DOCSLIB.ORG

Generative Logic in Digital Design

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Generative Logic in Digital Design Generative Logic in Digital Design Robert H. Flanag an University of Colorado, USA rflanag [email protected] This exploration of earl y-stage , arc hitectural design pedagog y is in essence, a r ecord of an ongoing transformation underway in arc hitecture , from its practice in the art of g eom- etry of space to its practice in the art of g eometry of space-time. A selected series of stu- dent experiments, from 1992 to the present, illustrate a pro gression in arc hitectural the- ory, from Pythag orean concepts of mathematics and g eometry, to the symbolic r epresen- tation of space and non-linear time in film. The dimensional expansion of space, from xyz to xyz+t (time), r epresents a tactical and strategic opportunity to incorporate multi- sensory design variab les in arc hitectural practice, as w ell as in its pedagogy . Keywords. g enerative; process; derivative; logic; systemic. Generative Space Time Geometry In the 1980’s and 1990’s, Computer Aided Two additional design considerations Design automated the symbolic, geometric r epre- emerged from this study of geometric progression sentation of space, and it did so through the and generative principles: 1. Time emerged as a application of principles of modularity, iteration, dimensional design variable, described by the and recursion. Coincidentally, this created an geometry xyz+t; much as film incorporates non- opportunity for the digital designer to bypass the linear symbolic content as the message carrier, intended management functions of CAD, r epre- architectural design is capable of employing non- sentation and validation, and instead to expanded representational, symbolic means as its message its potential application of r ecursive and deriva- carrier. The multi-dimensional design require- tive design principles. For instance, Corbusier’s ments of xyz+t create an opportunity for a multi- “Modular Man,” the 20th century’s most identifi- sensory design interface. 2. Once this dimension- able architectural icon, addressed principles of al variable is available, sound is addressable. The self-similarity and proportion; the computer effort- periodic construction of sound diagrams, as in lessly and transparently applied these mathemat- musical scores, creates an opportunity for a com- ical and geometric r epresentations of modularity. mon interface and the simultaneous development Similarly, Frank Lloyd W right’s “organic” architec- of vision and sound in a coordinated multisenso- ture, one of the 20th century’s most identifiable ry design process. ar chitectural principles, was unburdened of its complex and laborious analytical r equirements; Precedent its generative potential in r ecursive and iterative principles, became r eadily addressable. “Architecture depends on order arrangement, eurythmy, symmetry, propriety and economy.” - Vitruvius (1st century B.C.) eCAADe 21 digital design 473 reflects a significant advance in implementation. Figure 1. 21st Century Man, Further improvements in generative design capa- by author. bilities followed in the curvilinear and modulated construction of the Coliseum c. 80AD. In these and other civic structures, the inherent beauty of the arch, its use in proportional modularity, and the application of advanced engineering con- cepts defined a standard of beauty and function that resonates through time. Sacred Architecture The first four hundred years of the new millen- nium A.D. witnessed the final advance, then grad- ual disintegration of the civic infrastructure of the Roman Empire; simultaneously, Christianity sub- sumed existing cultural values and mores. 800 years of theocratic adaptations, primarily of Roman precedent, transpired before a fully trans- formed Christian architecture was perfected. “In the Cathedral of Chartres the architect has r eal- ized the cosmological order of luminosity and Ancient Greeks attributed beauty to harmo- proportion to the exclusion of all other architec- nious principles of nature, a r eflection of the tural motifs and with a perfection never achieved gr eater universe, and applied these principles in before. Light transfigures and orders the compo- music, philosophy, and architecture. sitions in the stained-glass windows.