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What Do Light, Color, Gravity, and Fractals Have To Do With Our Well-Being?N i k o s A . S a l i n g a r o s

Left: Balanced form reinforces tectonic stability, Woolworth Building, New York City,191, !9" feet or "#1 meters$

%ight: Cantile&ered form generates an'iety, (iant )nder*ants Building, Bei+ing, "-,!.- feet or "# meters$

/rawing by Nikos 0alingaros

ere are the ma+or factors that contribute to the bio*hilic effect e'*eriencedby human beings$ 0trictly s*eaking, our cra&ing for natural light is *ro*erlytermed 2*hoto*hilia3, and that for natural en&ironments 2to*o*hilia3$Ne&ertheless, it is useful to include all of these *hysiological res*onsesunder the broader term biophilia 45ehaffy 6 0alingaros, "178 %yan et al.,"1#$



1 . LIGHT$ We seek natural light, *referably from different angles so thatshadows do not diminish our stereosco*ic &ision, necessary to formthreedimensional imagery and de*th *erce*tion$ Natural light is notmerely essential to *ercei&e and then to e&aluate our surroundings:

our skin re;uires sunlight in order to manufacture &itamin /, crucial toour metabolism$ We *ossess two organs that re;uire sunlight: oureyes and our skin$ <ur circadian rhythms 4our instinctual *erce*tionof time, our 2internal clocks3 are regulated by sunlight on the eye andskin, which controls our slee* cycle &ia melatonin secretion$Whene&er our circadian rhythms are disturbed 4as in +et lag, ourbodies are chronically fatigued and cannot function *ro*erly$ Were;uire sunlight to reset them$

"$ COLOR$ =igmentation of *artial intensity but o&erall harmonygenerates a healthy effect$ Color *erce*tion is one of our senses4including rece*tors in our eyes and *rocessing *athways in ourbrain that links directly with our emotions$ umans e&ol&ed in naturallight, which ranges in coloration from red to orange to blue,de*ending u*on the time of day$ >his describes the hue of incidentlight$ >he color of *lants, animals, rocks, etc$, formed our *referenceof colors in the en&ironment$ We e'*erience color both in the

transmitted ;uality of light and as reflected from *igmented surfaces$>he *sychological effects of color run dee*, and they are used 4andabused e'tensi&ely by the ad&ertising industry$ ?nterior designersem*loy colors and color harmonies to affect *eo*le@s *sychologicalmood$ (ray, colorless surroundings are associated by our mind@s eyewith illness, decom*osition, and death 40alingaros, ".$

3 . GRAVITY$ We feel and relate to balance through gra&ity$ =lants andanimals grow in gra&ity, thus their forms show an e';uisite &erticalbalance$ ?n natural structures, the hea&ier *arts are on the bottomand the lighter *arts are on to*$ <ur brain automatically com*utes thegra&itational balance of forms that surround us$ All ob+ects in naturee'ist in gra&itational e;uilibrium, and this informs our mentalre&erence for stable structures$ orced *ers*ecti&e where scale isdeliberately shrunk as your gaDe rises is used in traditional



architecture and stage sets$ >his e'aggerated *ers*ecti&e2reassures3 our body of the gra&itational balance around us, reducingstress$ Con&ersely, its imbalance causes an'iety and e&en nausea$<ur balance mechanism is centered in our inner ear$ or this reason,

nausea is triggered e'actly the same way in the case of imbalance4*ercei&ed loss of e;uilibrium as in the case of the body *oisoned byingested to'ins$

4 . FRACTALS$ A fractal encodes geometrical structure on manydifferent linked le&els: it has no *referred scale, hence any structureis scalefree$ ern lea&es and cauliflowers are e'am*les$ 5anyscales are *resent in a fractal, with com*le' structure showing at anymagnification$ A fractal contains welldefined subdi&isions of structure

in an ordered hierarchy of scales, from the large siDe down to the siDeof its details$ 5uch of li&ing organic tissue is fractal for e'am*le,the ner&ous system, the circulatory system, and the lung@s system ofbranching air *assages$ We recogniDe and res*ond *ositi&ely tofractal structures because our own bodies ha&e these in commonwith other animals and *lants$ >his similarity links us cogniti&ely tostructures that follow the same geometrical *rinci*les, such aslandsca*es, trees, bushes, and animals$ <n the other hand, we react

