SENSORY ARCHITECTURE

The importance of human senses in architecture

NEGANDHI VRINDA
DIV A,ROLL NO.28
5TH YEAR BARCH
L.S.RAHEJA SCHOOL OF ARCHITECTURE
 ABSTRACT

The initial idea comes from a concept of universal design which was introduced recently to us where
it states that a space needs to be usable and accessible by all despite gender, age group or disabilities.
But along with the usability and accessibility,the space also need to be perceivable by all.

Now,when I talk about perception, it is subjective and hence different for every person.
What is it that helps one perceive?
Its the sense that triggers.We understand buildings and spaces and the whole of surrounding through our
senses.But many a times we restrict ourselves to just appreciating the aesthetics.There are many other factors
which contributes to how a space feels.
 TABLE OF CONTENTS
ABSTRACT
CHAPTER 1- BACKGROUND
• Introduction
• Understanding the human senses
• Relation of human senses and architectural spaces
CHAPTER 2- RESEARCH INTENTION
• Design for all senses
• Research question
• Problem statement
• Aims
• Objectives
CHAPTER 3-THEORIES AND PERCEPTION
• Phenomenological approach
• Ocularcentrism theory
• Gestalt theory
• Visual hegemony
• Memory rooted in sensory experience
• A comparative analysis of the above theories
CHAPTER 4 -CASE STUDIES
CHAPTER 5 -CONCLUSION
CHAPTER 6 -DESIGN PROGRAM/EXPLORATION
CHAPTER 7 -SITE UNDER REFERENCE AND SITE ANALYSIS
CHAPTER 8 -BIBLIOGRAPHY
 CHAPTER 1:
BACKGROUND
“Architecture is the art of reconciliation between ourselves and the
world, and this mediation takes place through the senses”

-Juhani Pallasmaa
INTRODUCTION

Vision,touch,taste,sound,smell are the five senses of human

body. The sensing organs associated with each sense send
information to the brain to help us understand and perceive the
world around us.

Vision has a strong connection to architecture. The first

impression we get from architecture relies most of the time on
the first view that we get on it. And still we perceive
architecture with all our senses.

Architecture is all visual, but there is more to it than meets the

eye. As humans, we are visually-dominant creatures and it is
important that we as designers address not only this visual
sense, but all of the senses, for people experience a space or
environment with different sensory strengths, and this
differentiates their experience and or understanding of that
space. PERCENTAGE BASED
ON HIERARCHY OF
Each sense individually explain its importance in architecture SENSES.
and the possible impact on us.
Relation of human senses and architectural spaces

• SIGHT-Until today, sight prevailed on top of the hierarchy of the senses . Eyes absorb the visual qualities of a
space. Shadows and darkness are essential as they determine depth and distance. Sight is what allows us to
perceive light, form and colour and scale.

example- Torres de Satélite,Mexico.

• SOUND-The form and the volumes of a building and the materials, with which it has been built, contribute to
the sound generated in its interior and exterior spaces. Upon entering a quiet library, the sound of turning pages
is amplified; in a chapel, whispered prayers are captured gracefully.

EXAMPLE- Fuente de los Amantes

fountain,Mexico
• TOUCH- The eye is the organ of distance, whereas touch is the sense of nearness, intimacy and
affection. The eye observes and investigates, whereas the touch approaches and feels. Texture,
temperature, as well as the weight of materials tend to have an effect on our emotions and behavior. Then
why we consider concrete as a building material always, unlike wood, which evokes feelings of warmth
and comfort.

Example-
Castelvecchio museum,Verona
• SMELL-

• Scents trigger memories. We tend to associate

spatial qualities to them: "it smells like home",
"it smells like a hospital".

• Using our olfactory sense in architecture goes

beyond using an air freshener for example
using fragrant construction materials to create
a naturally scented environment like some of
the trees have a smell resembling perfume and
much of the wood used in construction or
furniture.

Example- Nestle chocolate museum,Switzerland

VESTIBULAR-
The vestibular sense explains the relation of gravity,
movement ,balance with the human body perception.
The vestibular system measures acceleration, gravity-
force, body movements and head position.  