… perfect Consequently, generative principles infused the proportion, harmonizes all elements of the build- proportioning systems of column design, building ing (Simson, 1988).” The cathedral operated as a construction, and even anthropomorphic embel- transcendental device according to the harmonic lishment. The Pythagorean, mathematical ratios of a divine universe with “God as its archi- approach “…leads to the use of a constant: a tect (Simson, 1988).” The device activated at con- module. It is the module – appropriate to each and secration in perpetuum, on behalf of penitents as every building - that makes it possible to obtain a device of salvation. eurhythmia … In expressing a higher r eality, they St. Augustine (354-430A.D.) prescribed design turn the temple into the material r ealization of principles for sacred architecture. This knowledge divine truth (Stierlin, 1997).” was required to construct the Cathedral, an Rome appropriated principles of proportional instrument of divine intervention operating at the modularity, expanded its application with intersection of the temporal and spiritual world. enhanced engineering capabilities, and improved The consecration of architecture of sacred pro- construction management systems. The harmon- portions activated the harmonic synchronization ic engineering solution of tiered and modulated between otherwise imper ceptible r ealms. St. stone arches in the 19BC Pont du Gard aqueduct Augustine organized music, architecture, geome- 474 eCAADe 21 digital design try , proportion, and sacred numbers into theolog- Space-Time Architecture ically sound generative systems of “perfect ratios” “…the source of all aesthetic perfection.” Corbusier needed to reintegrate time into Augustine’s unyielding and r estrictive rules of har- architecture – the expediency of productivity of monics and proportions provided the foundation the Industrial Revolution had negated the value of for development of a spiritual device constructed time in architecture. In r esponse, Corbusier devel- on earth – “…rendering it a place in which favours oped cubist techniques to symbolically r epresent are more graciously granted by God (Pontificale multidimensional aspects of space-time in art, “I Romanum).” (http://www .newadvent.org/cathen/ painted my first picture at the age of thirty-one, in 04276a.htm: May 2003). the fall of 1918 (Corbusier).” Picasso, along with Braque, founded cubist expression in 1907, Secular Architecture “Picasso and Einstein believed that art and sci- ence are means for exploring worlds beyond per- The Industrial Revolution signalled a signifi- ception, beyond appearance (Miller, 2001).” cant shift in the concepts of building and design; Drawing and paintings in the New W orld of the division of labour and the specialization of Space (Corbusier, 1948) reflect techniques devel- function began an inexorable transition away from oped by Corbusier so that architecture could the single harmonic reflection of a divine universe. “take possession of space.” Corbusier cagily In architecture, design principles r everted to the avoided crediting Einstein, Picasso and Braque, secular proportioning systems of the pre- except for oblique r eference to “[Those who] Christian era. Sacred principles in architecture spoke of the fourth dimension with intuition and gave way to the profane values of humanism, sci- clairvoyance.” While in the cause of Corbusier, “A ence, and finance – to the great consternation of life devoted to art, and especially to a search after the Catholic hierarchy. Throughout the 17th, 18th harmony, has enabled me in turn, to observe the and 19th centuries, secular design failed to same phenomena through the practice of three achieve stylistic consensus despite rapid techno- arts: ar chitectur e, sculpture and painting logical advances; until the emergence of (Corbusier, 1948).” Modernism, design expression found safety in Corbusier placed man at the centre of his atavistic reference to prior styles. design universe, “We pause, struck by such inter- It was Einstein’s momentous theories on r ela- relation in nature, and we gaze, moved by this tivity (1905) that r edefined the mechanics of the harmonious orchestration of space, and we r eal- universe and all that preceded it – in art, it creat- ize that we are looking at the reflection of light.” ed a foundation for Modernism. Corbusier, an Corbusier’s invention of the Modulor was a signif- architect of extraordinary intellect and talent, icant contribution to design implementation of his arrived at precisely the right time to exploit theories. Einstein’s r evolutionary concepts. “Just as r elativ- ity theory overthrew the absolute status of space Modularization and Harmonics and time, the cubism of Georges Braque and Picasso dethr oned perspective in art (Miller , The Modulor is a harmonic proportioning tool 2001).” used to r elate design to human scale. “A lifetime concerned with the play of proportion has led to a discovery which unites, in a single mathematical eCAADe 21 digital design 475 combination, numbers and the human figure. The logic. Natural systems are open: our knowledge of harmony r ecaptured by the Modulor would be them is partial, approximate, at best (Horgan, without salt if it were exclusively mathematical. 1995).” In this r elated discussion of artificial
Load more

Recommended publications
  • Designing Multi-Sensory Displays for Abstract Data
    Designing Multi-sensory Displays for Abstract Data. Keith V. Nesbitt BMath (Newcastle), MComp (Newcastle), Diploma in Technical Analysis (SIA) School of Information Technologies University of Sydney NSW 2006 Australia Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy January 2003 Abstract 2 Abstract The rapid increase in available information has lead to many attempts to automatically locate patterns in large, abstract, multi-attributed information spaces. These techniques are often called data mining and have met with varying degrees of success. An alternative approach to automatic pattern detection is to keep the user in the exploration loop by developing displays for perceptual data mining. This approach allows a domain expert to search the data for useful relationships and can be effective when automated rules are hard to define. However, designing models of the abstract data and defining appropriate displays are critical tasks in building a useful system. Designing displays of abstract data is especially difficult when multi-sensory interaction is considered. New technology, such as Virtual Environments, enables such multi-sensory interaction. For example, interfaces can be designed that immerse the user in a 3D space and provide visual, auditory and haptic (tactile) feedback. It has been a goal of Virtual Environments to use multi-sensory interaction in an attempt to increase the human-to-computer bandwidth. This approach may assist the user to understand large information spaces and find patterns in them. However, while the motivation is simple enough, actually designing appropriate mappings between the abstract information and the human sensory channels is quite difficult.
    [Show full text]
  • Sensory Study in Restaurant Interior Design Xue Yu Iowa State University
    Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2009 Sensory study in restaurant interior design Xue Yu Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Art and Design Commons Recommended Citation Yu, Xue, "Sensory study in restaurant interior design" (2009). Graduate Theses and Dissertations. 11104. https://lib.dr.iastate.edu/etd/11104 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Sensory study in restaurant interior design by Xue Yu A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: Art and Design (Interior Design) Program of Study Committee: Fred Malven, Major Professor Cigdem Akkurt Thomas Leslie Iowa State University Ames, Iowa 2009 Copyright © Xue Yu, 2009. All rights reserved. ii TABLE OF CONTENT LIST OF FIGURES iv LIST OF TABLES vi ABSTRACT vii CHAPTER1. INTRODUCTION 1 Problem Statement 1 Purpose of Study 1 Organization of Document 2 CHAPTER 2. LITERRATURE REVIEW 3 Overview 3 Sight 3 Ornament and Scale 4 Sunlight 5 Kaplan and Kaplan’s Preference Theory 6 Smell 8 Fragrance 9 Hearing 10 Haptic 11 Touch 11 Temperature and Humidity 12 Kinesthesia 12 CHAPTER 3. FRAME WORK 17 Restaurant market analysis 17 Trend 18 Target customer 18 Framework 19 Sight sensory design framework 20 Smell and hearing sensory design framework 25 Haptic sensory design framework 26 Interaction sensory design framework 31 CHAPTER 4.
