The psychology of design – how to embody an aesthetic with no visual consistencies

As discussed in my previous post, neuroaesthetic is a design aesthetic which uses colors, shapes, textures, sounds, and even smells, in a very strategic manner to elicit a desired human behavioral response. As such, the neuroaesthetics is held at the subconscious and personal level, rather than purely at the visual; in this sense, there is not a singular list of rules which encompass all the design features, rather, the design features follow a set of rules stemming from the psychological human response to the individual’s consumption of the design. 

Despite this nebulous nature of the aesthetic, with respect to distinct visual characteristics, the aesthetic has been organized into what is called the “aesthetic triad.” This framework describes how the aesthetic experience is composed of three key components; sensory-motor, affective-emotional, and cognitive-interpretive. Therefore, I will ensure that my upcycle can be justified, at least based on my personal preferences, to these three key aspects. 

If time allowed, I would follow the true meaning of neuroaesthetics and pursue a small study to evaluate whether my upcycle invokes a sense of connection at the physiological level. In 2019, google produced an exhibit called A Space for Being, which was an interactive multiroom exhibit at the Salone del Mobile in Milan. Prior to entering the exhibit, visitors were given a small wristband to measure a handful of physiological signals. They were then asked to walk through the exhibit and following the end of the installation they were given a report on their subconscious emotional connection with the spaces, to indicate which space their body felt most at ease. I think conducting a study like this and tailoring the design to continuously reduce the physiological signals of stress would be the ultimate test of a neuroaesthetic design. 

When considering my own neuroaesthetic, I immediately think about the spaces I have the deepest sensory connections and call back to. One of those spaces was my grandparents house in milwaukee, which, similar to the notorious Frank Lloyd Wright influence found in many areas of Wisconsin, their house followed an incredibly unique mid century modern design. I have tactile memories of the wormwood paneling, visual memories of the blue carpet and split level floors, with a curved staircase to the top floor.

Nadine Gagolla, a neuroscientist who studied our psychological connection with our environment, describes these types of responses as a direct function of the biophilic and sensory stimuli which composes a design. Her research matured the concept that intentionally design spaces can influence stress levels and even act as therapeutic and healing environments. 

As such, I find that I am subconsciously drawn to design elements similar in shape, color, texture, or even material to those found in my grandparents house. As I look around my apartment, I mimic the blue color tones, objects with rounded curvatures, and even retro or vintage style similar to that found in my grandparents house. I am excited to explore this aesthetic more and understand how I can use it to design my spaces with intent and even realize the benefits from it. 

Finally, just to round out the story – a well known design firm recently redesigned my grandparents house and brought it back to life, highlighting all of the intensely memorable features of the house which are so special to me.