Faculty of Engineering, Blekinge Institute of Technology, 371 79 Karlskrona, Sweden Master of Science in Spatial Planning
June 2020
The importance of the perceptional quality in town
planning to an adequate self- recognition
ii This thesis is submitted to the Faculty of Engineering at Blekinge Institute of Technology in partial fulfilment of the requirements for the degree of Master of Science in Spatial Planning. The thesis is equivalent to 10 weeks of fulltime studies.
The authors declare that they are the sole authors of this thesis and that they have not used any sources other than those listed in the bibliography and identified as references. They further declare that they
Contact Information: Author: Anita Albert E-mail: : nninosh@gmail.com Phone : +46 723 04 95 02 University advisors: Jimmie Andersén Faculty of Engineerimg
Blekinge Institute of Technology SE-371 79 Karlskrona, Sweden
Internet : www.bth.se Phone : +46 455 38 50 00 Fax : +46 455 38 50 57
“Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses.”
Juhani Pallasmaa1
1Pallasmaa, J., The Eye of the Skin: Architecture and the Senses, Chichester: Wiley-Academy press, 2005, pdf, p. 72.
ACKNOWLEDGEMENTS
This work owes so much to so many, who encouraged my work in different ways, all of whom I could not possibly mention. However, I want to thank all those who helped me to conduct this work.
I want to take this opportunity to express my gratitude to all staff at Blekinge Tekniska Högskola, Karlskrona, Sweden, where I undertook this thesis. I am particularly grateful for my supervisors Peter Schlyter and Jimmie Andersén.
Also, I would like to thank Helena von Bergen as a very committed person in the field of cooperation between art and architecture.
I want to thank all who participated in the survey, thereby contributing to the completion of this work.
Furthermore, I want to thank the University of Salford, Manchester and Mr Andrew Johnson for providing contact with the Research Center and access to relevant scientific research.
Anita Albert
ABSTRACT
The way, how we perceive our environment has a significant impact on our daily lives and thus on our social relationships. On the one hand, humans of today are limiting their experiences of the physical environment, and neglect “spiritual” aspects. On the other hand, a perceptual imbalance has evolved which is accompanied by the rapid urbanisation of today. These two phenomena are associated with each other. The above-mentioned evolved imbalance has a significant impact on human’s life quality.
Therefore, the present study investigates the importance of sensory perception as an aspect of human behaviour in the built environment.
To examine the topic, firstly, I reviewed past literature written on this topic.
Secondly, I conducted qualitative researches regarding the topic, both an open-ended questionnaire and also freeform interviews.
The purpose of the qualitative methods described above was to give an insight into the approach and interpretation of the perceptual disturbance.
I conclude with my findings reached through the literature reviews. That is followed by a suggestion regarding the significance of the participatory education of the designers.
The present paper remains theoretical and approaches to perceptuality from the sensory aspect.
TABLE OF CONTENTS
ACKNOWLEDGEMENT
ABSTRACT
INTRODUCTION 1
Purpose of the thesis 1
Problem description 2
Organisation of the thesis 3
Delimitation of the thesis 4
Methodology 4
Questionnaire 4
Freeform interviews 8
PART I
CHAPTER 1. - CONCEPTS AND APPROACHES USED IN THE
PRESENT STUDY 10
Urban environment 10
Spatial recognition and spatial codes 11
Public space 15
Public art 16
Senses – Sight and the evolved hegemony of sight 18
Senses – Touch and the tactile perception 26
Senses – Smell, taste and hearing 28
CHAPTER 2. - SPATIAL PERCEPTION 31
The concept of architectural quality 31
Architecture and perception 32
Significant perceptual changes in the history of architecture 36 How spatial development started in history 38
PART II
CHAPTER 3. – SITUATED KNOWLEDGE 40
Artistic design for the senses 40
Sight 41 Touch 41 Smell, Taste 42 Hearing 44 Art objects 45 Place design 47
Stumholmen, Karlskrona, Sweden 47
Millenáris Park, Budapest, Hungary 55
CHAPTER 4. – QUALITATIVE EVALUATION 61
Questionnaire 61
Evaluation 65
Interpretative text analysis 70
Summary of the findings 74
Freeform interviews 76 PART III CHAPTER 5. – CONCLUSION 77 CHAPTER 6. – SUGGESTIONS 79 Design practice 79 Education 79 APPENDIX
Questionnaire (the blank formula) List of Illustrations
List of Figures
AUTHOR’S DECLARATION
1
INTRODUCTION
Purpose of the thesis
“People in a modern city are like rats in a maze.”2-as Anna
Januchta -Szostak begins her paper The Role of Public Visual Art
in Urban Space Recognition (2010).
Urbanisation has accelerated considerably today, and many studies discuss it. Besides the positive accompanying facets of
urbanisation, there are negative ones. We face social problems, like inequality and poverty, equal opportunity and segregation - just to mention some of them. The rapid urbanisation and its implications have a significant impact on mental tolerance, which is,
nevertheless, increasingly needed today.3 In many cases, proposed solutions are rather technical (engineering), and social issues are not adequately addressed.4
Sensory perceptions are of great importance in “reading” our living environment and is one of the potential reasons for a complex issue, namely the quality of the living environment. It has many sides and projections, which are emerging questions today.
In this paper, I want to focus on the issue of the human perceptual, understanding its importance and role to avoid the perceptual disturbance.
While reviewing the past literature, I confronted such approaches which are of relevance in the subject but need further discussion. I touch upon them briefly. The concepts and definitions used in this
2 Januchta-Szostak, The role of public visual art in urban space recognition, 2010, pdf
3 Ewans G. W., The Built Environment and Mental Health, article in Journal of Urban Health, pdf 4 Such judgements, like "adequate", "proper", "evident" or "normal"...etc are all so-called children of the social filters, which we face daily. The social filters judge the everyday things we carry out. In order to an acceptable answer, there is a need to follow up and face them. The society is a system where we all live and demand certain answers (e.g. deadlines etc).
2 paper are to support the essay. These concepts are introduced in Chapter 1.
Problem description
On the other hand, although the life-quality expectations are partly an effect of technical and “socio-economical-technological” advances, humans need to meet growing social expectations. These “social expectations” could be seen as a set of new hopes which work as a motivation for meaningful activities.
One aspect that society can contribute to its citizens is the quality of the built environment.5 The built environment is expected to provide us with a clear “perceptual-symbol system”6, to carry out daily things. However, the perceptible richness7 can contribute to a deeper experience of ourselves in the built environment. To be surrounded by a sensory-rich environment adds quality to the everyday.8 To acquire all necessary or desired elements or skills for the sense of totality, the quality of the surrounding environment is of great importance.
