The built environment benefits our psyche better when it is able to arouse our senses, make us wonder, help us reflect, bring us into focus, make us laugh. The geometry of the space, the texture of the materials, focused views, colors, reflected sounds, and other design features control the possibilities, but they need to be conceived from the perspective of how a human being will encounter them.

Experiential design entails that sensory experience take precedence over designing from the outside/larger-scale in. It is at the core of (good) exhibit design, as it translates to engaging the audience. Retail and entertainment projects rely on it for commercial success, sometimes too much, though, leading to overstimulation. What isn’t as obvious is that this approach is also a good fit for classrooms, healthcare facilities, housing, and wherever mental welfare is of concern.

A social approach to masterplanning is needed in (many) of the American neighborhoods built in the last 50 years, and in the international developments that copy their planning model. Suburban planning on steroids, plus digital devices, have fostered increasing isolation. This has contributed to the current mental health crisis. Many American suburbs are thin on, or downright void of, pedestrian activity. This wasn’t the case a generation or two back, or what the country “was built on.” Strong social networks directly correlate to a healthy amount of in-person (spatial) interaction.

But social design is not limited to the planning-scale. It should be the guiding principle for all public spaces – interior and exterior – such as movement corridors (walk-through spaces) and common areas (gathering spaces), and any combination thereof.

Social design does not mean that everyone is forced to join a group activity; I personally enjoy contemplative time alone in public. A social design approach fosters opportunities for varying levels of social interaction – voyeurism being one – by creating ways in which individuals can enjoy communal spaces, together or alone.

The environment that we inhabit – and artwork hosted in it – is prime real estate for learning. Marketers figured this out a long time ago: using color, scale, and location, advertisement knows how to capture our attention and enter our subconscious. The same strategy can be used with educational material.

Many empty or merely stylistic walls are currently somewhat of a wasted learning opportunity. That is not to say that every surface should be covered with an educational graphic; that would result in information overload and nobody would learn anything. As many street artists know, placement is key. A tiny sculpture, placed at eye level, in a blank wall, would, for example, definitely draw attention. Minimalism and “white space” are key to the amount of information one can absord and retain.

The term “educational” doesn’t mean that it needs to contain an equation, a quote, or anything too cliché or mentally exhausting. The most important thing is to create curiosity. Advertisements work by being suggestive, but remaining abstract; leading the imagination through juxtaposed relationships.

Organic design signifies an affinity to nature, and consists of flexible design geometries, less hierarchical systems, animated and colorful visuals (art, our inner spirit), symbolic references and sensual connections to vegetation, and a design which directly engages with, and disappears into, its landscape.

It means designing in tune with our biology: nature being multifarious, ever-changing, and, save for large scale disasters, not imposing. It does not imply chaos or lack of order, but that the governing structure is not absolute, allowing for variation and change.

Organic design includes respecting our planet, its climate and all the living things we have placed in peril through urban and architectural development. But, similar to the Living Building Challenge perspective, it’s about more than metrics. Organic design infers a psychological connection with nature, from concept to experience.

Following “zen” philosophy – as per D.T. Suzuki’s Zen and Japanese Culture, where the samurai becomes one with the sword and the artist one with the brush – in organic design, the designer would intuitively become one with nature.

Aside from design services, I am also offering peer review as a service, based on both my design and teaching experience. This could be for general design, concept to details; to help focus between too many options (especially if computer automated!); and also for things like the graphic aspect of presentations.

I know that after working on a project for a long time, it is difficult to look at it clearly or critically, even more so when under stress or in a hurry. I understand that designers are not in full control and the built environment is the result of a compromise between many people and many factors.

Nonetheless, within what a designer does control, there is always room for improvement. I know this from my own (past) projects, which I look at very critically (and have had friends review!).

Please know that I am very direct, but nice, and that I believe feedback is most useful when it is practical and constructive. I have sat on many student reviews as guest critic, and my intent has always been to help, and not to feed my ego.