*oorly to structures that are not fractal: smooth or shiny ob+ects orsurroundings create alarm$ >his discomfort occurs because theirminimalism contradicts the fractal structures and *atterns we areused to e'*eriencing in natural en&ironments 40alingaros, "1"$



ractals show structure at e&ery successi&e magnification$ >he more *erfect fractals areselfsimilar$/rawing by Nikos 0alingaros

7$ CURVES$ Cur&ed forms are found e&erywhere in nature, where it isin fact difficult to find a straight line$ Again, cur&es arise from the

biological structure of animals and *lants, and also from naturalinanimate en&ironments where matter is sha*ed by tectonic forces$0mooth cur&es are mathematically at odds with angled 42broken3ty*es of fractal such as are found in trees and in the weathered*atterns of natural materials$ >he natural en&ironment e'hibits fractalor cur&ed forms, or a combination$ We do not e'*ect straight lines orright angles in nature$ 0ince our neurologicalres*onse mechanismsare hardwired, we obtain emotional *leasure from cur&es that

*ossess a natural balance through symmetry$ Cur&es in theen&ironment that are gra&itationally unbalanced, howe&er, can beunsettling$

6 . ETAIL$ <n the most intimate scale at arm@s length and closer highly organiDed com*le' detail is &isible and touchable throughoutnature$ <ur sense of touch re;uires that we be near a surface orstructure so as to reco&er information from the most detailed le&els of scale$ We focus on the smallest detail, shar*ly defined naturalstructures and te'tures such as &eins in stone 4fossiliDed animals and*lants, wooden grain, branches and lea&es in trees, etc$ We e'*ectto find the same sort of com*le' structural detail in an artificialen&ironment, since our *erce*tual mechanisms are finely tuned to*rocess such signals$ ?n fact, look at the underside of a leaf and yousee its &eins dis*lay, at the smallest &isible le&el, a fractal networkresembling an irregular urban street grid$ Natural materials emergeas fractals, and *ro&ide interesting organic information at increasingly

minute distance, heightened by our ability to touch them$ >ocommunicate with animals 4including humans, we focus on theireyes, *u*ils, li*s, and nostrils 4and the ears of cats and dogs$20ubliminal communication3 when facetoface with another humande*ends u*on subtle anatomical cues we recei&e from such details$5eaningful res*onse to other life occurs through tiny details,



*redis*osing us to focus on those$ We transfer to the builten&ironment our inclination to grant im*ortance to small details$ Wefeel cut off from this mechanism when we e'*erience architecturalstyles that largely lack detail or ha&e detail that e'ists in randomly

te'tured form, chaotic, and intuiti&ely indeci*herable$

Com*le' details 4im*lying that the details themsel&es ha&e substructure are &ital formeaningful information e'change$

/rawing by Nikos 0alingaros

!$ !ATER$ >he *resence of water can be healing$ uman beings lo&e

to see water, and e&en better, hear it and feel it$ =erha*s the need tobe close to water is a reassurance that we ha&e enough water todrink, because without water we cannot sur&i&e$ ?t could be a &estigeof the streams and lakes in our ancestral en&ironment$ 0trictnecessity does not, howe&er, e'*lain the +oy of &isiting the salty sea$=eo*le the world o&er go to the beach, and en+oy a *romenade along



the waterfront$ A &ast worldwide tourist industry is dri&en by &acationson the coastline, and the ob&ious *leasure of &oyages in watergoing&essels, from sailboats to cruise shi*s$ 4While not bio*hilia in thedirect sense of attraction to li&ing forms, the effect is included in this

grou* by strength of *arallel$

-$ LIFE$ Actual and intimate contact with li&ing forms nourishes us$ >his

is the most ob&ious meaning of bio*hilia$ We cra&e the

com*anionshi* of *lants, animals, and other humans$ >his is not

among the features of a building per se, but ser&es to encourage the

building user to interact with the natural en&ironment$ or e'am*le,

enclosing a courtyard garden, or surrounding a building with

intimately interwo&en trees and shrubs, *ro&ides immediate access to

nature$ ?t is not merely decorati&e$ >he bio*hilic effect nurtures and is

nurtured by such sim*le acts as bringing a *otted *lant indoors$ >his

has nothing to do with a building@s structure or design itself e'ce*t

that buildings that shut off fresh air and light inhibit the sur&i&al of

*lants$ 4umans thus entra**ed might well also be wary$

>hese eight descri*tions show how the bio*hilic effect can be a**lied

to hel* design buildings conduci&e to health$ Bio*hilia reflects natural

intuiti&e res*onse in humans to their en&ironment$ ?t is sometimes

confused with what might be called biomimicry, which a**lies inert

co*ies of natural structures to a building@s skin$ A building thatfeatures, say, ranks of identical shards in its facade might resemble a

