causes feelings of sadness and/or a loss of interest in activities you once enjoyed. It can lead to a variety of emotional and physical problems and can decrease your ability to function at work and at home. The death of a loved one, loss of a job or the ending of a relationship are difficult experiences for a person to endure. It is normal for feelings of sadness or grief to develop in response to such situations. Those experiencing loss often might describe themselves as being “depressed.”(What Is Depression?, 2020)

The Treatment of Depression

2.1. Talking treatments
the talking treatment with the strongest evidence of efficacy is cognitive behavior therapy(Dunn and Roberts, 2016).

2.1. Telepsychiatry
Telepsychiatry is a depression treatment that utilize equipment’s (such as tele video) to conduct conversation-type psychological intervention for the patient. It is an increasingly common method of providing psychiatric care,
2.3. Exercise
There’s evidence that exercise can help depression, and it’s one of the main treatments for mild depression(Clinical depression – Treatment – NHS, 2019). 
2.4. Electroshock
Depression, defined as a state of sadness with self-reproach and psychomotor inhibition, has been converted into anxiety by the use of shock. Anxiety, defined as a state of tension with fear and psychomotor excitation, has been converted back into depression by the use of nonconvulsive electrostimulation in a controlled, predictable, and repeatable manner. The varied mechanisms thus revealed enable one to assert that electroshock therapy relieves the secondary traumatic state of the ego (panic and/or depression) by reducing the excitability of the nervous system, especially the cortex cerebri. The ego and its defenses appear strengthened after electroshock therapy because its excitation threshold has been raised. Unconscious warning anxiety can then no longer overstimulate the cortical ego and thus frighten it into panic or paralyze it into depression as it did before.(Alexander, 1956)
.
2.5. DRUG THERAPIES
Among the tranquilizing drugs, chlorpromazine and reserpine have in common the ability to relieve states of agitation and overactivity, especially manic psychoses and organic-toxic states, in which secondary inhibitory or disorganizing effects upon the ego are slight or readily reversible. Certain other drugs can be classified into relaxant, ataraxic (DE confusing), and antiphonic groups distinct from the tranquilizing drugs (Alexander, 1956). 

The Psychology Influence of Interior Space on human

3.1. The effect of color on human mood and behavior

3.2. The effects of sound on human mood and behavior

Experiments on how people respond to Different Spaces

5.1． The Difference in Response to Stimuli Between Patients with depression and normal people
5.2. Depressive patients’ responses to different spatial colours
5.3. Depressive patients’ responses to different spatial sounds.

https://www.architecture.com/knowledge-and-resources/knowledge-landing-page/how-can-we-design-buildings-that-are-both-good-for-people-and-the-planet

It does not have to be an either or: designing buildings for healthy people or a thriving planet. As Elina Grigoriou points out, people’s wellbeing is integral to sustainability. The three pillars of sustainability, as advocated by the UN, are intended to represent the intersection of environmental, economic and social factors. As architects strive, though, to achieve challenging technical environmental targets in relation to the climate emergency, the quality of life of a building’s inhabitants can all too easily be overlooked.
Biomimicry
Biomimicry in architecture, as advocated by Pawlyn, is concerned with mimicking functional solutions found in nature – forms, systems and processes that have evolved over billions of years. This is distinct from biomorphic design that takes its inspiration from the shapes and forms of nature. Leonardo da Vinci, for instance, who closely studied birds to understand flight, can be regarded as a pioneer of biomimicry, whereas a medieval stone mason carving beautifully detailed leaves and birds into a column’s capital is biomorphic – drawing from nature as a decorative source for a building’s ornament.
 
Happy by Design: A Guide to Architecture and Mental Wellbeing
.
Channon points, for example, to the residents’ sense of control over their environment as a fundamental consideration for an architect’s work. He cites a recent investigation into stress, which found that commuters’ feelings of impotence regarding their journeys to and from work was dramatically increasing their heart rate and release of cortisol (a hormone related to stress).

RIBA HOMEOWNER SURVEY – HAPPINESS THROUGH DESIGN: EXECUTIVE SUMMARY

This summer the RIBA commissioned a survey of 1,500 homeowners, aged 24 to 64, from across the UK to investigate the impact of the coronavirus pandemic on how people want to live and work at home.

Home design and health and wellbeing

· 70% of survey respondents agreed that the design of their current home has affected their mental wellbeing during the pandemic
· spending more time in their current home has made people more stressed (11%) anxious (10%) and depressed (10%); they’ve found it harder to relax (9%) and it’s negatively impacted their productivity (6%)
The RIBA’s research sought to understand the mental and physical benefits of living in a better-designed home.
· the findings highlight that 23% believe a better-designed home will directly increase their happiness; they’d be able to relax more (31%) and sleep better (17%)

DEPRESSION
1. Depression is a common illness worldwide, with more than 264 million people affected(James et al., 2018). Depression is different from usual mood fluctuations and short-lived emotional responses to challenges in everyday life. Especially when long-lasting and with moderate or severe intensity, depression may become a serious health condition. It can cause the affected person to suffer greatly and function poorly at work, at school and in the family. At its worst, depression can lead to suicide. Close to 800 000 people die due to suicide every year. Suicide is the second leading cause of death in 15-29-year-olds. A World Health Assembly resolution passed in May 2013 has called for a comprehensive, coordinated response to mental disorders at the country level.
Although there are known, effective treatments for mental disorders, between 76% and 85% of people in low- and middle-income countries receive no treatment for their disorder(Wang et al., 2007). In addition, most medical and physical treatments are short-lived, with a relapse rate of up to 80 percent.