breaking benjamin we not alone 2004 rare

” The famous Swiss architect Le Corbusier ( 1991, p. Architecture at large has become an art of the printed image fixed by the hurried eye of the camera. 29) writes that: “The architecture of our time is turning into the retinal art of the eye. As Finnish architect Pallasmaa ( 1996) noted almost a quarter of a century ago in his influential work The eyes of the skin: Architecture and the senses, architects have traditionally been no different in this regard, designing primarily for the eye of the beholder (Bille & Sørensen, 2018 Pallasmaa, 1996, 2011 Rybczynski, 2001 Williams, 1980). That is, we all mostly tend to think, reason, and imagine visually. We are visually dominant creatures (Hutmacher, 2019 Levin, 1993 Posner, Nissen, & Klein, 1976). Ultimately, the hope is that such a multisensory approach, in transitioning from the laboratory to the real world application domain of architectural design practice, will lead on 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.

It is argued that the confusing notion of synaesthetic design should be replaced by an approach to multisensory congruency that is based on the emerging literature on crossmodal correspondences instead. This review extends that approach to the understanding of how multisensory environments and atmospheres affect us, in part depending on how we cognitively interpret, and/or attribute, their sources. Multisensory perception research provides relevant insights concerning the rules governing sensory integration in the perception of objects and events. However, in order to design buildings and environments that promote our health and well-being, it is necessary not only to consider the impact of the various senses on a building’s inhabitants, but also to be aware of the way in which sensory atmospheric/environmental cues interact. This neglect may be partially to blame for a number of problems faced by many in society today including everything from sick-building syndrome (SBS) to seasonal affective disorder (SAD), not to mention the growing problem of noise pollution. However, the majority of architecture is designed for the eye of the beholder, and tends to neglect the non-visual senses of hearing, smell, touch, and even taste. 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.Īrchitecture exerts a profound influence over our well-being, given that the majority of the world’s population living in urban areas spend something like 95% of their time indoors. 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. 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. 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. 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. 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. 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. Traditionally, architectural practice has been dominated by the eye/sight.

Breaking benjamin we not alone 2004 rare