faddish conce*tion of fractals, but this will not im*ro&e the building@s

influence on the wellbeing of its users$ >o im*art a healing effect, an

architect must a**ly basic guidelines for generating s*ecific bio*hilic



elements, and not +ust mimic some organic form$ >hat@s not enough$

>aking the abo&e eight *oints as a rough design checklist for bio*hilic

*ro*erties, we can generate criteria for e&aluating the healthinducing

as*ects of architecture, built and unbuilt$

R"a#ings$

5ichael W$ 5ehaffy 6 Nikos A$ 0alingaros 4"17 /esign for a Li&ing

=lanet: 0ettlement, 0cience, and the uman uture, 0ustasis =ress,

=ortland, <regon and Ea+ra Books, Fathmandu, Ne*al$ Cha*ter 1"

2Bio*hilia3 originally a**eared in Metropolis, No&ember "11, a&ailable

online G%G$

Catherine <$ %yan, W$ /$ Browning, H$ <$ Clancy, 0$ L$ Andrews 6 N$ B$

Fallian*urkar 4"1# 2Bio*hilic /esign =atterns: Gmerging NatureBased

=arameters for ealth and WellBeing in the Built Gn&ironment3, Archnet-

IJAR: International Journal of Architectural Research, Eolume -, ?ssue ",*ages ."!.$

Nikos A$ 0alingaros 4". A >heory of Architecture, )mbauEerlag,

0olingen, (ermany8 re*rinted "1#, 0ustasis =ress, =ortland, <regon and

Ea+ra Books, Fathmandu, Ne*al$ Cha*ter # 2>he 0ensory Ealue of

<rnament3 originally a**eared in Communication & Cognition, Eolume .,

No$ # 4", *ages 171$

Nikos A$ 0alingaros 4"1" 2ractal Art and Architecture %educe

=hysiological 0tress3, JBU — Journal of Biourbanism Eolume ??, No$ ",

*ages 11"-$ %e*rinted as Cha*ter ". of Nikos A$ 0alingaros

https://store.collectivecopies.com/store/show/ofc9


http://www.metropolismag.com/Point-of-View/November-2011/Frontiers-of-Design-Science-Biophilia/

http://archnet-ijar.net/index.php/IJAR/article/view/436


https://store.collectivecopies.com/store/show/601

http://journalofbiourbanism.files.wordpress.com/2013/09/jbu-ii-2012-2_nikos-a-salingaros.pdf












4"1 )nified Architectural >heory: orm, Language, Com*le'ity, 0ustasis

=ress, =ortland, <regon and Ea+ra Books, Fathmandu, Ne*al$

O que a Lu, a Cor, a Gravidade, e os Fractais T!" a #erCo" o $osso Be"-%star?N i k o s A . S a l i n g a r o s

Gs;uerda: )ma orma e;uilibrada reforIa a estabilidade da construIJo, Woolworth Building,New York City, 191, !9" *Ks ou "#1 metros$

/ireita:)ma orma em balanIo gera ansiedade, (iant )nder*ants Building, Bei+ing, "-, !.-*Ks ou "# metros$

/esenho *or Nikos 0alingaros





A;ui estJo os fatores ;ue mais contriburam *ara o efeito bioflicoe'*erimentado *or seres humanos$ A rigor, nossa Mnsia *or luD natural K*ro*riamente denominada 2fotofilia3, e a Mnsia *or ambientes naturais2to*ofilia3$ NJo obstante, K til incluir todas essas reaIOes fisiolPgicas sob

o termo mais am*lo 2Biofilia3$ 45ehaffy 6 0alingaros, "178 %yan et al.,"1#$

1$ LU%$ NPs buscamos a luD natural, *referencialmente de diferentesMngulos de modo ;ue as sombras nJo diminuam nossa &isJoestereoscP*ica, necessQria *ara formar as imagens tridimensionais e a*erce*IJo de *rofundidade$ A luD Natural nJo K somente essencial *ara*erceber e entJo a&aliar nossos arredores: nossa *ele re;uer a luD solarde modo a *roduDir &itamina /, crucial ao nosso metabolismo$ NPs

