Multi-sensory Architecture

From the beginning, architectures have been a means of housing function or human activity. As such, design was mainly guided by principles such as form follows function. Lately architecture has been driven by the need to visual first with architect Frank Gehry (2014) stating that form follows whatever he wants. Architects have started to disregard the physical, emotional and psychological connections users have to a space. Critics argue contemporary architecture has lost respect for humanity or for anything else, driven by aesthetics and solely engaging with the eye. The multi-sensory design aspect of design has been lost, going minimalistic with white walls and smooth finishes. This has reduced the level of user experience as it is through the body that one perceives, engages and enjoys architectural spaces.

An aural designer at BMW (Emar Vegt, 2013), states how the sound of a closing door is so important in the design of their cars as it affects their sales, being one of the first product experiences a potential customer experiences at a showroom. A potential customer is allowed to open the door and sit inside the car. He then starts the car and is again impressed by the sound the engine makes. Sound thus one of the most important design aspects in the automotive sector. The concept holds for other products too.

In architecture and other design disciplines, the sense of sight is heavily relied on to bring across and appreciate a design. Designers disregard the other senses and only strive to satisfy the visual aspect. However, design has to satisfy the user of the space not only by aesthetic but also provide a space where he can connect with the building with all his being. Dischinger, 2006, noted that instead of completely screening-out (or filtering) sensory experiences, architects seem to develop a systematic bias towards vision.

What about the other four senses—touch, sound, smell, and why not taste? Are there no methods of designing for these other senses to produce a complete design catering to all the users’ senses? Architect Alvar Aalto commented on architecture arguing a piece of furniture commonly used by an inhabitant should not cause the occupant to be uncomfortable in the space weather by glare, heat conductivity, sound absorption and reflection and tactile feel. His architecture involved all the senses inviting the user to touch materials creating intimacy and warmth through construction techniques, materials and features.

It is important to understand that architecture is more than materials and form but deals with the human aspect, looking at their sentiments, environment, space and interactions between them. Buildings and spaces need not be dead spaces or shells to live, work and play but have the potential to be rich sources of stimuli affecting the users’ body and mind. It is the hope that by providing multi-sensory experiences in architecture, the human experience inside these spaces will be greatly enhanced. Architects are expected to design spaces where the users’ senses will be engaged shaping the perception of space and emotional connection to the buildings for each individual user, affecting all the users in a unique way. Critics of sensory design argue that multi-sensory design overloads perception resulting in a space no one wants to use. Charles Landry, 2006, however argues that it opens perception rather than swamp it enriching the identity of space.

This research will look into a how multi-sensory architecture can impact architectural design and the significance of the sensory experience to user. The benefits of sensory design are investigated along with any negative impacts it may have by looking at case studies of existing designs. This thesis will reveal how the senses can communicate with the surroundings to produce a soothing welcoming and warm environment for the user. This will be to establish a practical approach to architectural design using sensory design and how may integrate a more full-bodied approach into our designs including other senses other than sight. The research will look into ways on how we might illustrate the invisible, to be “seen” by the rest of the body not only by sight. The hope is to establish techniques in design to integrate humans into spaces of meaning with unique designs that harbor amazing experiences.