5 The issue of the quality of the built environment is arguable and so discussable (further discussed in chapter 2.)
6 The expression is from Lawrence W, Bursalon (1999), Perceptual symbol systems, abstract, pdf. 7 In the thesis, the concept of perceptual richness is understood as follow: In overall, primarily clear and identifiable signs for the senses, which serve the human in eg navigation and orientation in the place; and additionally, carry secondary information. Through the additional information, humans can build up a stronger and often emotional connection (e.g. iconic buildings become iconic due to their expressive appearance. In this sense, those buildings provide the eye with additional information.)
The built environment operates sensory modalities and through them, humans can experience the environment. Additional perceptual "codes" which improve recall lead us to experience the environment better (eg easier navigation). In this sense, richness is quality.
In the above-described understanding is based on the abstract written in the Stijačić - Durdevic (2017) paper.
8 Pallasmaa, J., The Eye of the Skin: Architecture and the Senses, Chichester: Wiley-Academy press, 2005, pdf. In his book, the author approaches architecture from the side of perception and stresses the importance of sensory-rich architecture. In Chapter 2 - Architecture and perception I discuss that more in-depth.
3 In the essay, the focus is on human perceptual, understanding its importance and role to avoid the perceptual disturbance. I named this phenomenon sensory lameness.
First, I presume, that the needed proportion of the perceivability is, to some extent, broken. To examine and prove this assumption, I review literature.
Secondly, I want to answer the question: How can architecture (as a material-based art) contribute to town-planning – concerning sensory experiences?
The organisation of the thesis
To approach the evolved problem addressed in the thesis (viz. the evolved perceptional imbalance), I did an extensive literature review on the subject. Also, I prepared a questionnaire to get an overall picture of humans’ attitude to their environment.
Additionally, I conducted freeform interviews. Both methods are further discussed in the next subchapter.
The subjects of the present paper are divided into parts: Part I – setting the concepts used through the thesis; Part II – situated knowledge and qualitative evaluation with analysis; Part III – conclusions and suggestions.
The parts are subdivided into further chapters and sub-chapters for clear traceability and better understanding.
perceptional richness
multi-sensorality
stronger self
-identification better mental health
Illustration 1: The importance of the perceptual richness. Source: Author’s own
4 Delimitation of the thesis
The thesis primarily uses literature., which focuses on the direct connection between accessible architectural objects and the human senses.
I have indicated the steps were taken to reduce emerging subjectivity issues, but this cannot be completely ruled out. The steps mentioned above are described below
(Methodology). Furthermore, the theoretical and practical experience gained in the field was of primary consideration in the investigation the topic, and so the present
investigation emerged from a personal interest.
As outlined in the abstract, the paper remains theoretical and approaches to sensory perceptuality from a
philosophical aspect.
Methodology9,10
The importance of the qualitative method lies in providing insight into the conceptualisation or interpretation of a phenomenon. In this work, a combination of qualitative methods was used to see the role and importance of sensory experiences in the built
environment. Open-ended questionnaire and freeform interviews were both executed. In the followings, I refer to the freeform interviews as personal discussions.
Questionnaire
9 I based the "Methodology" chapter on the following research: Qu, S. Q. - Dumay, C. J., The qualitative research interview, an article in Qualitative Research in Accounting & Management 8(September):238-264 · May 2011, pdf
10I based the "Methodology" chapter on the following research: Knapik, M., The Qualitative Research Interview: Participants' Responsive Participation in Knowledge Making, article in The International Journal of Qualitative Methods 5(3) · September 2006, pdf
5 The questionnaire was to reveal the participants’ sensory perceptions concerning their environment. The purpose of the evaluation was to get an overview of how the different people experience and perceive their environment.
The evaluation presents the results of the questionnaire about spatial perception (Appendix, Questionnaire, the
blank formula in English), which addresses familiarity (F),
identification (I) and the self-recognition (SR) in the place. The investigated areas, described above, were chosen after the theoretical research (further discussed in chapter 4).
In the followings, I give the reasoning for (1) the chosen type of survey (advantages vs disadvantages),
(2) the selected participants and their grouping, (3) of the free choice of the place,
(4) the role of the asked personal information
(5) the provided information concerning proper filling (6) the chosen coding method
(1) I first describe the pros and contras of the open-ended questionnaire. On the one hand, the advantage is that they leave ample space for the respondents. Generally speaking, open-ended questionnaires grant free opining. Therefore, they add colour to the survey. They help respondents feel curious about their opinion. Also, the researcher can obtain new information which he or she did not foresee before. On the other hand, the
disadvantage is that they are somewhat challenging to process and encode. Furthermore, the possibility of
6 distortion is probable in case of an open-ended
questionnaire (e.g. prejudices concerning the topic, using of adjectives and descriptive statements are probable; subjectivity – the selection of the participants; the evaluator and his/her approach to the subject;
mistranslation).11
(2) As for the chosen selection of the participants and the grouping, I wanted to address citizens in general. I was curious about the approach of both educated and non-educated, young and old and the everyday (ordinary) people as well. I mailed the forms to individuals, and after receiving the answers, I created the four groups for easier manageability. The groups provide coverage for all the participants.
The reasoning for separation the young generation is that they are before higher education. Their approach is often considered extrovert and open; thus, their opinion is of considerable significance as the emerging
generation.
The justification for non-grouping the older generation is, on the one hand, that they are either educated or non-educated. On the other hand, the approach of this generation is often considered more introvert, secluded or even reclusive. Additionally, elderlies have much knowledge (e.g. historical, emotional) which can add a sense of familiarity to a place. In general, we can say,
11 Ecommerce Growth, Qualitative Research: Definition, Methodology, Limitation, Examples (April 3, 2019), Valentin Radu, available: https://www.omniconvert.com/blog/qualitative-research-definition-methodology-limitation-examples.html
7 while the younger generation is more socially active, flexible, and is at the beginning of their lives, the older generation is more reserved and is the twilight of their lives. We can also say that the younger ones go in the life inwards, while the older ones go outwards. These two generations are the most sensitive ends of society.
(3) The reasoning for the free choice of the place is, that (1) the site itself is not of significance, but the emotional (whether positive or negative) approach to that; and (2) the freedom of choice can give the sense of security to the participants.
(4) The role for asking personal information is to get a better insight about the behavioural patterns in a place (occupation, biological sex, age, having children, marital status, familiarity with the chosen location, origin). These information are not conveyed by the answers but provide essential data for further evaluation.
(5) The questionnaire was provided both in English, Swedish and Hungarian languages. I discuss the steps I made to minimalise the risk of distortion in Chapter 4. I have sent the open-ended questionnaires by mail. The questionnaire was mailed to a first and foremost self-selection bias.
A deadline for returning the filled questionnaire was stated in the mail, such as contact address (e-mail, mobile phone, the possibility for further explanation if needed).