    [Show full text]
  • MULTI-SENSORY MATERIALITY Expanding Human Experience and Material Potentials with Advanced Hololens Technologies and Emotion
    MULTI-SENSORY MATERIALITY Expanding Human Experience and Material Potentials with Advanced HoloLens Technologies and Emotion Sensing Wearables MARCUS FARR1 and ANDREA MACRUZ2 1American University Sharjah / Tongji [email protected] 2Tongji University [email protected] Abstract. What is the current state of human/material perception relative to advanced architectural technology? What sensory experiences are possible, and how are they designed and deployed? What happens when advanced HoloLens technologies are used in conjunction with wearable emotion-sensing technologies to connect people with deeper sensory experiences relative to materiality and space? Does this offer a heightened pedagogical perspective when teaching architecture? This paper responds to these questions by expanding on and critiquing a small scale digitally augmented project created in an academic setting. The project focuses on relationships between technology and human sensory experience relative to specific augmented and sensorial engagements. It employs an overlap of HoloLens technology to make and enhance the design experience and wearable emotion sensors to evaluate the human experience. Keywords. Technology; Sensory; Materiality; Augmented. 1. Introduction The work explores what it means to design spaces with high degrees of sensory feedback and potential. It is made in tandem with technology using Rhino, Houdini, Fologram, and HoloLens as a primary decision-making tools relative to the creation of space. The Rhino plugin Fologram extends the experience by offering a user an additional sensory experience while wearing the HoloLens headset or by using the iPhone app. To monitor and evaluate the reaction to the projects, users also wear emotion-sensing UpMood bracelets that collect biodata from the user and result in 11 different emotional states, stress level and BPM, every 1.5 to 3 mins.
    [Show full text]
  • Technology and the Senses: Multi-Sensory Design in the Digital Age
    Technology and the Senses: Multi-sensory Design in the Digital Age Rebecca Breffeilh (student) Mona Azarbayjani (PhD, Assistant Professor at the Center for Integrated Building Design Research) UNC Charlotte, School of Architecture Technology and the Senses: Multi-sensory Design in the Digital Age ABSTRACT both the design process and the experience of architecture. With the As society progresses into the future, the direction that architecture is heading, the impact of technology on different aspects thinking process of the technological of our lives will continue to increase. The approach needs to be reconsidered in challenge for architects lies in order to balance the sensory one. Thus, determining how to combine the theoretical arguments in regards to technological advancements with the significance of multi-sensory design fundamental sensual qualities. For will be studied in this paper, along with architecture in the Digital Age, case studies of how technology and the technological implementation too often senses can work in conjunction with each overshadows multi-sensory design. other. However, when done carefully, technology and digital media can be used THE PERCEPTION OF SPACE to help stimulate the senses and enhance the perception of a place. Through the The dynamic nature of perception means venues of light, sound, and touch, this that it is “continuously changing by paper investigates how technology and various extents” (Kreji, 2008). Not only the senses can work together to impact do people perceive things differently in the experience of a place. the same situation or environment, they also apply different meanings to what INTRODUCTION they perceive. It is this variability that makes it very challenging for architects to Through academics, architects are taught produce spaces that are equally beneficial to address various design aspects of and meaningful to their occupants.
    [Show full text]
  • Biophilic Design Exploration Guidebook November 2017
    BIOPHILIC DESIGN EXPLORATION GUIDEBOOK NOVEMBER 2017 LIVING BUILDING CHALLENGESM 3.1 A Visionary Path to a Regenerative Future Biophilic Design Exploration Guidebook | November 2017 Copyright © 2017 by International Living Future Institute™ All rights reserved. No part of this document may be modified, nor elements of this document used out of existing context without written permission. For information, contact the International Living Future Institute at [email protected]. This guidebook is provided to aide project teams in their pursuit of a biophilic project and compliance with Living Building Challenge Imperative 09 - Biophilic Environment. Use of this guidebook does not guarantee either Imperative compliance or certification under the Living Building Challenge. The Institute is not responsible for any issues that might arise as a result of the use or interpretation of this guidebook. Use of this document in any form implies acceptance of these conditions. The Institute reserves the right to modify and update the Living Building Challenge and guidebook at its sole discretion. THE INTERNATIONAL LIVING FUTURE INSTITUTE The International Living Future Institute (ILFI or the Institute) is a non-profit organization offering green building and infrastructure solutions at every scale—from small renovations to neighborhoods or whole cities. The mission of the Institute is to lead and support the transformation toward communities that are socially just, culturally rich and ecologically restorative. The Institute administers the Living Building Challenge, the built environment’s most rigorous and ambitious performance standard. Learn about our other initiatives and programs on our website: https://living-future.org. TRADEMARKS No use of trademarked terms or logos, in whole or in part, is allowed without written permission of the International Living Future Institute.
