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2014, CASSONE
Architectural review of 'Sensing Spaces: Architecture Reimagined' at the Royal Academy, London, 2014
IAEME PUBLICATION
Sensory Experience of Architecture: Creating Meaningful Spaces2016 •
“Human satisfaction and wellbeing are reliant on perceiving and responding to sensory availability”- Stephen Kellert. Most discourses on architecture and its associated paradigms concentrate on functional and aesthetic qualities of space and entertain various perspectives but ignore the fact that in realty architecture is the physical manifestation of the existential sphere of life and is experienced, interpreted, assimilated and evaluated by users through involvement of human senses which involve the faculty of vision, hearing ,touch, taste and smell in addition to other sophisticated ones like kinesthesia and haptic sense. While in a space, the user’s sense of self merges with the space through multisensory experiences and understanding this extra dimension can give valuable insights into creating meaningful environments that generate emotional attachment . This paper asserts that ssensory features of spaces stimulate the senses and in order to make the best of various architectural design strategies ,it is necessary to consider the potential sensory enhancements that the environment has to offer in addition to various design interventions .This paper primarily seeks to shed light on a sensory architectural methodology, with the primary aim of understanding how the senses make human environment legible and their role in creating an executable architectural language. Two different prototypes of commercial spaces are critically explored and compared to derive an understanding of how incorporation of multisensory cues can engender meaning in everyday spaces of human use.
A research about the senses in relation to architecture and their status of importance in current architecture. " Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses "
Experiencing the richness of architecture through senses are the hallmarks of timeless architecture. The interactive process of encoding and decoding forms and spaces in architecture leads to experience. This paper focuses on understanding how the architectural marvel still evokes emotive responses in the perceiver. Exhaustive studies of a large number of architectural marvels obviously have an element of subjectivity with respect to the purpose of study for which the study is conducted. In this paper, our perception of holistic experience on few of the case studies is discussed at length.
Lecture Notes in Networks and Systems
Meaning of Senses in the Perception and Shaping of Architecture2021 •
This paper describes an experiment entitled Experiment 2-``Feel your Design`', which belongs to a group of experiments undertaken in the context of a PhD in architecture. The goal of the experiment described in this paper was to evaluate the emotional reaction of a viewer to changes in the sensory perception when being stimulated by viewing, listening and smelling immersive architectural models. The Experiment was taken as part of a workshop with students of architecture. The workshop incorporated concepts of``Sensory Design`' and``Emotional Design`'. The task assigned to the students proposed that immersive, atmospheric models were built according to a specific narrative and included specific scents and sounds which were supposed to re-enforce such a narrative or induce a certain mood. The results of the Experiment were evaluated through the use of a ``PresenceQuestionnairè' and a ``SAM chart`'. The Experiment had the participation of 7 students who produced one model each and served in the Experiment as subjects. Experiment 2 took place on the last day of thè`Feel your Design`' workshop. The host institution was Fachbereich Architektur, Digitale Werkzeuge, TU Kaiserslautern. The experiment had the technical support of the Deutsches Forschungszentrum für Künstliche Intelligenz GmbH (DFKI).
2014 •
The historically lush and varied sensory environments we evolved in have paled to a relatively bland homogeneous palette. With ever-increasing technological accuracy, the environments we now design and build are controlled to narrowly acceptable ranges of temperature, light, smell, sound and color. To address the comparatively impoverished sensory environments prevalent in contemporary architectural/urban design practice, this paper explores the intersection of the design and engineering professions as they overlap inthe realm of the senses. The paper presents a new framework for design of sensory spaces including light, color, temperature, smell, sound, touch and the personal and communal spaces brought to life through habitual use patterns. Each of these sensory dimensions is identified as an independently shaped space with attendant characteristics of location, boundary, intensity, duration, etc. which may coincide with or only partially overlap the architectural geometric space ...
The bodily senses–touch, taste, sight and smell–should be fully engaged throughout the process of both making and interacting with architecture and art. Three works by Swiss architect Peter Zumthor reveal the generative role of the senses in poetically orchestrating light, space, form, color and tactile material properties. Each exquisitely intertwines light and one primary material to great effect: wood in the Expo 2000 Swiss Pavilion, stone in the Vals Thermal Baths, and concrete in the Bruder Klaus Chapel. Just as installation art engages a specific place in time, so too does the most provocative architecture. Zumthor’s buildings support a human sensory connection to place and a deep awareness of time and material transformation through natural forces. Though the importance of the senses in making may seem indisputable, current architectural design processes have become increasingly focused on visuality as the physical world is dematerialized by electronic media and appearance is often valued over existence. This situation in architecture is not unique, however, for we all live in an increasingly visual and image-conscious culture. Because architecture and art is disseminated and legitimated in 2D media, more architects and artists are concerned with creating work that will appear well in magazines than aim to support human occupation or engender sensory engagement. Nevertheless, the essential power of touch, sound, and smell clearly persists. Phenomenology, in its desire to restore the sensory plenitude of lived experience, has been revelatory for the disciplines of art and architecture. Rooted in the ideas of Husserl, Heidegger and Bachelard, for example, Juhani Pallasmaa’s writing laments the loss of sensuality in culture and architecture. In The Eyes of the Skin: Architecture and the Senses, he describes the contemporary dominance of vision or ocularcentrism and argues that the senses are not independent, but interactive and synergetic. From a related position, Zumthor articulates nine things in his creative process that produce a unified sensory approach. He considers how human bodies find pleasure and protection in specific thermal conditions. As Zumthor’s work eloquently exemplifies, the senses together spur enlightened reflection and amplify human experience of architecture and art.
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