8 (6) As for the coding I made an interpretative analysis12 of
the received answers. Generally speaking, Interpretative Context Analysis requires some richness and depth, which should be captured in a way “which permits the researcher to work with a detailed verbatim
transcript”13.
I conducted a content analysis to identify message characteristics embedded in the received texts. That is to fulfil the purpose of the evaluation. In the Qualitative Content Analysis, the primary interest was in the
meanings associated with messages. The purpose of this analysis is to accomplish the objective of the
questionnaire by describing the content, the structure, and the functions of the messages contained in texts.14
Freeform interviews
By way of precursive, I want to set, that the interlocutors were chosen by personal choices. This put a subjective colour on the matter at some points.15 Both Art objects16 and Place visits17 (Part II, Chapter 3) are based on freeform interviews.
12Frey, L., Botan, C., & Kreps, G. (1999). Investigating communication: An introduction to
research methods. (2nd ed.) Boston: Allyn & Bacon, Chapter 9., pdf
13 https://en.wikipedia.org/wiki/Interpretative_phenomenological_analysis 14https://en.wikipedia.org/wiki/Interpretative_phenomenological_analysis
15 The issue of subjectivity needs to be addressed as a potential source of bias. In order to minimize the distortion that has arisen, certain steps need to be taken on the one hand, and personal nature needs to be clarified on the other hand, as it may lead to bias.
16 Art objects are mentioned but briefly, as (1) the relevance due to the strong base on sensory perception (2) their subjective level is of the risk of possible bias.
17 Place visits are not conducted as case studies but rather as site visits. The relevance of the place visits is in the provided place - experience (one is situated as part of a small town, the other is situated in the middle of heavy city ).
9 These personal discussions are pasted in the regarding chapters; the information about the interlocutors are indicated in the footnotes.
In the followings, I provide general information about (1) the advantages and disadvantages of the face-to-face
interviews, in general
(2) the role of the freeform interviews in the present investigation
(3) the motivation (4) the execution
(1) The indisputable advantage of such a conversation is the eloquent presence of body language as it carries and transmits secondary information. Additionally, the presence of trust and transparency is of great importance.
Disadvantages include finding the appropriate time, the incurring costs for facilitating a meeting, and also, the ineffectiveness for larger gatherings.18
(2) The talks function as extended arms with the
questionnaires. Although both the questionnaire and the discussions are conducted for collecting information, the latter is primarily oral expression which should be viewed as unstructured interviews. On the one hand, they undoubtedly add to my knowledge on the subject.
18 Oltmann, M. S., Forum: Qualitative Social Research, Qualitative Interviews: A Methodological Discussion of the Interviewer and Respondent Contexts (Volume 17, No. 2, Art. 15 – May 2016), available: http://www.qualitative-research.net/index.php/fqs/article/view/2551/3998, pdf
10 However, on the other hand, in an evaluative system, they do not have such weight as a questionnaire has.
(3) The discussions were guided by the emerged interest, thus, highlighting an aspect of the potential reasons for a complex issue.
(4) Even though both the discussions and the survey were conducted at different times, the discussions can confirm or weaken the shown attitude gained after analysing the questionnaire.
10
PART I
CHAPTER 1 – CONCEPTS AND APPROACHES USED IN THE PRESENT STUDY
As mentioned in the introduction part, it is necessary first defining how the study interprets the concept used in this thesis. I consider it essential in order to identify or neglect certain aspects, all of which can contribute to the social issues that we are facing today.19
Urban environment
Setting the morphological space with keywords such as ‘built environment’, ‘dense human settlement’ or ‘network of infrastructure’, all of which lead us to associate with the urban environment. However, mapping the concept of urban environment raises a number of concerns about planning, urban governance, landscapes, public policies, public and environmental protection, all of which are the urban environment.20 There are many different and somewhat complex approaches. In this study, the urban environment outlines a modified and recreated environment, which has severe impacts on social relations and, therefore, on social cohesion. Additionally, the importance of the quality of the environment where people are “forced” to live is of increasing importance. The environment directly influences health and plays a significant role in the quality of life. The built environment (buildings, infrastructure or infrastructure networks) affects both human health and the quality of the environment.21 For instance, taking a closer look at promoting sustainable transport, say cycling – it is known that (1) cycling increases physical activity and (2) reduces vehicle pollution and
19 In the followings, certain issues are outlined which needs further examination to get insight. 20 ed. Gilles Sénécal , Urban Environment: Mapping a concept, , 2007, vol 1, p. IV à V., pdf 21Ewans G. W., The Built Environment and Mental Health, article in Journal of Urban Health, pdf
11 accidents. So, promoting cycling has direct effects on both human health and the built environment.
Spatial recognition and spatial codes
In this phase, I introduce 3 authors and through that, I approach the understanding of spatial recognition.
First, by spatial codes, the present work defines the objects and elements which help to recognise the environment in which the people live. In his book, The Image of the City, Kevin Lynch defines five physical, perceptible elements which are determining the urban space organisation, such as paths, edges, districts, nodes
and landmarks.22 These elements form a chain of mental images as a structure of city images. Other influences of imageability (like culture, history or other socio-economical and functioning) aspects are glossed over in his book.
Secondly, to outline spatial recognition, the enlargement on a subject, to a degree, is of significance.
Kevin Lynch introduced the mental map term into town planning as a method of spatial code notation and recognition.23 As written in Anna Januchta-Szostak’s paper “The mental mapping method also allowed to discover what kind of attention people paid to particular places and what role artworks played in recognition and identification of urban space.”24 To decode the environment, people need to get access to the knowledge of the elements which determine the urban space.
According to Kevin Lynch’s formulation:
“By the sense of a settlement, I mean the clarity with which it can be perceived and identified, and the ease with which
22 Lynch, The Image of the City, chapter III passim
23Januchta-Szostak, The Role of Public Visual Art In Urban Space Recognition, 2010, pdf 24 Ibid.
12 its elements can be linked with other events and places in a coherent mental representation of time and space and that representation can be connected with nonspatial concepts and values. This is the join between the form of the environment and the human processes of perception and cognition.”25
Also, Lynch designates three essential components of sense, such as
congruence, transparency and legibility26 as crucial qualities of good city form. In his interpretation, first, congruence is rather a formal link between the environmental and the nonspatial structures. In Lynch’s formulation congruence is the “perceptual ground of a meaningful environment”. Thus, it is the ground for perceiving and understanding the environment. The second component he identifies is transparency, and the grade of transparency is essential to have in order to carry out daily routines of ours. Legibility, the third, is about the communication between the settlements and the inhabitants. All these qualities are explicit connections which help to link the settlement form to certain features.
The author explains, “the simplest form of sense is identity, in the narrow meaning of that common term “sense of place” and adds “A good place is accessible to all senses …”27 The word, recognition, has a clear and rather practical meaning (identifying an object); Beside this, it has a deeper meaning as well. In the words of Lynch “Place identity is closely linked to personal identity.” 28 The author points at the power and importance of the emotional connection to places; thus, the reinforcing connections between places and occasions.