For Example, knowing that you are moving when you

are in an elevator, knowing whether you are lying
down or sat up, and being able to walk along a balance
beam.

PROPRIOCEPTION-(perception of body position)

being able to applaud along with our eyes shut, write with a
pencil applying right weight, and explore through a
restricted space, realizing which parts of your body are the
place where without looking. It's the means by which we
can type without even looking at the keyboard, for instance,
or stroll around without viewing our feet.
THERMOCEPTION –
a sense where we know whether our environment is
too cold or too hot. Having the ability to sense the
temperature around us.

EQUILIBRIOCEPTION –

a sense of balance. This is frequently the sense which keeps us

upstanding, and causes us move around without getting injured.
It permits us to stand, walk and move around without tumbling
over.
 CHAPTER 2:
RESEARCH INTENTION
What is a multi sensory design?
And
Why is it important?
 CHAPTER 2
RESEARCH INTENTION

Imagine entering the lobby of a luxurious hotel. You gasp, in awe of its striking, eight-story high lobby,
with a water feature at its centre and a soft carpet beneath your feet. Before you check in, you pay a visit to
the washrooms are welcomed with a clean, earthy waft of cedar wood . You inhale deeply; it is comforting.
Your eyes then turn to the white Corian vanity units. They look so inviting you can't resist running your
fingers along the surface; it feels as smooth as silk, polished to perfection.
What you have just experienced is multi-sensory design, the kind you could never truly savour with your eyes
only. The kind that engages all five of your senses. You saw the wonderful height of the lobby, you heard the
waterfall, you perceived the scent of cedar wood in the washroom and you felt the polished stone

Imagine a slightly altered scenario. The eight-story high lobby is still there, in fact, the reception area is now
with beautiful, modern art paintings. The water feature has been replaced by a sculpture, reflected in the
marble floor. As for the washrooms, they are still elegant but the scent is gone and the Corian has been
replaced with laminate.

This is retinal-experienced architecture and, at first glance, it appears to be enough. The space is well-
designed, but it lacks character and more importantly, it lacks depth. It is one-dimensional.
Design for all senses –

Senses play a very vital role as it helps experiencing

and responding to the world around us.

For example, when we enter a space,the brain

immediately interprets the quality of that space,what
we feel,what we hear,what we see independently and
combines them to form a multi sensory experience.

The senses help influence our mood,our behaviour and

ultimately our well being in that place.

If architects create visual environments without bearing

in mind their user friendliness, multi-sensoriality and
functionality, this results in places that lack physical or
mental accessibility: ‘distorted spaces’.

For example a photogenic building can look very

beautiful, but be an acoustic disaster for somebody with
an ear-impairment.
‘Multisensory design goes a step further than simply building for functional and visual appeal. It
is based around the concept that people experience and respond to space through all five of our
basic senses, whether it be subtle or obvious, consciously or unconsciously.’
RESEARCH QUESTION

• How do combinations of our senses influence the way we interact with our surrounding environment?
• Can design with a multi-sensory objective improve spatial experience?
• Why is it that our visual sense is so emphasized rather than the collaboration of all senses?

PROBLEM STATEMENT

Architecture is considered a visual phenomenon.Hence while designing a space, ’how should a space
look?’is the question kept in mind.But its not just the sight ,but also the other senses which contributes
towards experiencing a space.

AIMS

• The main aim is to understand the relationship between the human senses and architecture.
• To look at the importance of the five senses in experiencing a space.
• To look at the role of perception of a space for different users.
• The research aims to prioritize all the human senses.

OBJECTIVES

• Look into the actual effects that architectural form, space and the built environment have on people who
have all their senses intact and also how they perceive various micro and macro spaces.
• to create spaces that need to be relatable and perceivable by all.
• to move away from a singularly visual approach to one which accomodates all senses in architecture.
 CHAPTER 3:
THEORIES AND PERCEPTION
 CHAPTER 3
THEORIES AND PERCEPTION
Phenomenology-

Phenomenology is how an individual perceives a space or an object. This perception is unique to the observer
and will differ from person to person. Phenomenology demonstrated in architecture is the manipulation of
space, material, and light and shadow to create a memorable encounter through an impact on the human
senses.