*ossumos dois PrgJos ;ue re;uerem luD solar: nossos olhos e nossa *ele$Nossos ciclos circadianos 4nossa instinti&a *erce*IJo do tem*o, nosso2relPgio interno3 sJo regulados *ela luD do sol nos olhos e na *ele, o ;ualcontrola nosso ciclo de sono &ia secreIJo de melatonina$ 0em*re ;uenossos ciclos circadianos sJo *erturbados 4como as fadigas geradas *eladiferenIa de fusohorQrio ;ue sofre um &ia+ante internacional, nossoscor*os sJo cronicamente fatigados e nJo funcionam *ro*riamente$ NPsnecessitamos da luD solar *ara recom*Rlos$

"$ COR$ =igmentaIJo de *arcial intensidade mas harmonia no geral geraum efeito saudQ&el$ A *erce*IJo de cor K uma de nossas sensaIOes4incluindo rece*tores em nossos olhos e &ias de *rocessamento no nossocKrebro diretamente ligadas S nossas emoIOes$ 0eres humanose&oluram na luD natural, ;ue &aria em cores do &ermelho *ara oalaran+ado, *ara o aDul, de*endendo da hora do dia$ ?sto descre&e a matiDda incidTncia da luD$ A cor das *lantas, animais, *edras, etc$, formaramnossa *referTncia das cores no ambiente$ NPs e'*erenciamos cores tantotransmitida na ;ualidade de luD tanto como refletida das su*erfcies*igmentadas$ <s efeitos *sicolPgicos das cores sJo *rofundos, e eles sJousados 4e abusados e'tensi&amente *ela industria da *ro*aganda$/esigners de interiores em*regam cores e harmonia de cores *ara afetar ohumor das *essoas$ CinDa, ambientes descoloridos sJo associados aos



olhos da mente com enfermidade, decom*osiIJo, e morte 40alingaros,".$

$ GRAVIAE$ NPs sentimos e nos relacionamos ao e;uilbrio atra&Ks da

gra&idade$ =lantas e animais crescem na gra&idade, assim as suas formasmostram um delicado e;uilbrio &ertical$ Gm estruturas naturais, as *artes*esadas estJo na base e as le&es no to*o$ Nosso cKrebroautomaticamente a&alia o e;uilbrio gra&itacional das formas ;ue nosrodeiam$ >odos os ob+etos na natureDa e'istem em e;uilbrio gra&itacional,e isto informa nossa re&erencia mental *or estruturas estQ&eis$ =ers*ecti&aforIada onde a escada K deliberadamente encolhida conforme o olharse ele&a K usada na ar;uitetura tradicional e em cenQrios$ Gsta*ers*ecti&a e'agerada 3reassegura3 nosso cor*o do e;uilbrio

gra&itacional ao nosso redor, reduDindo o estresse$?n&ersamente, essedese;uilbrio causa ansiedade e atK nQusea$ Nosso mecanismo dee;uilbrio K centrado em nosso ou&ido interno$ =or esta raDJo, a nQusea Kdesencadeada e'atamente do mesmo modo no caso de dese;uilbrio4*erda *erce*ti&a de e;uilbrio como no caso de um cor*o en&enenado*ela ingestJo de to'inas$

#$ FRACTAIS$ )m fractal codifica uma estrutura geomKtrica em di&ersos

n&eis conectados: nJo tem escala *referida, *or isso ;ual;uer estrutura Kli&re de escala$ olhas de samambaia e cou&eflores sao e'em*los$ 5uitasescalas estao *resents em um fractal, com estrutura com*le'a mostradaem ;ual;uer am*liaIJo$ )m fractal contem subdi&isOes bem definidas daestrutura emu ma hierar;uia ordenada de escalas, do maior tamanho aosmnimos detalhes$ 5uito do tecido orgMnico K fractal *or e'em*lo, osistema ner&osa, o sistema circulatPrio, o sistema *ulmonar de ramificaIJodas *assagens de ar$ NPs reconhecemos e res*ondemos *ositi&amente aestruturas fractais *ois nosso *rP*rio cor*o tem isso em comum comanimais e *lantas$ Gsta similaridade conectanos cogniti&amente aestruturas ;ue seguem o mesmos *rinc*ios geomKtricos, tais como*aisagens, ar&ores, arbustos, e animais$ =or outro lado, nPs reagiamosdeficientemente a estruturas ;ue nJo sJo fractais: lisos ou reluDentes,ob+etos ou ambientes criam alarme$ Gste desconforto ocorre *or ;ue seuminimalismo contradiD a estrutura fractal e *adroes ;ue costumamos



e'*erimentar em ambientes naturais 40alingaros, "1"$

ractais mostram estruturas a toda am*liaIJo sucessi&a$ <s fractais mais *erfeitos sJosimilares a si mesmos$