25 Lynch, A theory of Good City Form, 1981, Chapter 8. Sense, pdf 26 Ibid. Chapter 8. passim
27 Ibid. Chapter 8. p.131. 28 Ibid. Chapter 8. p.131.
13 Ingrid Järnefelt’s book, the Identity-Identification - Aspects of
Identity in the Built Environment is essential to mention. In her
book, Järnefelt makes comparisons between Kevin Lynch’s and Edward Relph, ’s aspects and theories about the understanding of places and identity. The comparison is made based on the
theoretical concepts presented in the two theorist’s books (Lynch:
The Image of the City, Good City form (1981) and Relph: Place and Placelessness (1976). The two approaches complement each
other and so to merge them is worthwhile. It should also be added, that both authors mentioned above did contribute to a great extent to the understanding of the built environment.
As Järnefelt points out - Lynch’s normative approach reveals itself, i.e. in “measuring the quality of the environment concerning identity”, Relph’s approach to the phenomenon in question is more discreet and not measurable. She concludes that Lynch is more normative on the issue of identity, while Relph is more descriptive and problematic.29
Januchka-Szostak, in her 2010 study The Role of Public Visual Art
in Urban Space Recognition writes about the phenomenon of space
recognition. The author refers to Edward Chace Tolman’s
discovery of the process of constructing and accumulating spatial knowledge. He laid the groundwork for mental maps construction as a tool of urban structure recognition. By Januchka-Szostak: “The mental mapping method also allowed to discover what kind of attention people paid to particular places and what role artworks played in recognition and identification of urban space.30
29 Järnefelt, I., Identity-identification, Aspects of Identity in the Built Environment, Lund University, Department of Architecture/Urban Planning, 1999. p. 29.
14 Moreover, according to Januchka-Szostak’s paper “The
phenomenological experience of the character of the environment, regarded as genius loci, combines simultaneous perception of the visual structure of enclosure with identification of its cultural and symbolic meaning.31
As architect students, we learned the difference between “space” and “place”. Hamvas Béla, in his book Öt géniusz, describes the main difference between “space” and “place” by saying
“Place should not be confused with space. The difference between them is that places are numerable while the spaces have a face. The place, if not exceptional, can always be defined by precise lines, its area can be calculated in square millimetres, and its shape can be drawn by a compass and a ruler. While the place is always a geometric figure, space is a painting and drawing, and there is no more than that one. The place has a formula while space has a genius.”32
(translated by the author of the present paper, see the quote on the original language under Bibliography).
Although the concept of space has been formulated in many different ways and with other aspects in mind (e.g. H. Lefebvre: The Production of Space, 1974), I will continue following the more “spiritual” approach outlined by Kevin Lynch and Juhani
Pallasmaa, mentioned later.
The earlier-mentioned Januchka-Szostak refers to the German architect and urban planner, Michael Trieb and his presentation of the symbolic code of the subsequent notation of the urban plan. Among other things, Januchka-Szostak points at the role of spatial codes and symbols in the self- recognition. According to her
31 Januchta-Szostak, The role of public visual art in urban space recognition, 2010, pdf 32 Hamvas, Öt géniusz, 1985, pdf
15 research “The behavioristic psychology research reveals that the attributes of space which are recognised by observers concerning continuity, coherence and uniqueness enable people to identify a place.”33 Summarising Januchka-Szostak’s findings, the existence in space, in her interpretation, means localisation and
identification.
Based on all this, spatial recognition is a kind of synesthesia of both physical elements (e.g. iconic, spatial elements with symbolism), and their identifiableness.
Public space
In the traditional sense, public space is based on the unity of society, based on the shared values of the members of society. In Rosalyn Deutsche’s Art and Public Space: Questions of
Democracy, the changes in the public space definition were
presented through a genealogical approach. In her opinion, the public space is linked to the concept of democracy, and so the term “public space” is a political issue. Deutsche emphasises that there are many debates today about the concept of public space. She adds that clarifying the issue is quite urgent.34
Additionally, she states that public spaces can be seen as an interpretation of democracy. As she says, “The term “public” has democratic connotations. It implies “openness,” “accessibility,” “participation,” “inclusion” and “accountability” to “the people.” Discourse about public art is, then, not only a site of deployment of the term public space but, more broadly, of the term
democracy.”35. In her opinion, the first anti-democratic application of public art concept can be linked to urban development.
33 Januchta-Szostak, The role of public visual art in urban space recognition, 2010, pdf
34 Deutsche R.,Art and Public Space: Questions of Democracy, Social Text, No. 33 (1992), pdf, pp. 34-53
16 Significant social problems remained hidden, claiming that, in the name of aesthetics and usability, universal human needs are served (such as comfort or recreation, through the works. As she
continues “The issue is inseparable from a far more extensive eruption of debates about the meaning of “democracy” — these debates are taking place in many arenas: political philosophy, new social movements, educational theory, legal studies, mass media and popular culture.”36 The author often emphasises that the participants in the discourses about “public space” are not clear about the meaning of public space and have ambiguous
approaches. Thus, whether the phenomenon itself is political or social is an open question.
Public art
In the case of public art, the situation is similar. Rosalyn Deutsche detected a very similar aspect on the discussions of public art. As she notices that, the discourse about public art has changed and intensified since the 1980s. In her reading, this change in the conversation about public art is partial. The reason for that is the fact that the assessment of public space is still a question.
When talking about the quality of the environment and a clear self-identification in that, art pieces get an important role.
First, setting the concept for public space we consider that as a place based on the shared values of community members, as discussed above.
Second, taking the issue of public art, it moves on a broad spectrum. It includes almost everything that goes beyond
museums, in public spaces, in the relationship between urban and built environment; from community building projects to virtual
17 works. Therefore, the concept of public art is challenging to cover with a general and unambiguous definition.
Both at Palatinus (A köztéri művészet szerepváltozásai, 2014) or Tihanyi (Kreatív stratégiák és a köztéri művészet szerepe a városrehabilitációban, 2012), the political role of public art, appears inevitable. They both state that the two are inseparable from each other. It suggests that public art does have a political role.
Rosalyn Deutsche stated many questions regarding the political role of public art, such as “Are the artworks for the people? Do they encourage participation? Do they serve their constituencies?” Public art terminology also alludes to a general democratic
spirit of egalitarianism: Do the works avoid “elitism?” Are they “accessible?”37
According to Deutsche, public art often supposed to solve specific conflicts between artists and other users of space. In her reading, it means that public corresponds to democratic, which is a conflict because democracy itself is a somewhat ambiguous concept yet.38
The Konst I Blekinge pod (2018) posed the question of whether we need art in the public space and public places. Also, the program tried to explore the importance of designing our living
environment.39 The interviewees were Sölvesborg city architect Fredrik Wikberg and Sofia Lenninger, Cultural and Library Director.
