Places of the Soul

‘One of the seminal architecture books of recent times.’ – Professor Tom

Wooley, Architects’ Journal

‘The “bible” of many architects and those interested in architecture.’ – Centre

for Alternative Technology

‘An inspiration to all those who care about the influence of the environment on
Man’s health and well-being.’ – Barrie May, The Scientific and Medical Network

‘At last an architect has written a sensitive and caring book on the effects of
buildings on all our lives.’ – Here’s Health

‘This gentle book offers a route out of the nightmare of so much callous
modern construction. I was inspired.’ – Colin Amery, The Financial Times
This page intentionally left blank
Places of the Soul
Architecture and environmental design
as healing art

Third edition

Christopher Day
First edition published 1999
by Thorsons

Second edition published 2004

by Architectural Press

This edition published 2014

by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN

and by Routledge
711 Third Avenue, New York, NY 10017

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2014 Christopher Day

The right of Christopher Day to be identified as author of this work has been asserted by
him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks,

and are used only for identification and explanation without intent to infringe.

Every effort has been made to contact and acknowledge copyright owners. The publishers
would be grateful to hear from any copyright holder who is not acknowledged here and will
undertake to rectify any errors or omissions in future printings or editions of the book.

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging in Publication Data

Day, Christopher, 1942-
Places of the soul : architecture and environmental design as healing art / Christopher Day.
-- 3rd edition.
pages cm
Includes bibliographical references and index.
ISBN 978-0-415-70243-0 (pb : alk. paper) 1. Architecture--Psychological aspects. 2.
Architecture--Environmental aspects. I. Title.
NA2542.4.D36 2014
720.47--dc23
2013026064

ISBN: 978-0-415-70243-0 (pbk)

Typeset in Goudy and Univers

by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN
To Heddwen, Aloma, Brynach, Dewi, Martha, Owain and Tâl.
This page intentionally left blank
 Contents
Foreword by HRH Prince Charles ix
Preface to the second edition (2002, modified 2006) xi
Preface to the third edition xiii
Acknowledgements xv

1 Architecture: does it matter? 1

2 How environment affects us 9
3 Place: placemaking and place-generation 15
4 Space for living in: shape, form, space and life 25
5 Lines: material realities or bearers of energy? 45
6 Qualities and quantities 59
7 The senses: gateways to the world 67
8 Light: nutrition for body and soul 72
9 Spirit of place, of project, of buildings 81
10 Ensouling buildings 91
11 Conversation or conflict? 101
12 Architecture as art 111
13 Architecture with health-giving intent 117
14 Healing silence: the architecture of peace 125
15 Soul or survival? 137
16 Building for planetary health 149
17 Building for human health 162
18 Design as a listening process: co-creating places 172
19 Building as a health-giving process 188

vii
Contents

20 Children and environment 200

21 Accessibility for all: compromise for the soul? 212
22 Urban life, urban needs 221
23 Development: continuity-destruction or place-improvement? 232
24 Urban problems: urban opportunities 240
25 Eco-cities: achievable or utopian dream? 252
26 Building for tomorrow 260

Appendix 1 Lazure: inexpensive technique 273

Appendix 2 Target pricing 274
Appendix 3 Hand-finished plastering 275
Illustration credits 276
Bibliography 284
Index 288

viii
 Foreword
For many years now, I have sought to do what I can to encourage those involved in design
and building to reflect in their work the careful balance and harmony of Nature, and to
seek to restore the lost habitat of our towns and cities, of our countryside and, indeed, of
our very souls - to re-integrate what has been disintegrated and fragmented. I have also
sought to emphasize the dangers of an obsession with the kind of clinical and mechanical
efficiency which seems to me to remove every last drop of intuitive cultural meaning from
our lives and our surroundings.
Part of the dis-integration which has been identified has laid within the larger
vision - or perhaps lack of vision! - that some architects and designers have brought (and,
sadly, continue to bring) to their work: the very values that inform their understanding
and practice. And another part would seem to lie in the details of their designs - details
of form and space, of colour, light and texture - that make up our experience of place.
In an age in which some have said that we know ‘the price of everything, but
the value of nothing’, I wonder if architects can really only design with their heads or
whether they can still bring to their work that “angelic” intellect of the heart and the
soul? I wonder, too, if they can draw out for us in the present the best of our traditions,
and to re-introduce those timeless qualities of harmony, human scale and character that
generate a sense of belonging - enriching the soul rather than impoverishing it…
These matters have been, and remain, the concern of my Foundation for the
Built Environment. My original aim in setting up my Foundation was to provide a refuge
for those who, like me, were in despair at the wholesale destruction of architectural and
fine art education and who wished to pass on to a new generation the knowledge of those
priceless traditions that, for thousands of years, have provided a link between successive
generations; and to reintroduce the vital human element into the understanding of the
built environment.
It is clear to me, and to many others, that Christopher Day not only shares this
concern, but is also a leading practitioner in this field, and I am pleased to note that he,
too, refers to architecture and environmental design as “a healing art”. For all of us must
surely feel the urgent need to heal the environment that we have so brutally attacked
throughout the course of the 20th Century.