    [Show full text]
  • Digital Sensory Marketing: Integrating New Technologies Into Multisensory Online Experience ⁎ Olivia Petit A, Carlos Velasco B& Charles Spence C
    Available online at www.sciencedirect.com ScienceDirect Journal of Interactive Marketing 45 (2019) 42–61 www.elsevier.com/locate/intmar Digital Sensory Marketing: Integrating New Technologies Into Multisensory Online Experience ⁎ Olivia Petit a, Carlos Velasco b& Charles Spence c a Department of Marketing, Kedge Business School, Domaine de Luminy, Rue Antoine Bourdelle, 13009 Marseille, France b Department of Marketing, BI Norwegian Business School, Nydalsveien 37, 0484 Oslo, Norway c Crossmodal Research Laboratory, Department of Experimental Psychology, University of Oxford, Tinbergen Building, 9 South Parks Road, Oxford OX1 3UD, UK Available online 17 December 2018 Abstract People are increasingly purchasing (e.g., food, clothes) and consuming (e.g., movies, courses) online where, traditionally, the sensory interaction has mostly been limited to visual, and to a lesser extent, auditory inputs. However, other sensory interfaces (e.g., including touch screens, together with a range of virtual, and augmented solutions) are increasingly being made available to people to interact online. Moreover, recent progress in the field of human–computer interaction means that online environments will likely engage more of the senses and become more connected with offline environments in the coming years. This expansion will likely coincide with an increasing engagement with the consumer's more emotional senses, namely touch/haptics, and possibly even olfaction. Forward-thinking marketers and researchers will therefore need to appropriate the latest tools/technologies in order to deliver richer online experiences for tomorrow's consumers. This review is designed to help the interested reader better understand what sensory marketing in a digital context can offer, thus hopefully opening the way for further research and development in the area.
    [Show full text]
  • EDRA 51 Schedule Tracks: a Transform Design for Resilience & Sustainability D Transform Places with People and the Environment Draft Jan
    EDRA 51 Schedule Tracks: A Transform Design for Resilience & Sustainability D Transform Places with People and the Environment Draft Jan. 25, 2020 B Transform Education for Our Common Future E Transform Processes and Outcomes for Equity C Transform in Transitions Saturday DN 60 Bridge DN 62 DN 64 DS 143 DS 235 DS 241 DS 226 DS 227 DS 137 Gallery Red Square Registration + 8:00-7:00 information desk Posters exhibits & 1:00-5:15 book display Graduate Graduate workshop workshop 9:00-12:00 Int: 3044 (8:30-11:30) (8:30-11:30) Int: 3151 Int: 3195 Int: 3175 12:00-1:00 Lunch on own Graduate Graduate workshop workshop 1:00-2:30 D1 Int: 2971 (12:45-2:30) (12:45-2:30) Int: 3167 C1 D23 B7 B1 C2 D24 Poster & Digital shorts session (& 2:30-4:00 coffee break) 4:00-5:30 D29 Int: 2971 D34 B9 Int: 3167 D33 B10 Graduate 4:00-6:00 happy hour Welcome 6:00-8:00 reception Sunday DN 60 Bridge DN 62 DN 64 DS 143 DS 235 DS 241 DS 226 DS 227 DS 137 Gallery Red Square Registration + 7:00-6:30 information desk Posters exhibits & 8:45-6:00 book display 7:15-8:15 Knowledge Network Meetings Breakfast Opening 8:15-8:45 remarks 8:45-10:15 D2 D4 D10 D25 E1 E8 A1 A8 B2 C3 E13 10:15-10:45 Coffee break 10:45-12:15 D3 D5 D11 D26 E2 E9 A2 A9 B3 C4 A13 Awards+CORE 12:15-1:35 (Location TBD) 1:45-3:15 D14 D6 D12 D17 E3 E10 A3 A10 B6 C5 B11 Poster & Digital shorts session (& 3:15-4:15 coffee break) 4:15-5:45 D15 D22 D13 D18 E4 E11 A4 A11 B8 C6 B12 Keynote: 6:00-7:30 Michael Ford Monday Registration + 7:00-2:00 information desk 8:30-12 Mobile sessions 1:30-5 Mobile sessions Knowledge
    [Show full text]
  • Sensory Design Poster 2 11.Indd