Both interviewees highlighted the importance of art pieces in the urban environment, and they emphasised the great importance of
37 Deutsche, The Question of "Public Space", pdf 38 Ibid.
18 art pieces to identify ourselves in the cities. Also, they both
highlight, how much that can affect human behaviour such as experiencing or even “using” the city environment. The importance of ‘identifying’ and ‘recognition’ as keywords do appear in many studies written on this topic (e.g., Januchka-Szostak (2010), Rendell (2006), Caan (2011), Lynch (1986)).
Both the public space and public art is highly discussed issues, and appear to be related to each other. On the one hand, it carries a political tone, on the other hand, it serves the navigation in the built environment. In this sense, public art functions as a spatial code.40
Senses – Sight and the evolved hegemony of sight
Multisensory aesthetics draws attention to the fact that perception means meeting and absorbing (given) qualities.
19
Illustration 1: Sensory organs – the five senses
When examining our human body sensors, it is inevitable to know that our senses do not have the same dimensions.
The intensity and effectiveness of sight are incredibly superior to other senses.41
41 Many studies discusses this phenomenon, amongst other Fabian Hutmacher writes about it in a 2019 paper, posing the question “Why is there so much more research on vision than on any other sensory modality?“
20
Illustration 6: The organ of Vision
Sight (thereinafter vision) is considered as a long-distance sense. The relevant literature (e.g. Lovászi – Dúll, 2014; Sekuler, R. – Blake, R., 2000) distinguishes between long-distance and short-distance perception, depending on how far they operate, and so provide information. The short-distance senses build up a close relationship with the material at the same time of sensing them, due to the physical distance. The long-distance ones remain in a secure range and do not necessarily need the simultaneity between the act and the material. By tolerating the distance and the speed much better, our organ of vision outstrips the other sensory organs. By our organ of vision, we can investigate events and things in the world while staying away from them. This distance allows us to discover (and a sense of security) - without intervention. (The intervention as an undoubted interaction is a two-way process, meaning both the effect we have and the effect we have received.) Other senses, like touch, smell and hearing, interact with the world in different ways.
After a brief description of the biological-physiology of the organ of vision, a few words follow about the role of vision in obtaining information.
The Dobos-Bognár author mentions Edward T. Hall (Hidden Dimensions, 1980), Robert Sekuler and Randolph Blake
21 (Perception, 2004), which further reinforces the importance of our vision to our being. We use our organ of vision to gain knowledge.
Reading the boards on the street, noticing our friend’s hair cut, watching a soccer game, driving an aeroplane, or finding a pen in
turmoil on our desk, are such simple daily things, which are essential in self-recognition, in orientation, or in getting information.
These examples do show very well how important organ our vision is. The importance of this organ does not mean, however, that we should ignore the rest.
As a short detour I want to name Juhani Pallasma, who defines this phenomenon ocularcentrism. In his book (The Eye of the Skin, 2005) he highlights that architecture uses different materials and different textures, which cause an infinity of sensations. 42 Pallasmaa says in his book that all the senses are extensions of the sense of
42 Pallasmaa, The Eye of the Skin: Architecture and the Senses, 2005, pdf
Illustration 7.: Herbert Bayer, The lonely Metropolitan, 1932, detail Source: Wikipedia
22 touch; “the senses are specialisations of the skin tissue”, and all of the sensory experiences are different ways of touching.43
After the detour in the Pallassmanian ocularcentrism, I follow the phase with the evolved hegemony of vision.
Many studies mention Aristotle’s name (Lovászi– Dúll (2014), Dúll – Berze (2018), Dobos – Bognár (2015), Pallasmaa (2005), Watanabe (2011)as the first thinker who ranked the sensory organs. In his list, Aristotle first mentions the Sense of Sight (vision), followed by Hearing (audition), Smell (olfaction), Taste (gustation) and Touch (somatosensation). It was the first time that the vision had somehow risen above the other senses, although in this case, it was only based on the observation of body properties. In some respects, this list eventually led to a hegemonic view of modern human civilisation that puts other senses in a somewhat subordinate position. As a result of the advancement of science and civilisation, the senses have been separated. We use our sensory organs but in a limited capacity. Although it has had a fertile effect on the areas of research, the vision has been severely disrupted by the holistic function of the body.44
The evolved hegemony of vision was inevitable during the evolution of Western culture. As a consequence, the suppression of the other senses left a visible mark by today.
Giving a brief historical retrospection: until the time of the
Enlightenment, the Vision was considered to be a superficial mode of cognition. The Touch did have a higher authority in that – in terms of human perception. As a result of scientific and
philosophical currents at the turning point of the 18-19th century,
43 Ibid.
23 such sensory organs like touch, smell, and Taste were called
inferior, and vision became dominant. 45
In 1839, the invention of photography was - linked to the
daguerreotype (named after Louis Daguerre) - to create an image of the world. By that time, the ability of visual reading became very important. The need for the two-dimensional imaging of the world grew to such an extent in the 20th century that vision has definitively become separated from other sensory organs. The following motto became famous: “See with your eyes, not your hands”46. Although there have been several attempts to break the dominance of vision since the 1980s, sensory organs such as haptic, olfactory, unfortunately, are still only appearing as impressive. 47
The developed hegemony of vision has become enormous by today. Some elements of the daily routine are almost entirely focused on the visual world. Watching emails, posting and gathering news, even entertainment tools are overwhelmingly accessible through vision. The conquest of the digital world is also the conquest of vision. Computers and smart devices provide direct information to the eye.
The increasing trend in the number of pixels on the screens also expresses the hedonistic desire of the eyes. These virtual worlds are extensions of the sense of vision, and so unable to convey the essential experiences of tactility or materiality. In the world of smart-gadgets, we gather knowledge mainly through our eyes.
David Howes, when mentioning the turns in reading the culture (“linguistic turn”, “civilisation of the image” and the “pictorial
45 Howes, Architecture of the Senses, Sense of the City Exhibition Catalogue, Montreal: Canadian Centre for Architecture, 2005, 1., doc.
46 Urbandictionary.com
24 turn”), admits “While these different turns represent important shifts in models of interpretation, the emergent focus on the
cultural life of the senses is more in the nature of a revolution. That is, the sensorial.”48
Overall, a significant part of the technological innovations of the past centuries has shown visual dominance. Besides, iconic
buildings in the 21st century have become reference points as well and serve the purpose of cultural tourism (O. Gehry, Piano,
Libeskind, Eisenmann, Calatrava).49
48Howes, Architecture of the Senses, Sense of the City Exhibition Catalogue, Montreal:
Canadian Centre for Architecture, 2005, 1., doc.