ix
Foreword

Trying to break a conventional mould is a painful experience, but if we are

to create sustainable and balanced communities, rather than soulless and fragmented
ghettoes condemned by architecture and planning to the margins of life, try we must. I
hope that this book will give those who study it the courage to do so.

x
 Preface to the second edition
(2002, modified 2006)

New millennium, new issues

Since 1988, when I wrote Places of the Soul (published 1990), the world has changed.
In the 1980s I had to persuade clients to include ecological features. Sustainability
awareness has since grown a thousandfold. It’s now firmly on the public agenda – indeed
it’s considered ‘sexy’. (In the 1990s it was gender-free!) Some 75 per cent of US designers
now say their clients want sustainable design.1 Over 50 per cent of UK architects
(allegedly) prioritize it over design quality2 – though I’ve never seen why these should
conflict! Even many high-profile architects like to do occasional sustainable buildings.
(I must look up the meaning of ‘intermittently sustainable’!) Rio, Kyoto, Johannesburg
and their after-waves have even established it on the political agenda – anyway, in words,
sometimes even in action, occasionally even in effective action.3
Many trends then are now realized facts. Over half of the world’s population
now live in cities. Cities, by their nature, depend on ‘somewhere else’ for food, energy
and water. Sustainable cities are an ever more urgent challenge. Fortuitously, while prior
to 1988 most of my work was rural, since then, most has been urban, addressing this very
issue.
Climate change is no longer just a probability. It’s already here; all we don’t
know is how extreme it will become. This means that buildings need to be climatically
robust: cooling, ventilating and warming naturally, and shedding wind. As buildings
(and the transport they generate) account for over two-thirds of CO2 production,4 and
air-conditioning is a major contributor,5 this highlights environmentally responsible
building issues, also the responsibility each of us has towards global climate.
Globalization brings awareness that we share – and share responsibility for – a
single world. Culturally, it’s enrichingly broadening, but global commerce also threatens
local economy, society, culture, and even place and personal identity. Products travel
globally, but among people, ignorance, fear and intolerance bring rifts with alarming
global implications. This makes both diversity as richness and local identity as anchor
increasingly important.

xi
Preface to the second edition

Sick Building syndrome is now so well recognized, it’s hard to remember it

used to be called malingering. Nonetheless, deep-plan and high-rise buildings continue
to proliferate. Over-glazed (so air-conditioned) and under-daylit (so fluorescent lit), full
of synthetic materials and electromagnetic confusion, they’re unhealthy, disconnected
from life (both living nature and surrounding society) and heavily energy-dependent.
Awareness of how buildings can connect us with life and function in harmony with
nature’s forces is essential to reduce both health costs (in the USA over 60 billion
dollars)6 and energy (of which buildings use half).
Building-sickness isn’t just about buildings, but nor is it just about bugs. Illness
is statistically linked to disempowerment, so socially inclusive processes of place-design
contribute to individual as well as social health. Despite increasing affluence (for most,
not all!), today’s world is faster, more demanding, less secure and more competitive than
even a decade ago. Stress (15 per cent of all US occupational disease claims, costing $200
billion) is a major trigger-factor. This brings up issues of de-stressing design – both by
social arrangement and harmony-inductive environment. Places to renew the spirit and
bathe the soul in peace are even more important today than in 1998.