    SENSORY EXPERIENCES GARDEN ENVIRONMENTS FOR ADOLESCENTS WITH DUAL-SENSORY IMPAIRMENT Laura Herron & Professor Susanne Siepl-Coates_ Department of Architecture, Kansas State University “What if we designed for all senses? Suppose for a moment, that sound, touch, and odor were treated as the equals of sight, and that emotion was as important as cognition?” (Malnar & Vodvarka). ABSTRACT PROCESS FIVE SENSES OUTDOOR GARDEN INDOOR GARDEN Sight has become the primary sense with which we experience our world, to the detriment Personal Interests SIGHT _image of stimulation of the four other senses (Pallasmaa, 2005). Limited sensory stimuli in our _Color daily lives deprive us of the complete experiential awareness available to us. By engaging _Shadow all five senses, all persons, but particularly individuals with vision and hearing impairments Active Creativity Person centered design _Contrast Outdoor experiences Stronger landscape design can increase their knowledge of self and place. Adolescents with impaired sight and _Gestures hearing senses are apt to place stronger emphasis on those senses with which they do _Dark / light receive information. Holbrook (1996) refers to “Inter-sensory Coordination” as the sharing _Distance recognition of information from one sense to another which ultimately helps understanding and mapping _Signing communication of place. Garden environments can be especially stimulating through the tactility of textural pavements or soils, taste of fresh herbs, fruits, and vegetables, and the fragrance of flowers and herbs. Even the smell of air after a rain is stimulating. Encouraging adolescents with SOUND _tone /pitch dual sensory impairment to care for and take part in the cyclical life of nature can improve _Traffic mental stimulation, psycho-social well-being as well as physical and nutritional health.
    [Show full text]
  • Sensory Analysis As a Support for Strengthening the Meta-Design Phase
    SENSORY ANALYSIS AS A SUPPORT FOR STRENGTHENING THE META-DESIGN PHASE FRIENDLINESS, AFFORDANCE AND EXPERIENCE Doriana Dal Palù DAD – Department of Architecture and Design [email protected] Politecnico di Torino, Italy Beatrice Lerma DAD – Department of Architecture and Design [email protected] Politecnico di Torino, Italy ABSTRACT Everyday products are asked today to satisfy far more performances than in the past, starting from their ability to communicate on different levels, consciously or spontaneously, to the user. This attitude of the human centred project defines new requirements such as friendliness, affordance and a global satisfactory experience of the product itself, achievable by acting not just on the user experience, but also on the whole perception of the product, conveyed mainly by the five senses. This paper presents a novel design approach more attentive to the multisensory theme, providing it with the suggestion of a set of possible quali-quantitative tools able to support designers since the early phase of the good sensory design process. Furthermore, several innovative tools driven from the marketing research will be proposed for verifying the outputs of the design process. Finally several case studies of the possible achievements obtained with this approach in current researches in the field of multisensory product design adopting the disclosed tools will be presented. Keywords: meta-design, perception, sensory research tools 1 INTRODUCTION Products are no longer asked to perform only in function as they mostly did in the past; they are now expected indeed to consider contemporary social changes and deliver “soft” and un-visual performances, such as greater sensory expressivity and complex performances, in order to improve the quality of the user experience (Forlizzi, Disalvo & Hanington 2003; Ho & Siu 2012).