Example 1-Steven Holl, Bloch Addition The Steven Holl structure is an

exploration of different spaces
through the effect of light. The
plan of the structure
incorporates infused natural
light all through the exhibitions.
Phenomenological experience
of room and material appear to
be featured with collaboration
of light and shadow,formed by
solids and voids, by opacities,
transparencies and clarities.
Ocularcentrism theory

This theory orders the human senses on a basis of hierarchy. Throughout time, architecture has been
prioritised accommodating the sense of sight above all other senses. Ocularcentrism is the theory that argues
that the eye has been glorified to the point that all the other senses have been neglected in the experience of
architectural design. We live in an ocularcentric world which means that we appreciate only the visuals.We
prioritize vision more than any other senses.Example-the aesthetics of a structure judged visually.

EXAMPLE-The Falling Waters,USA

Ar.F.L.Wright

You see the structure blending well with the surrounding nature which is appealing to the eye.You hear the
constant sound of water hitting the rock. There is a sense of touch through the use of textured stone.The
design mainly gets focused on the vision through the scales and the merging of the structure with nature.But
there is more to it which gets neglected by the viewers
Gestalt theory-

The gestalt theory explores the holistic approach of

perception. The perception of a space cannot be of the
individual parts that makes up a space, but rather as a
complete whole. It explains that it is not only summing up
the part to make it a whole but the combination or relation
on one another.
Figure
ground

closure proximity symmetry

similarity continuity
GESTALT PRINCIPLES:

The Oval ,Japan 4x4 house,Japan Nariwa museum,Japan

GESTALT PRINCIPLES:

Church of the light, Japan Taj Mahal, India Fort worth museum, USA
VISUAL HEGEMONY
Le Corbusier, the icon of modern architecture reinforced the idea that vision is at the heart of everything when
he wrote "I exist in life only on the condition that I see" and, as such, it comes as no surprise that architects
,designers, tenants even, all rely on the power of sight. The eye, is considered to be the prime vehicle for spatial
perception.

Example-
The lotus temple,New Delhi

MEMORY ROOTED IN SENSORY EXPERIENCE

Out of the five senses, smell is one of the most powerful human sense which can evoke memories whereas
sound is the least sense considered for recalling memories . This recollection typically floods the mind with
visual images associated with the specific smell; visuals that would otherwise be inaccessible.
COMPARISON OF THE THEORIES

The theory of phenomenology deals with perception based on the space, the materials used, the use of
natural and artificial light and the shadows created by it .All these have effects different effects on
different users. The examples of this theory show interplay of light and shadows, contrast in materials and
transition in spaces. But to experience this one needs sight.

The gestalt theory is based on several laws such as similarity, symmetry, continuity, etc and aims at having
a holistic approach. Again here, in this theory it is seen that it’s the sense of sight which looks at a picture
based on certain principles. Do other senses play a role in experiencing the space?

Memory is one such aspect which does not have a visual dominance.Here, not eyes but the sense of smell
is of utmost importance. Smell can evoke memories instantly.

The ocular centrism theory stands with a fact that vision is given so much importance that other senses get
ignored by the designers, architects or even the clients. We are so much busy appreciating the aesthetics of
a structure that we forget experiencing it.
 CHAPTER 4:
CASE STUDIES
 CHAPTER 4:CASE STUDIES

Case study 1-The Therme Vals,Switzerland Ar.Peter Zumthor

Key elements-stone,water,light
 LOCATION-VALS,SWITZERLAND
ARCHITECT-PETER ZUMTHOR
CLIENT-VILLAGE OF VALS
CONSTRUCTION-1993-1996
KEY ELEMENTS-STONE,WATER,LIGHT

• The main intention was to create a contemporary thermal bath as healing space by offering a complete sensory
experience.
• It shows how the design binds with the environment and the natural elements.
• Primary focus is in the context and not on the built mass.
ROOF ASSEMBLY
The play of arrangement of blocks can be seen in different ways which are helping to create
density,volume,space,darkness and light.Roof stilts follow bathing spaces throughout the
building,introducing light to the interiors.