Notes

1. K. L. Gould, ‘Teaching green’, Metropolis, November 2002.

2. Ecotech, November 2002.
3. Irksome as are empty political words and architectural bandwaggoning, these actually are positive
signs. The words show intent and the bandwaggoning is usually motivated by the conviction of younger
architects in large name-heavy practices. Both bode well for the future.
4. In the UK, 69 per cent is due to building space and water heating: R. Webb, ‘Insulation for a future’,
Building for a Future, Autumn 2002.
5. New York City uses as much electrical energy as the whole continent of Africa. Much is due to
air-conditioning.
6. Green Workplaces, March 1997.

xii
 Preface to the third edition

Soul in our eco-crisis age

A lot has changed since this book was first written. Sustainability is now an everyday
word: and we’re waking up to the import of its implications. Consequently, the first
decade of this century has seen an explosion of eco-awareness. Eco-build is now the
largest construction-related exhibition in Britain. This has been paralleled by an
exponentially expanding range of eco-products. Few were easily available or affordable
even in the 1980s. (Even greenwash hadn’t been invented: now, it’s essential for market-
ability.) Many of the buildings illustrated in this book, therefore, either lack basic
energy-conservative elements (such as double-glazing) or make do with improvised
versions (some of which worked, others didn’t). At the time when they were built, they
were considered very low-energy – mostly due to organization around heat-sources,
compact and solar-orientated design, thermal mass and insulation double that required by
regulations. In the twentieth century this was acceptable. Now it isn’t – or shouldn’t be.
The spectre of run-away climate change has shifted concerns from resource-conservation
and comfort to humankind’s survival.
Worry about survival, however, brings fear into the debate. Fear distorts
perception, narrows focus and fosters reactive thinking. It’s a poor basis for decision-
making. Moreover, mono-focused solutions invariably produce more problems than they
solve. Anyway, besides climate-change, there are other threats to our survival: thermo-
nuclear war, radioactivity, ecological collapse, famine, to name but a few. But are these
design issues? Indirectly, yes. Most wars are fought over resources: nowadays, particu-
larly oil – water will soon follow. Moreover, all wars originate in aggressive attitudes.
Environment – social and architectural – can shift attitudes towards the more peaceful.
Dependence on nuclear energy increases radioactivity risks.1 Renewable technologies can
eliminate the need for this. Threats to ecological stability are multiple. Some major issues
(e.g. where and how food is grown, transported, retailed and stored)2 relate but weakly to
environmental design. Biodiversity, however, is an architectural and urban design issue.
This isn’t just about sustainable timber. Due to agricultural habitat loss, some songbird
species now depend upon urban gardens. This brings up issues of building-vegetation
interaction – and this, in turn, localized microclimate.

xiii
Preface to the third edition

The biggest issue, of course, is pollution. Pollution damages environment in

two ways: dumped waste and needless mining. Pollution is a solely human idea. We think
in linear – hence exploitive – terms. Nature neither thinks nor can function without
cyclic relationships. The most dangerous of all pollution is invisible, odourless and (in
normal concentrations) non-toxic. It’s CO2. This could irreparably damage climate until
no life at all could survive. Indeed, if its production isn’t checked, it certainly will. That’s
why even governments take CO2 reduction seriously.
CO2 reduction is largely focused on technical solutions. Such is the urgency
that these are absolutely indispensable. But this fear-based focus obscures the central fact:
it is human action that has caused, and continues to cause, the problem. This has two
critical aspects: eco-impact awareness and human-technology interaction. Both suffer if we
don’t care about places or their supporting technical systems. Care has cerebral dimen-
sions (particularly, understanding cause and effect), but it’s mostly instigated and fuelled
by feeling. This is a soul issue.

Notes

1. Nuclear risk-assessors calculate the risk of a 50,000-death accident as only 1:1000,000 reactor-years
(www.physics.isu.edu/radinf/np-risk.htm). With 500 reactors worldwide (World Nuclear Association,
2010), this is 1:4,000 years: approximately the period their legacy is dangerous. To put this into
perspective, 50 years has produced (at least) two major accidents – but rated as minor (Chernobyl
being a ‘six-death accident’) – and the calculations assume 4,000 years of world peace (and geological
stability). For these conditions, I wish I could share their optimism. Moreover, the Fukushima
accident happened within one year.
2. This accounts for around 20 per cent of total CO2 emissions: Institute of Welsh Affairs, www.iwa.org.
uk (accessed 16 August 2012).

xiv
 Acknowledgements

I owe deep thanks to all those who supported me in the days when this approach was
unfashionable, especially Anita Midbjer, Tom Wooley, Lucia Maspero, Will Brown and
Efa Wulle – who typed the original manuscript. Also to my many clients, to whom values
were more important than fashion, and from whom I learnt so much by working with
them. And, for this third edition, Aleksandra, my wife, without whose help I never could
have done it.

xv
 Chapter 1

Architecture: does it matter?