    [Show full text]
  • Design Interventions for Sensory Comfort of Autistic Children
    : Open A sm cc ti e Gopal and Raghavan, Autism Open Access 2018, 8:1 u s s A Autism - Open Access DOI: 10.4172/2165-7890.1000227 ISSN: 2165-7890 Research Article Open Access Design interventions for Sensory comfort of Autistic children Arathy Gopal1* and Jayaprakash Raghavan2 1Architectural Solutions Planning Innovations Research Enterprise (ASPIRE) Charitable Trust, Kerala, India 2Additional Professor of Paediatrics and Consultant Child Psychiatrist, Behavioural Paediatrics Unit, Department of Child Health, SAT hospital, Government Medical College, Thiruvananthapuram, Kerala, India Abstract The aim of the study was to arrive at design interventions for sensory comfort of Autistic children. The scope of study included vast and systematic review of literature and few observation studies supplemented with survey of caregivers. A matrix with detailed design guidelines was the study outcome. It was concluded that designing for sensorily comfortable spaces could make the child more manageable and formulated guidelines could aid the design process. But the risk of child insisting on the same setting with prolonged exposure cannot be neglected. Future potential research areas involving design interventions for possibly enhancing neural connectivity in brain regions involved in sensory perception and integration, is also discussed. Keywords: Architectural design; Autistic children; Interdisciplinarity; Design interventions for sensory comfort User centered design; Design behaviour Visual properties of designed environments and user experience Introduction The existing theories and studies on the visual properties of built An exquisite piece of architecture invites and guides us to be environments and how they shape experience are reviewed and more sensitive to the environment [1]. Changes in the environment summarized.
    [Show full text]
  • Senses of Place: Architectural Design for the Multisensory Mind Charles Spence
    Spence Cognitive Research: Principles and Implications (2020) 5:46 Cognitive Research: Principles https://doi.org/10.1186/s41235-020-00243-4 and Implications REVIEW ARTICLE Open Access Senses of place: architectural design for the multisensory mind Charles Spence Abstract Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously.
    [Show full text]
  • Sensory Design
    Sensory Design I perceive, feel, sense Sensory Design We areI usedperceive, to think feel, of aesthetics sense to be something visual, but the word’s origins are in the Greek “aisthanomai”, meaning “I perceive, feel, sense” Content Abstract Field research and consumer visits 38 New York 39 Introduction 8 Findings and insights from New York 41 Research methods Boston 41 Objectives Part 1 42 Interviews 42 Theoretical background Findings and insights from Boston 46 Multisensory design 11 Cross-modal association test 48 Experience of eating 12 Objects, texture, and mouthfeel 49 Food design 13 Findings and insights 50 Multisensory design and the food industry 14 On sensoriality 16 Part 3 From senses to memories 16 Production and the design process Sensation vs. Perception 17 Sight and colour 17 Design philosophy 56 18 Inspiration 57 Synesthetics and the Cross-modal correspondence 22 ShapesSmell, taste, of food touch, and the complexity of flavour 23 Senses and emotion in branding 25 Final pieces 60 Curiosity boards of Valio and Finlandia 60 Constructing sensorial identities 61 Case study: Valio and Finlandia 26 Finlandia –Summer Evening at the Cottage 65 The story of Valio 26 Valio –Summer Morning in the Countryside 68 The story of Finlandia 27 Objectives 27 Mouthfeel of cheese 70 Materials 70 Designing and making 70 Part 2 Design research and insights Conclusion 76 The associations of Valio and Finlandia 30 Finlandia moodboard 1. 30 Finlandia moodboard 2. 31 ReferencesReflections 78 Valio Moodboard 1. 34 Acknowledgements Valio Moodboard 2. 34 Inserting emotions and atmosphere 37 Focus group: Millennials 37 Abstract Sensory design is a design practice aiming at activating our sen- ses.
    [Show full text]