In a world increasingly shaped by data and digital tools, the interior design profession is undergoing a profound transformation. At the heart of this evolution lies neuroaesthetics—a field that bridges neuroscience and aesthetics to explore how our environments shape our emotions, behaviors and well-being. The recent BIFMA Learning Series webinar, hosted in collaboration with International Federation of Interior Designers/Architects (IFI), brought together leading voices to unpack the science and art of neuroaesthetics in the built environment. 
The Science of Feeling: What Is Neuroaesthetics?
Reverend Terrence Michael Curry, Executive Director of Saint Joseph Studio Workshop and a global professor of architecture, opened the discussion by grounding neuroaesthetics in centuries of philosophical inquiry. “Aesthetics,” he explained, “is not just about beauty—it’s about how a thing imposes an experience on us.” Drawing on thinkers from Plato to Edmund Burke, Curry emphasized that our experience of space is embodied, emotional, and measurable.
He introduced the concept of mirror neurons—brain mechanisms that allow us to empathize and “feel into” our surroundings. “Design is not just visual,” he noted. “It’s about how space makes us feel, think and behave.” 
Designing with, Not For: Community and Co-Creation
Laura Guido-Clark, founder of Love Good Color and Project Color Corps, brought the science to life through stories of transformation in underserved communities. Her nonprofit works with students to co-create vibrant, healing environments. “When we ask students how they want to feel, they say: safe, calm, happy and connected. And when they see their words and ideas reflected in the colors and murals they helped design, they feel seen.”
One powerful example is Hoover Elementary School, where a student mural sparked a ripple effect — a collaboration with Eat Learn Play and Kaboom which increased student enrollment and inspired neighbors to repaint their homes. “None of our 25 projects have ever been tagged,” she said. “They’re beloved because the community sees themselves in them.” 
Bridging Practice and Research: The Designer as Scientist
Yong In, clinical assistant professor at Purdue University and creative director at INxD Studio, emphasized the need for designers to embrace both sides of the brain. “We’re not just artists and creatives — we’re scientists shaping human experience,” said In, who also pens a monthly column for officeinsight magazine. Her work integrates sensory design, inclusive design and neuroscience to teach students how to design with intention.
She highlighted the “A Space for Being” exhibit by Google, Johns Hopkins University’s International Arts + Mind Lab, Reddymade and Muuto, where visitors’ biometric responses to the aesthetics in different rooms revealed a gap between what people think they prefer and what their bodies actually respond to. “It’s a reminder that design is not just about trends or Pinterest boards,” she said. “It’s about evidence-based science, human experience and empathy.”
Ryan Anderson, vice president of research and planning at MillerKnoll built upon this idea from the work being explored across the organization’s various brands. The potential for neuroaesthetics includes demonstrating, in measurable terms, the value of good design to business leaders and financial decision-makers. He states, “Good design is a difficult concept to convey to those that don’t have a background in it.” 
Neuroaesthetics and Inclusion: Designing for the Spectrum
The conversation also explored the intersection of neuroaesthetics and inclusive design. “We are all neurodiverse in some ways,” said In. “Inclusive design means designing for the full spectrum of humans, with diverse sensory sensitivities.” From lighting and acoustics to spatial orientation and color, every element of a space can either support or hinder human experience and well-being.
Guido-Clark added that children in marginalized communities often ask, “Why don’t we get nature? Why don’t we get color?” Their questions reveal a deep awareness of environmental inequity and a desire for spaces that reflect dignity and respect.
From Philosophy to Policy: The Future of Neuroaesthetics
The panelists called for a broader application of neuroaesthetics from design studios to public policy. “We need to embed this thinking into how we build all environments, especially for the underserved,” Guido-Clark urged. Curry echoed this sentiment, noting that as AI becomes more integrated into design, human-centered insights will become even more critical. “AI can’t feel space,” he said. “We must refine our connoisseurship of embodied experience.” 
Designing for Empathy, Evidence and Equity
Neuroaesthetics offers more than a new design trend. It offers a paradigm shift. It challenges designers to move beyond intuition and aesthetics-as-style, toward a practice rooted in empathy, science, and social impact. Quoting Ayse Birsel, In remarked, “Whatever you put at the center is what you serve. Let’s put people at the center.”
Humans don’t merely occupy space but rather experience space. Performance is expected. Companies are now challenged to convey positive beneficial customer experience as the new differentiator.
Editor’s Note: This article was written by BIFMA in cooperation with Laura Guido-Clark, IIDA; Founder, LOVE GOOD COLOR and Project Color Corps; Rev. Terrence Michael Curry, SJ, PhD, AIA; Executive Director, St. Joseph Studio Workshop; Yong In, IIDA, IDEC, NCIDQ, RID, LEED AP, WELL AP, Fitwel Ambassador; Clinical Assistant Professor, Purdue University; Creative Director/Design Strategist, INxD Studio; and Ryan Anderson; Vice President, Global Research & Planning, MillerKnoll.