Architects tend to think architecture matters. Not everyone else does. To many people,
buildings are expensive but not very interesting. It’s what goes on inside them that
matters.
The argument continues that it’s better to have a good teacher (or craft-
sperson, parent, designer, manager, etc.) in an ugly shed, barrack, pre-fab, tower-block
flat, etc. than a poor one in a beautiful room. But few of us are exceptionally good or
exceptionally hopeless; we’re middling, so we need support. So, how supportive is the
barrack to a middling teacher? Ultimately, how good is the teaching?
How much is good design worth? Research suggests it increases property value
by 15 per cent.1 When staff moved into Alberts and Van Huut’s ground-breaking NMB
Bank headquarters,2 absenteeism declined and productivity increased: also around 15
per cent. Other projects that prioritize occupant well-being have found similar improve-
ments. A study on hospitals found an improved environment reduced treatment times by
21 per cent and analgesic use by 59 per cent – both major cost savings.3 Roger Ulrich,
whose 1984 studies correlating patients’ view and recovery time pioneered this field,
considers every tree-leaf visible from a hospital window ‘worth its weight in gold’.4 What
this means for commercial buildings, where some 80 per cent of costs are staff salaries, is
that a 15 per cent productivity increase justifies a building over three times as expensive.5
In short, soul-nourishing environment pays for itself many times over.

Opposite: Whether you like this or not, this is not architecture. It is a photograph of
a building. A semantic distinction? On the contrary. One is a static view, chosen by
someone else, freezing a transient moment of light, season, weather, approach, life
... The other is, influences or is an interrelated part of, our total physical surroundings.
Both touch our feelings, but no photograph can do so as deeply as multi-sensory reality.
Photographs focus our attention but let us ignore context. Architecture, however, is the
frame in which we live. We don’t just look at architecture, we live in it.
This book is illustrated with photographs. They’re incomplete and inadequate
fragments of experience, however, for architecture is for much more than the eyes. It
is for life. And that is why it’s such a powerful tool – often devastating, but potentially
health-giving.
Photographs are selective. Most people’s interest is in the people, whereas
architects tend to concentrate on buildings – often without any hint of occupancy. While,
to avoid intrusion, many of these photographs show empty rooms, try to imagine them in
use for their specific functions.
Architecture: does it matter?

Much more important than money, however, is what environment does to us:
how it affects our lives and even our personalities. Children behave noticeably differently
in different surroundings. Likewise even mature adults tend to feel, think and act differ-
ently. Environment easily influences world outlook, sensitivities and thought-mobility.
Outlook affects how we behave, ultimately who we become. If the world is to switch to
a sustainable lifestyle from a potentially suicidal one, this is of critical concern. Even at
a personal level, I sometimes wonder what sort of qualities my own work would have if I
worked in a harshly rectangular, glossy smooth-surfaced, evenly lit office.
Environmental design has been used for social engineering. Even if well-
intentioned, this is about control, conditioning and manipulation: it cramps inner
development. Soul-nourishment is the absolute opposite. It feeds inner development.
Soul-nourishment is an art, not a science. Many people believe artistic ability is a
matter of inborn genius, but I’m convinced that the main factor is commitment. Likewise,
aesthetics is much less a function of money than of care. But care costs time. In a world
where time means money, the less care put into buildings – in design, construction and
use – the cheaper they will be. As few people want cheap-looking buildings, however,
deceptive appearance, from cosmetic surfaces (like brick veneers) and mood-manip-
ulative lighting to glossy fronts and cut-price rears, is now commonplace. Deceptive
appearance, however, inadequately screens the primacy of profit over care. Being cheated
doesn’t feel good – and breeds disrespect. It also does active harm, for children grow up
and learn – from their surroundings as well as from people – the values that will steer
them through later life.
Other than architects, few people think about architecture, but many feel it.
Those who don’t will have had their sensitivities blunted, even obliterated – and built
environment must carry much of the blame. Lots of people complain about the perfor-
mance aspects of old buildings (like dampness), but complaints about new ones are even
more common. These focus on environmental aspects (such as anonymity, sterility or
characterlessness). Juhani Pallasmaa attributes widespread dislike of Modernist archi-
tecture to its visual purity at the expense of place ambience.6 People, of course, often
condemn things unjustly. So it was an eye-opener to me to experience appreciation from
passers-by when, about 1973, I built a (not very usual sort of) house. These people were
farmers, carpenters, factory-workers, postmen … all sorts of people. As most of these
lived, or wished to live, in cookie-cutter bungalows, I realized that many people choose
such buildings because they can’t imagine any alternative.
Such blinkers on imagination shape and are shaped by the speculative building
industry. Many modern rooms are lifeless: they depend on their contents to be habitable.
Home magazines, therefore, concentrate on furnishings. In contrast, architectural fashion
is all about unblinkered choice: the individualistically novel. Architectural magazines
focus on buildings as dramatic (and usually uninhabited) objects, although they are rarely
experienced that way by the people who use them. This focus on ‘image’ fosters building
consciousness – nothing to do with creating places for people. Unfortunately, magazines
often have a greater influence on architectural students than do their teachers, good or bad.
Consequently, in some buildings we feel we are trapped statistics, not valued
members of society. Twentieth-century towers were mostly soul-deadeningly dull: forceful