49 Januchta-Szostak, The Role of Public Visual Art In Urban Space Recognition, 2010, pdf
Illustration 2:Santiago Calatrava, The Turning Torso, Malmö, Sweden (2005) Source: Wikipedia
25
Illustration 4: Daniel Libeskind, The Jewish Museum, 2001, Berlin (Germany) Source: Wikipedia
Illustration 5: Renzo Piano, Jean-Marie Tjibaou Cultural Centre, New Caledonia 1998
26
Senses – Touch and the tactile perception
Illustration 8: The organ of Touch
The complex process of tactile perception raises several questions and issues by differentiating or unifying terms, so studying the area always depends on the initial definition of the conceptual
framework. Many psychological studies deal with perception and senses, always emphasising its complexity. If collecting
information is the primary goal, the main focus is on the voluntary nature of the movement. To recognise the environment around us, we collect information about it. Haptic perception - touch - helps to identify objects around us and thus our entire environment. The two-dimensionality of perception is often emphasised as its essential feature. Touch is a two-directional communication channel with input and output.50
In general, tactile perception is the ability to grip something.
50 Watanabe J., Communication Research focused on tactile quality and reality, article in NTT Technical Review 9(11) · November 2011, pdf, available:
https://www.researchgate.net/publication/289780912_Communication_research_focused_on_tactile_qualit y_and_reality
27 To start with, the importance of touch is innate. Touching is the first sensation that develops and plays a vital role in human development from its onset, and so the importance of touching is inevitable. The skin is a channel that also serves the connection with the environment and at the same time to separate it, and is of paramount importance for physical, emotional and cognitive development. In the case of, the present topic, the tactile perception of the surrounding environment means the identification and visual impression of the space we live in – a component of the process of mental mapping. While, strictly speaking, tactile perception is a physical act, it is a complex psychological process.
In the present work, the focus is laid on the process of the
voluntary tactile perception of urban environmental spatial codes and their attached social consequences.
As a detour, it is worth to add, that in the regarding literature about the tactile perception and communication it is clearly outlined, that there are a lot of questions and dilemmas within the topic. Both in everyday and scientific life, we can often hear the words of “touch” for gripping something.
However, this refers to inconsistent terminology, as the two concepts do not cover the same tactile phenomenon. The
differentiation between the two is not unambiguous. Depending on the intentionality of the movement, the relevant literature
distinguishes between a broad and a more specific sub-area. As the authors, Lovászi and Dúll (2014) summarise, the main difference between the two terms is in the dimension of the voluntariness.51 Touching something can be both voluntary and targeted. As a
51 Lovászi – Dúll, Megérint a látvány – A taktilis kommunikációról, article in JELKÉP Kommunikáció, Közvélemény, Média 2014/1. szám, 2014, available:
http://communicatio.hu/jelkep/2014/1/lovaszi_anett_dull_andrea.htm
28 voluntary motion, it is a random one, without any purpose. As a targeted motion, the aim is often to gather information. That motion has a purpose. Therefore, in the distinction between concepts, the voluntariness of tactile perception is of great importance.52
Touch is considered to be short-distance sense, and the tactile impressions do intimately connect us with the material.
Senses – Smell, Taste and Hearing Smell and Taste
Illustration 9.: The organ of Smell
29
Illustration 10.: The organ of Taste
Like Touch, so Smell53 and Taste54 are both considered to be short-distance senses. Both Taste and Smell impressions build up a close relationship when it happens. Although both are significant senses, they do not play a decisive role in city planning.
On the one hand, most people, when hearing about the role of Taste and smell in architecture, look interrogatively or raise their brows. On the other hand, we almost immediately start thinking about specified design issues (e.g. we make design plans for restaurants and cafes). By that, we transform the senses mentioned above and, in a manner, objectifying these perceptional senses.
Some studies (e.g. Sage, 2012; Dalesio, 2018) have highlighted that sensory organs amplify each other. According to scientific studies, the tongue as a sensory organ can distinguish six-seven tastes. Besides, our nose can distinguish among hundreds of different substances - even in small amounts. All these points to the mutually amplifying effect of the senses mentioned earlier.
53 Heirz, R. S. The Role of Odor-Evoked Memory in Psychological and Physiological Health, article in Brain Sciences, published: 19. July 2016, pdf
54 Rabinerson, D. - Horovitz, E. – Beloosesky, Y, The Sense of Taste, article in Harefuah 145(8):601-5, 629 · September 2006, abstract, available:
30 The association of spatial qualities to certain odours is of great importance in identification. We use expressions like “hospital-smell”55. In general, odour-memories often remind us of a place. This association stimulates emotions, which can guide us or even distract us.56
Hearing
Illustration 11.: The organ of Hear
Hearing57, in this approach, is considered to be a long-distance sense, just like vision. In general, this sense is a very incorporating one.The auditory perception is omni-directional, and so is not focused like vision.
As mentioned before, both Taste and Smell are significant senses, and such as them is hearing. It certainly gets a rather substantial role in city design when it comes to accessibility for perished
55 " [...] having a vivid, or unique, or at least a particular, character of its own" writes Lynch in his often mentioned book, A Theory of Good City Form, p. 131.
56 Maslen, S., Researching the Senses as Knowledge, The Senses and Society, 10:1, 52-70, DOI: 10.2752/174589315X14161614601565, published online: 16 Apr 2015, pdf
31 people (e.g. the changing rhythm of the beeping noise when
crossing the street).
Hearing is an extremely complex process. It is the first of the five senses that develops in the fetus and which enables the person to interact with the outside world.
Throughout our lives, we collect information through our senses. In addition to seeing, touching, smelling and tasting, one of the most important is hearing information, where the ear has an
outstanding function. Hearing serves many purposes: it is essential for verbal communication, but we also need hearing for
orientation. With the help of our ears, we can also detect the direction of the sounds, perceiving them as high or deep, noises or noises, or maybe music that we hear.
CHAPTER 2. - SPATIAL PERCEPTION
The concept of architectural quality
Architecture has both emotional and objective quality. Architecture fluctuates between product design and engineering and so it stands in the conflict of being an art piece and a technical object.
Therefore, the judgment of architectural quality is also two-way. The phenomenon of architectural quality is quite a broad concept. It includes space, form and richness of decoration. Also, there is a significant relationship between the end product itself and the receiving audience.
Dr Magnus Rönn, in his paper Quality in Architecture - A Disputed Concept (2011) discusses this phenomenon in detail. According to him:
32 ”Throughout Western history, starting with philosophers in ancient Greece, quality is perceived as a conflict between an objective and a subjective position; as a relationship between objects and how we perceive them through our senses. “58
By saying that, Rönn suggests the presence of the emotional factor in perceiving a material object to build up a relationship. The human filter subjectifies the object. This emotional filter is which connects us to the environment and by that we build up the relationship to our surroundings.
