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Highlights Mean number of fixations, fixation durations and pupil dilation were calculated for high and low restorative potential scenes. There were significantly more fixations for low restorative than for high restorative scenes. Fixation times had the predicted inverse relationship, with low restorative settings having a significantly shorter time per fixation than high restorative scenes. Higher measures of pupil dilatation were related to the view of high restorative potential vs. low restorative potential environments. Eye movements related to photographs, low on fascination, were characterized by a greater exploration and a greater number of fixations compared to those which rated high on fascination.

Planning and predicting the experiences that buildings will produce is an essential part of architectural design. The importance of representation lies in its ability to communicate experiences before a building is materialized. This article will treat the topic of representation of architecture works without putting aside our direct experience with edifices. By understanding the perceptual, associative and interactive phenomena that arise from the human encounter with buildings, it becomes possible to comprehend the representation of these phenomena through pictorial means. The first objective of this theoretical article is to define the inherent and unavoidable factors that are present in the creation and interpretation of all architectural representations, regardless of the technical means used. Any representation conveys two processes: the representation of experience (a creative process), and the experience of representation (an interpretive process). Furthermore, there exist two layers in any representation: the what (the architectural object) and the how (the representational medium). The second objective is to suggest alternatives to visual realism, in order to create representations that embody the particular phenomena that an architectural work will be able to produce. On the one hand, representations that pretend to copy reality produce in the observers detailed visual experiences; on the other hand, certain representations reflect the experiences themselves after they have been produced; they represent buildings as they are transformed by experience. This article focuses on those representations that are not only the reflection of an object, but also the reflection of our way of experiencing it.

The interactive role of the ecological, architectural, biophilic, and sensory qualities of outdoor and indoor spaces in the restorative experiences of urban inhabitants is little known. We analyzed the restorative influence on mood states and situational stress related to exposure to vegetation proportion, spatial extension, landmark salience, biophilic architecture, people density, street visual access, olfactory pleasantness, and noise of 65 public spaces in a Mexican city. The environmental qualities of these places were analyzed with multidimensional scaling (MDS), leading to eight space categories (e.g., historic squares with biophilic architecture, large parks, street scenes, and interiors with non-biophilic architecture). Ratings of the restorative potential, mood states, situational stress, olfactory pleasantness, and noise annoyance were evaluated on such places and modeled through a structural equation modeling (SEM). The model shows that the restorative influence of the environmental qualities on moods and stress was related to a decrease in experiences of negative moods and perceived stress, and an increase of positive mood states. Based on our findings, we discuss design guidelines, emphasizing the relevance of including vegetation and built elements with biophilic qualities to create restorative environments.