2
 Architecture: does it matter?

What messages do our surroundings convey? Do they make us feel valued as individuals?

icons whose lifeless blank faces starve passers-by of living experience. Some relieved their
dull form with mirror-facing aspects. To get a feeling of what’s going on inside is like
trying to read someone’s thoughts through mirrored sunglasses. Few twenty-first-century
towers are dull, they tend to make dramatic statements. But many vaunt their size: they
are intended, after all, to advertise corporations’ power. Their smooth glass façades might
look attractive on computer renderings, but on a massive scale, project hostility. Instead
of being soul-nourishing, they create an environment of competitive aggression. Without
soul-nourishment, the emotional part of the human being is left to seek fulfilment by
indulgence in desires. An aggressive environment fosters aggressive attitudes. This is not
a good combination.
A century ago, Rudolf Steiner remarked that there is ‘as much lying and
crime in the world as there is lack of art’. He went on to say that if people could
be surrounded by living architectural forms and spaces, these tendencies would die
out. When first I heard this, I thought: what bourgeois nonsense! Nonsense, because
Renaissance Italy also produced the arsenic-skilled Borgias. And bourgeois, because the
roots of crime are complex, with socio-economic disadvantage playing a large part. An
essential prerequisite for crime (or any other exploitive abuse), however, is insensitivity
to the effects of our actions on others. This makes it easier to see what he meant. Nor is

3
Architecture: does it matter?

It’s no wonder that places like this are notorious for their crime rates. The issue is less
that of easy opportunity, but of faceless, depersonalized, uncaring, insensitive harshness.

crime the automatic result of circumstances. Whereas animals always react predictably
to environmental stimuli, humans have the ability to transcend the situation. We often
don’t: in any statistical sample, most people’s reactions are predictable. But we can. To
rise above the level of automatic reaction requires, however, that we consciously direct
our lives: rise above purely material considerations into the moral sphere. Whereas the
physical world is rule-bound, moral decisions involve choice. Art transcends the limita-
tions of matter. It imbues the physical with spirit. To be surrounded by spirit-impregnated
matter has a very different effect on us than being surrounded by dead matter. One sensi-
tizes us and motivates consciousness: the other deadens sensitivities and saps individuated
will. Artists may have a reputation for disregarding moral codes but, in this respect, art is
a moral influence.
Although built of lifeless matter, no building need be dead. Its constituent
elements and relationships can sing – and the human heart resonates with them. But
many forms, spaces, shape-relationships and colours are dead. Just like polluted air,
electromagnetic fields and noise, these sap our life-energy. In good health, I have taken