Architecture and perception
As Monica M. Blain highlights that, the main question posed in Pallasmaa’s book (The Eyes of the Skin):
“It posits that architecture is the ‘primary instrument’ with which we relate to space and time, and consequently to existential questions of self. It asks the fundamental question of why, when we have a multitude of senses, does our society privilege vision above the rest? What is the psychological pathology of this fracturing of senses? What effect does this separation between the self and the world have on human consciousness, memory and understanding of space.”59
As Juhani Pallasmaa describes that, architecture, due to its peculiar position, architecture was one of the first branches of art to draw attention to the importance of multisensoriality.60 Because of their
58 Rönn, M. Quality in Architecture - A Disputed Concept, 2011, p. 237 in: ARCC 2011 | Considering Research: Reflecting upon current themes in Architecture Research
59 Blain, “The Eyes of The Skin – Analysis of Theory”, 2013 60Pallasmaa, The eyes of the skin (2005)
The introduction of the concept of multisensory aesthetics inevitably brings to life the
33 size and function, buildings are in constant contact with their users and, consequently, with their senses — the place of real, everyday encounters, that concretises and structures our existence in the world.
Generally speaking, the building is a space of perception that simultaneously focuses on all senses; the perception of architecture is multisensory and physical activity.
Pallasmaa is both a practising architect and an experienced researcher in the field of phenomenology. In his writings, he explores the relationship between architecture and
multisensoriality.
In his book, the author approaches architecture from the perception or vice versa; he approaches the world of senses from architecture and “places a consistent emphasis on the importance of identity, sensorial experience and tactility.” 61 In his opinion, there was a
change in world perception. By further narrowing the perceptual qualities that have disappeared from the field of art, he makes statements about architecture and criticises the contemporary architectural approaches. As he found, the sensory shift - towards the visual - had a negative impact on the quality of the buildings and their role in human perception. He suggests that if a building does not address the other senses, it has less quality.
Pallasmaa points out that the task of architecture is to create forms that concretise our existence in the world. In his opinion,
architecture is the art of reconciling ourselves and the world through the channels of the senses. To that, the author suggests the
the original meaning of the word. Aesthetics comes from the Greek word αισθητική / aesthesis /, which means sensual impression, perception, or perception. A concept of multisensory aesthetics refers to the senses and the knowledge they create. Also, it relates to each element of the human being’s sense organs. The multisensory prefix refers to the restoration of the original meaning of aesthetics.
34 use of the tactile dimension. Pallasmaa expressively highlights the ability of the skin of “reading” the texture, the weight, the density or the temperature.
Pallasmaa argues that the value and enjoyment of architecture is a “multisensory experience”. According to the author’s
interpretation, we should look at these objects not only with our eyes but with all of our senses. By that he means that these objects do move, sound, do have a scent and Taste and have surfaces that can be touched.62
Pallasmaa’s book gives a comprehensive picture of the relationship between architecture and perception. The author considers the power and the sensuality of architecture. He talks about the timeless task of architecture, i.e. establishing the connection between us, the place, and so with the world. Through the created embodied metaphors man can structure ourselves in the world. Multisensoriality is an essential component of thinking about space and material. He, furthermore, states that the unity of space can only be found in the interconnection of sensory areas. Pallasmaa stresses that a building should not be lived as a series of separate images but in its full physical and mental reality. As positive
62 Robinson, Jenefer (2012) Being Moved by Architecture, The Journal of Aesthetics and Art Criticism 70:4 Fall 2012, p 337., pdf. In the regarding chapter Robinson refers to Pallasmaas book, The Eye of the Skin.
Illustration 12.: Barragan, The Los Clubes project (1964-69) Source: wikiarquitectura.com
35 examples, he mentions Alvar Aalto’s tactile buildings, Frank Lloyd Wright’s kinesthetic and textural architecture, Carlo Scarpa spaces and their skillfully handcrafted details, or the contemporary works of Steven Holl and Peter Zumthor. Also, he mentions Louis Barragan and his buildings having such sensuous colours which “evoke oral experiments”.63 Pallasmaas book gives tasteful and colourful synaesthesia of the senses to perceive the environment.
63 Ibid. p. 59.
Illustration 13.: Brion Cemetery, C. Scarpa, 1978 Source: Wikipedia
36 Witold Rybczynski makes a case for that in his book, The Look of Architecture (2001). He points at, in effect, that although the architecture is described many times as light, space or a sort of abstraction, the building in itself is a physical object of art.
Significant changes in architectural richness during history
The façade-works of buildings have undergone significant changes throughout history. In general, the facades became more and more simplified.Lino Bianco architect notes in his research article that
Illustration 14.: Brion Cemetery, C. Scarpa, 1978 Source: Wikipedia
37 “throughout history, design values have always underlined a given architectural style.”64
At large, we can say that the two poles of art in architecture reflect the two opposites of human creative activity: decoration and construction. Throughout the history of architecture, humanity has experienced, alternately, the triumphs of ornamentalism (which breathes the beauty) and the construction (which represents the truth).65 As examples of these counter-poles, let take a look at the Renaissance and the Baroque Spatial Creation (1) and
Constructivist Spirituality (2).
On the one hand, (1) Bernini (1598-1680) engirdles the gloomy facade of the Church of St. Peter with an attractive and charming colonnade, which unites both the square’s festive grandeur and an ancient artistic instinct.
On the other hand, as counterpoint can be The Constructivism, which emerged in 1912. The rather abstract movement focuses most on the geometric form and the relationship between masses and forms using different materials (among other materials, wood, glass, iron, cement.). Constructivist artists are those who strongly emphasise structural elements. It is characterised by functionalism, the initiator of modern industrial design.
During the history of architecture, the plasticity of buildings (primarily ornamentals) has been drastically simplified.66
64 Bianco, L. Architecture, values and perception: between thetoric and reality, 2017, pdf 65 Breathing beauty is a somewhat renaissance-baroque expression. Saying that representation of the truth emphasises the role of the functional significance. The importance of the appearance altered. That makes them counter-poles.
38 Architecture is often named frozen music.67 Architecture and music share a clear cultural lineage - both based on rhythm, proportion and harmony. Jenefer Robinson emphasises the relationship between the two due to aesthetics and the formal structure of both, nevertheless and emphasises that both offer emotional quality.68
How spatial development started in history
As for the beginning of spatial development during history, we should start with the early civilisations, whose concept of geometry was undeveloped. Their geometric knowledge and method of housing were primarily influenced by nature and migration. The interaction between man and nature has always been present. Man has used the endowments of nature for housing, and the expansion of knowledge brought advanced adaptation.
The concept for housing is broad and multifaceted, having both physical and spiritual sides. However, discussing that is not part of this thesis.
Migration, as the other influential factor mentioned, can be traced back to many reasons ( e.g. linguistic, ethnic,
economic). This topic could be further discussed; however, it is not the subject of the present paper either.
