Stretching a room vertically, making it too high relative to its width, will bring a certain sense of recollection and restrict it to only one kind of activity. You'd rather find yourself leaving those rooms if you want to change your activity. Usually we are not aware that our rooms even have ceilings. We know about them, but we don't notice those surfaces when we are in a room.

Unless it's too high or too low. When low ceilings are pushing us out of a room, high ceilings entice us to go inside. Paradoxically the large "empty" space above your head becomes as heavy as does little space above your head. Maybe that's due to the fact that being much higher than human's height they direct our minds on verticality - hierarchy. Shaping the atmosphere to be purposeful, aimed at giving everyone who's inside the same goal.

Rooms at some universities may have disproportionally high ceilings due to the need of bringing a lot of light, staff rooms at factories are like that because they usually are just part of an enormous space that should fit different machines. European churches are a result of a very strong unifying force as well.

On the other hand making a room with a ceiling that is not too high, not too low allow our minds go where they want to go. It can embrace all people, it doesn't care much about what they should or should not do.

We feel relaxed in a cafe which is more wide than it is high. If we allow ourselves we can stay at it for a long time doing different things: reading, talking to a friend, seeing a family member or just observing other people.

Fashion designer Rick Owens is a largely private individual, and based on the highly curated, minimalist aesthetic of his Venice home, it’s clear that it’s because he holds his personal space to be so sacred. “I needed to create a space that was severe and avoided any kind of sentimentality or attachments, a blank slate to completely obliterate, to concentrate on listening to what I really want,” he says in the new issue of MR PORTER. “Living in clutter and chaos and things that are half-done or that are half-hearted, I think, can allow you to be a little bit too relaxed. I can’t be relaxed.”

"...one should not forget the observations on the labyrinth made by Abraham A. Moles, a professor at the Ulm Hochschule für Gestaltung and at Strasbourg University who was behind the aesthetics of information theory in France, and a colleague of Max Bense in Germany. Moles developed a psychosociological theory of space: “A labyrinth is above all a way of partitioning space according to rules of connection or prohibition, the whole set of which constitute what is known in mathematics as topology.” Moles suggested that toposociology was “an endless dialectical game” where concentration and dispersal, in space as well as in time, constituted “a theory of holes in space-time,” adapting this “according to the laws of perception proper to a being’s shells.”