Smell and its relationship to architecture
Smell and its relationship to architecture – The multi-sensory architecture design dates back to the 2010 Diller Scofidio + Renfro exhibition, and to learn how wine has become a recent exhibition at the San Francisco Museum of Modern Art, it is considered one of a series of art galleries that architects have developed over the years and that challenge The main feeling, try designing the gallery that includes the scent wall, is that it has combined the sensual aspects (wine, color, texture) by touch by touch.
Sensory design and its relationship to architecture
Let’s ask what comes to your mind when you encounter the term “sensory design”? Possibly a picture of a rainroom, unconventional dining utensils, an apparently compact chair.
But the way things really feel differs by their smell or even their taste, and by this it is difficult to catch, this difficulty indicates how deep the tyranny of vision is. Since there are many shapes through which you feel sensory design, so could other senses be the keys to unlocking broader empirical facts? Does an eye-based bias for art, architecture, and design actually transform a deeper collective experience?
These questions are located in the heart of the current Cooper Hewitt exhibition The Senses: Design Beyond Vision, sponsored by Ellen Louboutin and Andrea Lips, where people go to museums because they want a real experience with real things, where the show takes the idea that sensory design or conscious design for a full set of sensory experience , It could better connect us with the physical world and help us find our right place in it.
While sensory design only entered into popular discourse in the past decade, the ideas behind it first appeared in the 1950s, in the work of Zero Radical Art Collections in Europe and Gutai in Japan, realizing the limited ability of vision alone to influence their audience, these artists directed their work In all senses, the result was a profound form of criticism that confronted the face-to-face shift of the consumer model.
The history of architecture design is multisensory
Verner Panton’s future Vision 2 exhibition (1970) was organized on a boat docked on the River Rhine, the overwhelming environment collapsed the differences between the walls and the floor, making every perfect textured surface to lean on, and this pattern is combined with the brightly colored lights marking areas Different, gave space a pleasant air.
Zero sought a completely new approach, calling for an art that included a whole sensory spectrum, where light, sound, reflection, and optical illusion were of a second nature, as well as living acts such as beating, chipping, burning, and blasting explosions, Gutai followed a similar set of activities but was a more theatrical touch: media environments were Multiple wide-range and technicolor dresses made from light bulbs are common props for equally exotic performance.
In this case a multisensory approach bridges the communities of hearing, deaf and smelling, it is not overly optimistic to think that it can perform similar function in other aspects of society, sensory technology including virtual and augmented reality is almost everywhere like a laptop, though Sure she is still a teenager and an intruder.
Dylan says we are moving ourselves visually at the expense of other things but adding that with the disappearance of devices, there will be a tendency to assimilate technology into the toolkit we use.
However, with the amount of work presented in this field, architecture related to the sensory pattern in general, and in particular to architecture and its relationship to the sense of smell, has a great influence on innovative designs today.
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