7$ CURVAS$ ormas cur&as sJo encontradas em todo lugar na natureDa,onde K de fato muito difcil encontrar uma linha reta$ /e no&o,cur&assurgem da estrutura biolPgica de animais e *lantas, e tambKm deambientes naturais inanimados onde a matKria K formada *or forIastectRnicas$ Cur&as sua&es estJo matematicamente em desacordo comti*os de fractais angulares tais como os encontrados em ar&ores e nos

*adrOes inclinados de materiais naturais$ < ambiente natural e'ibe fractaisou formas cur&as, ou uma combinaIJo$ NPs nJo es*eramos linhas retasou Mngulos retos na natureDa$ /esde ;ue nosso mecanismo de res*ostaneurolPgica este+a *rogramado, nPs obtemos *raDer emocional das cur&as;ue *ossuem um e;uilbrio natural atra&Ks da simetria$ Cur&as noambiente ;ue sJo gra&itacionalmente dese;uilibradas, no entanto, *odemser in;uietantes$

.$ ETALHE$ Na mais intima escala U ao com*rimento do braIo e mais

*erto U com*le'o detalhe altamente organiDado K &is&el e tang&el aolongo da natureDa$ Nosso senso de to;ue re;uer ;ue este+amos *rP'imosa uma su*erfcie ou estrutura *ara reter informaIJo dos n&eis maisdetalhados de escala$ NPs focamos no menor dos detalhes, estruturas ete'turas naturais bem definidas, tais como &eias nas *edras 4animais e*lantas fossiliDadas, grJos de madeira, galhos e folhas de ar&ores, etc$NPs es*eramos encontrar a mesma &ariedade de com*le'os detalhes



estruturais em um ambiente artificial, uma &eD ;ue nosso mecanismo*erce*tual sJo afinados *ara *rocessar tais sinais$ Na &erdade, olhe na*arte inferior de uma folha e &ocT &erQ sua dis*osiIJo de &eias, ao menorn&el &is&el, uma rede fractal assemelhase com uma malha urbanairregular$ 5ateriais naturais surgem como fractais, e fornecem umainteressante informaIJo orgMnica ao aumentar a distancia ;ue uma cKlulasangunea &ia+a em metros *or segundo, intensificada *ela nossaca*acidade de tocar neles$ =ara comunicarnos com animais 4incluindo ossereshumanos, nPs focamos em seus olhos, *u*ilas, lQbios, e narinas 4eas orelhas dos gatos e dos cachorros$ 2ComunicaIJo subliminal3 ;uandoface a face com outro serhumano de*endemos de *istas anatRmicas sutis;ue recebemos de tais detalhes$ %es*ostas significati&as a &ida de outrosocorre atra&es de *e;uenos detalhes, *redis*ondonos a focar neles$ NPstransferimos *ara o ambiente construido nossa inclinacao *ara conceder

im*ortancia aos *e;uenos detalhes$ Nos sentimos cortados destemecanismo ;uando nPs e'*erenciamos estilos ar;uitetonicos ;ue muitomais faltam detalhes, ou tem detalhes ;ue e'istem numa forma te'turiDadaaleatPria, caPtica, e intuiti&amente indecifra&el$



/etalhes com*le'os 4im*licando ;ue os detalhes mesmos, tem uma subestrutura sJo&itais *ara uma troca de informaIJo significati&a$


!$ &GUA$ A *resenIa da Qgua *ode ser re&igorante$ 0ereshumanosamam &er Qgua, e melhor ainda, ou&ila e sentila$ >al&eD a necessidadede estar *rP'imo da Qgua K um resseguro de ;ue nPs temos Qguasuficiente *ara beber, *or ;ue sem Qgua, nPs nJo *oderamos &i&er$ ?sto*ode ser um &estgio dos cPrregos e lagos no nosso ambiente ancestral$NJo K estritamente necessQrio, *orKm, e'*licar a alegria de &isitar o marsalgado$ =essoas do mundo inteiro &Jo S *raia, e a*ro&eitam um *asseioao longo da costa$ )ma &asta indstria de turismo ao redor do mundo K

dirigida *or fKrias na linha costeira, e o Pb&io *raDer de &iagens em&eculos a;uQticos, de &eleiros a na&ios de cruDeiro$ 4Gn;uanto a biofilianJo K, em sentido direto de atraIJo Ss formas &i&entes, o efeito K includoneste gru*o *ela forIa do *aralelo$