These gaps between the roof

units allow lines of light which
make the heavy roof feel
lighter.As the natural light
passes through these small
gaps,it creates an illusion that
these massive ceilings of
concrete are floating in air
SENSORY EXPERIENCE
SENSE OF VISION
The views are allowed or blocked on careful consideration of sensory experience. 
Combinations of light and shadow, closed and open spaces, along with linear elements were intended to
create an environment in which visitors enjoy the luxury and rediscover the benefits of the hot springs.
in many places,the architect has made use of light to emphasize materiality with a contrast of smooth
and rough stone surfaces, creating a glow within the waters.

Contrast elements
Light- Dark
Rock-water
THE TACTILE SENSE
Architect Peter Zumthor often uses untreated and raw materials which gives his buildings a strong
tactile experience.The stone used in this structures are cut and not polished so there is some
roughness seen.This sense is also triggered when one enters the water body.
 THE SENSE OF SOUND
Sounds were considered while designing the
baths.
The bath acts like a spiritual place where
different sounds of stone and material is
experienced and no noise disturbing the
peace and harmony.
Bathing in therme vals should be considered
as a ritual that fully relaxes mind and body.

The auditory sense

THE OLFACTORY SENSE
The olfactory sense is triggered when one leads to the aromatic flower pool.It not only triggers the sense of
smell but also the tactile sense where skin wants to reach to the floating petals.

The olfactory sense The flower pool

 INFERENCE:

SENSES
6

4
SENSES
3

0
SIGHT SOUND TOUCH SMELL TASTE

The structure shows simplicity in form and creates peaceful and serene environment inside and beyond
the structure.It uses natural elements such as water and rock which triggers various senses. Ar.Zumthor
has succeeded in applying all perceptions of the visual, the tactile and the audible. Each of which
acts as a holistic experience. There is a union of modern world and conventional methods of bathing.
Indeed it’s a place for healing mentally, physically and emotionally which provides exploration of
outdoor,indoor and underground spaces.
Case study 2-The Swiss Pavilion, Germany

LOCATION-Hanover,Germany OBJECTIVE: Designed to engage all the senses

Designed specifically for the 2000 expo in Hannover.
ARCHITECT-Peter Zumthor Used one primary element for a multitude of tasks, i.e.,
BUILT IN THE YEAR-2000 wood
THE MAIN IDEA (man+nature+technology)
The concept was to design a welcoming place to rest and relax, a place offering a conventional Swiss snacks
for thirsty or hungry visitors, with a relaxed atmosphere and a live music playing around.

A labyrinth timber structure summarizing a unique sensuous experience. It is not only a timber
labyrinth, but a labyrinth of the senses.
The project is intended to appeal to all the human senses-sight, smell, taste, touch, and hearing.
Different methods are used here to achieve a unique spatial experience.
SENSORY EXPERIENCE

The project aims to create an architecture of the senses. Peter Zumthor conceived spaces through experience.
Architecture is a complete experience must be assessed in every way, to create a sensory experience.
Therefore, the structure is called Sound Box or essences box. The pavilion is permeable and can be accessed
by either side, making every visitor have a different experience in this changing atmosphere.

THE SENSE OF VISION

THE SENSE OF SOUND THE SENSE OF TASTE
The sense of hearing is triggered by the natural The sense of taste is triggered by the placement of
music of rain water pouring from the roof. Among food and drink nodes.
the other sounds one can hear the live performances
of musical instruments.

THE SENSE OF TOUCH THE SENSE OF SMELL

The sense of touch is heighten by the tactile The sense of smell is attracted by the ever
qualities of timber. changing aromas of the wood timbers.
INFERENCE

SENSES
6

4
SENSES
3

2
1

0
SIGHT SOUND TOUCH SMELL TASTE

The swiss pavilion is not only a labrinth of timber but also a labyrinth of senses. Different methods are
used to achieve a unique spatial experience.It triggers the sense of touch through the tactile qualities of
timber.The olfactory sense is triggered because of the smell of the raw wood.Without the use of natural
materials,the experience would not have been the same.
Case study 3-The Hazelwood School.

