of space, harmony, and balance to formal artistic criteria, and rendered the very people for whom buildings are created as lifeless abstractions, almost non-essential participants in the design process. If we are to achieve a better design method- ology, there is an urgent need to develop more accurate means of addressing the emotive power of design. For too long, designers across all disciplines have avoided del- ving seriously into the phenomenological aspects of design. 3 We have simplified our existence and have thought of humans in universal terms, as if there were a common denominator that can serve as the measure for everyone. In fact, the first design criteria that must be reviewed are the proportioning and measu- ring methodologies of the human body. This field needs a con- ceptual poetics based on the beauty of human diversity. Design- ing for being requires more than just measuring the body in its relevant parts; as for any building activity, it must start from the inside and work outward to incorporate all of the qualities of experience. Interior Space and the Second Skin The design of our environment reflects and shapes our under- standing of the world, both through intellectual means and in primal, intuitive ways that reason alone cannot easily compre- hend. Design is the mediation between an interior experience