4
 Architecture: does it matter?

my son to hospital clinics but, after sitting for hours in rectangular grid-patterned, vinyl-
smelling, fluorescent-lit, overheated corridors, I felt only half alive.
Most people, myself included – but possibly architects excepted – don’t
normally look at our surroundings. We breathe them in. Views on postcards or through
windscreens can be interesting, even dramatic. But they only touch our hearts when they
become a multi-sensory ambience we can breathe. Mostly, however, we barely notice our
surroundings. Consequently, we offer no conscious resistance to their influence. As these
surroundings are mostly built environment, architecture can significantly affect us. It can
influence us so powerfully that it’s sometimes used to manipulate people.
Manipulation isn’t limited to Nazi stadia with theatrical mood-distortion
devices. Boutiques where music, textures, colours, split levels and diagonals create
‘vibrant world’ mood are meant to excite us; layouts focus on goods we are free to touch,

Without consciously looking

at them, we breathe in our
surroundings with all our
senses. In some places, the
outer, communal, world only
makes us feel exhausted
and unwell. No wonder
some people seek relief
through artificial stimulants.

5
Architecture: does it matter?

to sharpen our desires. Satisfaction seems linked with purchasing. Even in uninviting
shed-like interiors, retailers use lighting, signs and display colours and background music
to subtly enhance the excitement of buying. Compare how many shelves of goods in
your local supermarket are brightly lit with focused display lights in warm, active colours
or sparkling white, and how many are softly lit and in the blue range. Is there anything
wrong in this? Shopkeepers have always displayed their wares so we ‘taste’ them with our
eyes. Is Soviet-style drabness more ‘moral’? The threshold between something appealing
– something that brightens our day but leaves us free to choose – and something desire-
manipulating – subliminally pressurizing us to make off-balance decisions – is subtle, but
crucial.
Design doesn’t have to – and to my mind, never should – involve manipu-
lation, but it is about mood enhancement. Environmental design unavoidably affects the
spirit, hence our outlook, values and actions. We only need to stay briefly in a different
environment to recognize how much our taken-for-granted surroundings have formed our
own and our society’s sensitivities, values and way of life.
Dwarfing all this, however, built environment is responsible for around half of
all climate-damage. Despite nineteenth-century coal-burning, most of this is the product
of the last few decades – and is the result of building design: mostly buildings’ need for
heating and cooling, but also less visible cradle-to-grave impacts. This climate-damage
threatens all life. Stopping this is a survival issue. Nonetheless, the solely technological
route to survival is essentially short-term. Short-termism is risky. Dropping the atomic
bombs on Hiroshima and Nagasaki won the war against Japan – and warned the USSR
not to oppose American power (its hidden agenda). But it led to four decades of life at
a hair trigger from oblivion. Long-term survival depends on changed attitudes. For this,
technology is an enabler and horizon-expander, but environment – spiritual, cultural,
social and physical – is the prime agent of change.
In our urbanized world, environment means built environment. Some 90 per
cent of us spend 90 per cent of our time in, near or influenced by it. We cannot avoid
contact with it. Much fosters ill-health, alienation and crime. The pollution it causes is
destroying our planet. These health, social and ecological impacts are now well known.
We also know how to mitigate them. But can architecture go beyond mitigation? Can it
have positive effects, outweighing its harmful legacy? Can it have a harmony-inducing,
health-giving, even healing influence: biologically, socially, spiritually and ecologically?
Can it help transform attitudes so that environmental and social responsibilities become
the norm? Can it heal places, enrich the human spirit and nourish the soul?

That is the subject of this book.

Notes

1. Report by FDP Savills Research, Davis Langton & Everest and Professor Alan Hooper for the
Commission on Architecture and the Built Environment, UK, Building Design, January 24, 2003.

6
 Architecture: does it matter?

2. Now, ING Bank.

3. The subjects were non-operative acute patients. Class A analgesics were used for 22 per cent fewer
days, and 47 per cent less were administered on those days. This study considered both quali-
tative and social aspects and concluded that social considerations have a major effect. It regarded
aesthetic issues as subjective and personal – a view I dispute. Bryan Lawson, ‘Healing Architecture’,
Architectural Review, May 2002: 95–108.
4. Professor Roger Ulrich, University of San Antonio, Texas, BBC interview, 2002.
5. Assuming the site costs as much as a normal building.
6. J. Pallasmaa, The Eyes of the Skin (Chichester: John Wiley & Sons, Ltd, 2005).

7
The environment we wake up to, the places that surround us every day, cannot but affect us.
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