LOCATION- Glasgow, Scotland

DESIGNED BY- Gordon Murray + Alan Dunlop Architects
TYPE- Educational, Elementary school
 Hazelwood is a school for
children and young from the
age group 2 to 18. Each
student has a combination
of two or more
impairments: visual
impairment, hearing
impairment, mobility or
cognitive impairment..

This school is special because its not

an institution but a place where the
students are taught to face challenges
and also prepare themselves for the
outside world. The entire structure
curls across the site to allow a stronger
sense of movement and memory.
INTENT- The architect was committed
to designing a space that would develop
the children’s independence and
provide them with a safe and secure
place to learn.

Circulation plan
SENSORY EXPERIENCES

THE TACTILE SENSE

• Built entirely of natural materials.
• Unique trail rail wall weaves throughout the
school acts as a navigation tool.
• Different floor finishes are used which
stimulates the tactile sense.
• The hydrotherapy pool also triggers the
sense of touch.

• THE SENSE OF SOUND

• The school was designed to have high levels of
acoustic insulation,to avoid the high levels of
traffic around the site.
• The classrooms were also intentionally placed
on the northern side which was a quite edge.
• As the site is adjacent to a major traffic, there
are no operable windows within the classrooms.

Corridors with sensory walls

 THE SENSE OF VISION
• The curved form of the building reduces the visual
scale of the main circulation spaces.
• The shadows within the building establishes a clear
pattern along the inner path of the school and
becomes a guiding sign.
• The roofing slates became a heat source for children
to use it as a navigation device.
• Clerestorey windows were used inside classrooms
which provide a lot of daylight without glare or
views to the outdoors which would distract the
partially sighted children.

THE SENSE OF SMELL

The architect has used naturally
weathering larch boarding in the
exteriors for the trail wall and
this stimulates the sense of
smell. A pallete of textured
natural materials is used
stimulates the sense of touch
and smell.
INFERENCE

By studying the strucutre,one can see that despite the senses of vision,the school building has
SENSES
proved
6 to function successfully.It shows how our relience on the vision is so much that we

tend5to ignore the importance of the other senses.

4
SENSES
The structure takes care of its user and offers different movement signs within.The walls here
3

play2a very important role as it triggers the tactile sense.We do not always need to have
1
vision in order to perceive things around us.
0
SIGHT SOUND TOUCH SMELL TASTE

By studying the structure,one can see that despite the senses of vision,the school building has proved to
function successfully.It shows how our relience on the vision is so much that we tend to ignore the
importance of the other senses.
The structure takes care of its user and offers different movement signs within.The walls here play a very
important role as it triggers the tactile sense.We do not always need to have vision in order to perceive
things around us.
Comparative analysis of the case studies

By studying different structures,it has allowed for a better understanding that a variety of means can be used
and applied into designing a space that fosters a sensory experience.In all the three case studies the walls
become a prominent feature for direction,framing,filtering element which shows the purpose of wall as a
sensory experience.The wall has portrayed to be transparent and light allowing for a constant flow of vision
and perception

The projects also made a complete use of the abilities and properties of natural elements especially light and
water which highlighted and complemented the intent of the overall composition.

All the three case studies differ in functions where the thermal baths unites traditional aspects of bathing
with the modern construction,the swiss pavilion had a concept of man-nature-technology and the third
one,the Hazelwood school for sensory impaired children.Different in functions but common in theme
which is sensorial quality.
 CHAPTER 5:
SITE STUDY AND DESIGN INTENT
THE DESIGN INTENT
The main intention here is to prioritize all the human senses and to
move away from a visually dominant world and experience the senses Elements Senses
within a space. Ether/sky sound
An attempt to connect people with their senses by the means of air touch
architecture which is lost in today’s lifestyle of the people of Mumbai. fire sight
The design would be a public assembly building which can compliment a
water taste
popular public space in Mumbai.
earth smell
A space which will help in revival of senses.
The structure would also help in creating awareness among young
designers about the importance of having sensory experiences and not
just having visual aesthetics.