-$ VIA$ Contato real e intimo com formas de &ida nutrenos$ Gste K o maisPb&io significado de biofilia$ NPs alme+amos a com*anhia de *lantas,animais, e outros seres humanos$ Gste nJo K um dentre os as*ectos deum edifcio *er se, mas ser&e *ara encora+ar o usuQrio do edifcio a

interagir com o ambiente natural$ =or e'em*lo, encerrando um *Qtio com +ardim, ou em torno de um edifcio com Qr&ores e arbustos intimamenteentrelaIados, fornecem acesso imediato S natureDa$ NJo K meramentedecorati&o$ < efeito bioflico nutre e K nutrido *or tais sim*les atos comotraDer um &aso de *lantas *ara dentro de casa$ ?sto nJo tem nada a &ercom a estrutura de um edifcio ou com o design ele mesmo U e'cetoa;ueles edifcios ;ue e'cluem o ar fresco e a luD inibindo a sobre&i&Tnciade *lantas$ 4<s seres humanos, assim encurralados, *odem tambKm ficar

desconfiados$Gstas oito descriIOes mostram como o efeito bioflico *ode ser a*licado*ara a+udar a *ro+etar edifcios *ro*cios *ara a sade$ Biofilia reflete ares*osta natural intuiti&a dos seres humanos *ara com seus ambientes$ Valgumas &eDes confundido com o ;ue *oderia ser chamado biomimetismo,;ue a*lica co*ias inertes de estruturas naturais S te'tura de edifcios$ )m



edifcio ;ue a*resente, digamos, fileiras de fragmentos idTnticos na suafachada *ode assemelharse a um ca*richoso conceito de fractais, maseste nJo irQ a*rimorar a influencia do edificio no bem estar de seususuQrios$ =ara transmitir um efeito curati&o, um ar;uiteto *recisa a*licar

diretriDes bQsicas *ara gerar elementos bioflicos es*ecficos, e nJosomente imitar uma forma orgMnica$ ?sto nJo K suficiente$ =egando os oito*ontos acima como um grosseiro checklist de design *ara *ro*riedadesbioflicas, nPs *odemos gerar critKrios *ara a&aliar os as*ectos de induIJode sade da ar;uitetura, construda e nJo construda$

L"i'(ras$

5ichael W$ 5ehaffy 6 Nikos A$ 0alingaros 4"17 /esign for a Li&ing =lanet:

0ettlement, 0cience, and the uman uture, 0ustasis =ress, =ortland, <regon and

Ea+ra Books, Fathmandu, Ne*al$ Cha*ter 1" 2Bio*hilia3 originally a**eared

in Metropolis, No&ember "11, a&ailable online G%G$

Catherine <$ %yan, W$ /$ Browning, H$ <$ Clancy, 0$ L$ Andrews 6 N$ B$ Fallian*urkar

4"1# 2Bio*hilic /esign =atterns: Gmerging NatureBased =arameters for ealth and

WellBeing in the Built Gn&ironment3, Archnet-IJAR: International Journal of

Architectural Research, Eolume -, ?ssue ", *ages ."!.$

Nikos A$ 0alingaros 4". A >heory of Architecture, )mbauEerlag, 0olingen,

(ermany8 re*rinted "1#, 0ustasis =ress, =ortland, <regon and Ea+ra Books,

Fathmandu, Ne*al$ Cha*ter # 2>he 0ensory Ealue of <rnament3 originally a**eared

in Communication & Cognition, Eolume ., No$ # 4", *ages 171$

Nikos A$ 0alingaros 4"1" 2ractal Art and Architecture %educe =hysiological

0tress3, JBU — Journal of Biourbanism Eolume ??, No$ ", *ages 11"-$ %e*rinted as

Cha*ter ". of Nikos A$ 0alingaros 4"1 )nified Architectural >heory: orm, Language,

Com*le'ity, 0ustasis =ress, =ortland, <regon and Ea+ra Books, Fathmandu, Ne*al$






















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