The first people observed the universe, the rising of the sun, the seasons and the astronomical events. “Their observance of the cosmos allowed them to begin forecasting.”69 The
67 The often-heard metaphor „I call the architecture frozen music” was said by the writer Johann Wolfgang von Goethe (18th century), whose statement was most likely a reflection on the contemporary architectural style.
68 Robinson , Jenefer (2012) Being Moved by Architecture, The Journal of Aesthetics and Art Criticism 70:4 Fall 2012, p 350.
69 Spatial Perception and Architecture, TMD Studio LTD, internet article, posted: 2017, 5th of March, available: https://medium.com/studiotmd/spatial-perception-and-architecture-, 4f8ab99eeb41
39 worship of the world axis became significant and
determining. All these then coincided with the ability to live in larger settlements and organise themselves in a system of ‘circular structures.70,71
70Ibid.
40
PART II
CHAPTER 3. – SITUATED KNOWLEDGE
I mean the chapter-title “situated knowledge” here, both as architectural and spatial design, and also, as object design.
By way of introduction, I would say that there are - at large - two aspects supposed to be taken into consideration in the design process. On the one hand, we consider the physical design, which creates objects. On the other hand, there is a spiritual aspect, which approaches the soul of humans (through the senses). This chapter tries to introduce examples when the two aspects named above nicely serve each other. Beginning with abstract design addressing directly the senses converge the chapter to synesthesia, where all senses have a roll in perceiving the environment.
Partly, there are art installations where senses get a platform to attract attention to their existence. Besides, the private or public object design is to smuggle sensory experience into the everyday.
The reasoning of touching upon the artistic aspect of perception is that of its impressions they can have on the sensory experiences. As mentioned, when discussing the senses, by today, humans hardly use their perceptional senses; thus, they become weaker day by day.
Artistic design for the senses
By fact, the evolved hegemony of the sight, the visual qualities of spaces dominate our perception of a building. As the present paper emphasises, every sense can have a significant role in transforming the experiential qualities of architecture. The following art design examples are in the conflict of architecture and product design.
41 They are one-off examples and are probably not feasible on an industrial scale, but are exciting experiments.
Sight
Regarding the sense of vision, let us take a look at James Turrell’s Backside Of The Moon, which contains a pitch-black space that renders the observer blind for what might seem like forever. The timber-covered building addresses the sense we take for granted most: the Vision. In Tadao Ando’s appraisement, this structure represents the essence of how light and darkness can be applied to create
compelling experiences.
Illustration 15.: Turrel, J., Backside of the Moon, 1999 Source:http://archive.jamesturrell.com/artwork/backideofthemoon/
Touch
As for the sense of tactility, I would like to mention The Hazelwood School, which was designed for children who are “dual sensory impaired” – who are both blind and deaf – meaning the sense of touch was highly crucial in their
42 independence and orientation around the building. The architect developed a meandering plan that allows the children to follow a linear route through the building, avoiding maze-like conditions. Moreover, the interior walls are covered with various textured materials. The design was highly successful that allowed the pupils to get from one classroom to another using minimal help.
Smell, Taste
Regarding the sense of smell, as an example, The Diller Scofidio + Renfro design studio started to experiment on the field of sensory design. Their installation focuses on
Illustration 16.: The Hazelwood School, 2007
43 fragrance as an artistic medium. This sense (the smell) is most associated with reminiscence. The design is based on this theory. “Each of the invisible artworks aimed to evoke memories.”72 The architecture is rather minimalist what frames the experience - the fragrances, which emanate from a series of structures built in the gallery walls.
Illustration 17.: The Diller Scofidio + Renfro Design, The Art of Scent, 2012 Source: https://dsrny.com/project/art-of-scent
Regarding the sense of Taste, I wish to mention The Chocolate Room (American Pavilion, Venice), which was designed for the 35th Venice Biennale in 1970. Edward Ruscha, a conceptual artist, designed the wallpaper of 360 Nestlé chocolate sheets. The room was created more like a
72 5 Architectural Spaces Designed to Stimulate Your Senses, internet article, https://architizer.com/blog/inspiration/collections/the-architecture-of-perception/
44 provocation to question the preconceptions about the
relationship between Taste and euphoria.
Hearing
Hearing plays a vital role in accessibility design, while visuality prevails dominantly. The current design processes reinforce the hegemony of visuality, and the senses of touch or hearing have an accompanying or secondary role.
As for the sense of Hearing, we can mention, as an example, the Hear Anechoic Chamber, South Bank
University, London. This unexpected design was created to experience total silence. Taking into consideration the significance of sound in architecture, it may seem a little controversial to design a room which to harness total silence. However, this is a little over-simplifying of the phenomena, that experiencing total silence evokes previously unperceived sounds.
Illustration 18.: Ruscha, E., Chocolate Room, 1970 Source: Wikipedia
45 Illustration 19.: Anechoic Chamber
Source:
https://www.lsbu.ac.uk/about- us/facilities/lsbu-facilities/acoustics-anechoic-reverberation-chamber
The experimental design installations mentioned above can be seen as provocations, showing that design for the senses individually do exist - even if they are as abstract art objects.73
Art objects
Here I would like to mention three of my friends, with whom we had discussions about the role and importance of the senses in perceiving the environment to transform it into objects.74 Two of them are ceramists; one of them is a well-known and experienced sculptor; they all work with forms and shapes. They all work with their hands, so for them, tactility is of great significance.” We need to feel the material with our whole body” – as they all say and agreed on that. According to this statement, all the
73 Ibid.
74 I wish to stress that the following freeform interviews (personal discussions) touch upon the interlocutors' personal way of perceiving information. As indicated in the introduction/methodology chapter, this phase transmits attitudes and impressions, which were discussed during private interviews. Due to their private nature, I cite only the ones which got authorisation to publish.
46 senses have a role in their work. However, besides tactility, primarily the vision is the sense, what they use the most - as I learned while watched them working and listened them talking.
The interview we had was mainly based on tactile experiences and within that on their experiences with the material they work. “We scan the forms with our whole body” (Bea, sculptor, 39). Also, Bea added, “For people who live with disabilities, tactility is a key-ingredients to life.” When thinking to a place, they emphasise the graphical signs can be found both in nature and in a built environment. “What did you recall?” They reclined upon sensory experiences, strong memories which connect them somehow to a specific place.
The two ceramists, Sipi and Laci both mentioned Somló Hill, (situated in Veszprém county, in the North-West of Hungary. Somló is a very
picturesque wine region in Hungary; the distance to Budapest is 172 km.) They both lived and worked there for many years, and the surrounding nature motivated them deeply in their creative work. When they mention nature, they primarily evoke their olfactory and visual experiences.
Illustration 20.: Somló hegy, Hungary Source: Wikipedia