SOUND
BUILT SPACES
ARCHITE TOUCH
COURTYARDS SENSES
CTURE SIGHT
OPEN TO SKY SPACES
TASTE
FENESTRATIONS
SMELL
GREEN SPACES

ELEMENTS OF
NATURE DESIGN
(panchbhutaas) INTERVENTION

ETHER AIR FIRE WATER EARTH

(akash) (vayu) (Agni) (jal) (bhoomi)
SITE SELECTION PARAMETERS
LOCATION-
The location of the site is chosen within the city of Mumbai so that people who are busy in their busy
hectic lives in Mumbai get to be with themselves and understand their surroundings better.

ACCESSIBILITY-
The site needs to be within the city and have ease in accessibility for people to come and visit it and
spend time with the spaces and feel it.

CONTEXT-
The design intent aims to cater to the problems faced by the sensorial experiences in a highly
urbanized environment and find architectural solutions not only for the existing scenario but also for
the future.Different site contexts will lead to different experiences and help understand the need of
people in that area.

USER GROUP-
Understanding the needs of people in an area is far more important as it will help in developing a
design program.

SENSORY-
Addressing the visual,audible and tactile aspects of the site will help design for a multisensory
space.Design within the nature’s elements would be different from the built concrete jungle around.
SITE 2

Location-bandra west

Plot area-9,235 sqm

Access-accessible by road

Known for-hangout
SITE spaces,festivals.

User group-
teenage,couples,students,tourist
s.

INTENT - The site is located along the element of nature which is

water body.It will not only trigger the sense of vision for the views
the site has but also the sense of sound which the waters
create.Along with that the site will provide the opportunity of
increasing tourism.
DP MAP 2034
 MOUNT
CONTEXT MARY
CHURCH

MANNAT
TAJ
BANDSTAND LANDS
SITE
END
HOTEL

BANDRA FORT
AMPHITHEATRE

BANDRA FORT

BANDRA FORT- A 1640 WATCHTOWER

BUILT BY THE PORTUGUESE.
SITE 3

Location-Gorai

Plot area-11,486 sqm

Access-easily accessed by road and

ferry.

Known for- amusement park and

meditation nearby

User group- SITE

meditators,visitors,tourists,family,st
udents,teenagers.

INTENT - The site is located a bit

away from the urban context of
mumbai. The greenery and the
calmness around the site will be a
soothing for a sensory experience. N
CONTEXT-

SITE

WATER KINGDOM-Asia's largest

ESSELWORLD-India’s first and largest
theme based water park.
amusement theme park built in 1986.
GLOBAL
VIPASSANA
PAGODA-
largest
meditation
centre in the
world with a
capacity of
8000
meditators,
tallest pillar-
less dome in the
world.
COMPARATIVE ANALYSIS OF THE CHOSEN SITES

CRITERIA SITE 1 SITE 2

LOCATION BANDRA WEST GORAI

NEIGHBOURHOOD OPPOSITE WATER BODY WITHIN GREENS

CONTEXT

ACCESSIBILITY ROAD ROAD,FERRY

(TRANSPORT)
USER GROUP TEENAGERS,TOURISTS MEDITATORS/VISITORS,TEE
NAGERS,KIDS,TOURISTS

LANDMARK HISTORICAL BANDRA VIPASSANA

FORT,BANDSTAND PAGODA,ESSELWORLD
CONCLUSION

In terms of architecture, we always rely on our eyes when we are designing or experiencing architectural
spaces. It is so convenient and fast to draw sketch, build Rhino model or a sketchup model and making
renderings. But, at the same time, it's reducing the fact that architecture is such a three-dimension art
should be experienced and created by the multi-sensory of our bodies.

Architecture needs to fulfill the practical purpose,but along with this,it must also enhance the purpose of
the built environment and its user experience.
THANK YOU