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Artykuły w czasopismach na temat "Senses and sensation in architecture"
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de Freitas, Elizabeth, David Rousell i Nils Jäger. "Relational architectures and wearable space: Smart schools and the politics of ubiquitous sensation". Research in Education 107, nr 1 (15.11.2019): 10–32. http://dx.doi.org/10.1177/0034523719883667.
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This paper undertakes an analysis of the “smart school” as a building that both senses and manages bodies through sensory data. The authors argue that smart schools produce a situation of ubiquitous sensation in which learning environments are continuously sensed, regulated, and controlled through complex sensory ecosystems and data infrastructures. This includes the consideration of ethical and political issues associated with the collection of biometric and environmental data in schools and the implications for the design and operation of learning environments which are increasingly regulated through decentralized sensor networks. Working through a relational and adaptive theory of architecture, the authors explore ways of intervening in smart schools through the reconceptualization of sensor technologies as “atmospheric media” that operate within a distributed ecology of sensation that exceeds the limited bandwidth of the human senses. Drawing on recent projects in contemporary art, architecture, and interaction design, the authors discuss specific architectural interventions that foreground the atmospheric qualities and ethical problematics of sensor technologies in school buildings.
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Mohamed, Essam Metwally. "The Relationship Between Interior Architecture and Music". Modern Applied Science 12, nr 10 (27.09.2018): 86. http://dx.doi.org/10.5539/mas.v12n10p86.
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There is no doubt that there is a calculated relationship between architecture and music. If music is the translation of emotion, this emotion has been reflected in the architectural character and the arts of building and shaping its style. And the music of primitive tribes and barbaric peoples represented by the drums of homogeneous repetitions reflected on their buildings and primitive character or their huts identical and compact without compatibility or homogeneity. The rural music of each country, which is characterized by simple melodies and monotonous tones belonging to the living nature and sprouts from its land, we find a reflection of the buildings that are characterized by simplicity and calm and building materials derived from the surrounding nature.
The Harmonized melodies and the continuous repetition of original tones and their background can easily be read or heard on the facades of the Islamic style buildings in the continuous surface repetition of contracts and decorations
The change of the personality of Arab architecture from one country to another and the change of the form of contracts and domes, has found a similarity in the changing personality of contemporary music.
Every modern development in architecture and its character is recorded by the music and its character. The more the cultures of the peoples are merged, the more modern the modern architecture, which occupies its place in the different countries, resonates with contemporary world music and converges with the civil affinity and culture of the peoples.
"Architecture is music embodied in the place," says Hassan Fathi. "Music is an architecture embodied in time"
Studying the relationship between interior architecture and music enables us to "enjoy" it by using our senses to "see what we listen to" and "hear what we see" achieve greater levels of experience. I think this is what the "normal" people do, and they use their senses to live life differently than they did before.
Through practical experiments for students of Design 2, the music has been transformed into an interior design through the sensation, sensation and impression of the music in the same designer to translate these feelings into design forms and stereoscopic elements with materials, colors and reflections that express these feelings and the emotional state raised by this music.
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García Nofuentes, Juan, i Roser Martínez Ramos e Iruela. "Essence-Temporality Paradigm". Estoa, nr 15 (2019): 79–93. http://dx.doi.org/10.18537/est.v008.n015.a07.
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The «tobacco curing houses» scattered across the landscape of the Vega of Granada, mean something more than the memory of a marginal, beautiful and forgotten architecture. These simple models of industrial architecture that pursue the «essence», turn into light and sensations sieves, that can be pierced by senses owing to a drilled and protagonist epidermis, with great expectations of giving shelter to the most unlike uses. From the inquiry into the infallibility of the architectural fact, coming from the observation of «permanent qualities», foreign to styles, uses, economy, social conditions or culture, which make architecture an eternal demand, the «invariants» that are being discovered from the inductive analysis of models of the embryonic architecture of this peculiar inherited heritage, are revealed, in a constant intertextual exercise.
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Watkins, Liz. "Unsettling Perception: Screening Surveillance and the Body in Red Road". Paragraph 38, nr 1 (marzec 2015): 101–17. http://dx.doi.org/10.3366/para.2015.0149.
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The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road (Dir. Andrea Arnold, UK/Denmark, 2006), which features a female protagonist who works as a surveillance officer in a CCTV control room, offers a way to echo and disrupt the ‘mechanisms and techniques of reality-control’ (de Lauretis 1984, 84) and to challenge what constitutes socially acceptable bodies and the cinematic institution of the image of woman. In Red Road the legible architecture of the film image emerges through the myriad colours of light reflected by a camera lens and the effacement of details in areas affected by shadow and variations in focus. The camera is almost always in motion and responsive to the gestures of the protagonist's body, signalling the potential of the chromatics of Red Road to trouble the structures of seeing familiar to cinematic representation. Colour and perception remain open to contingency and change, fostering alternative subject positions that trace the interrelations of the body — its senses and sensations — and the discourse of vision. The unsettling of perception refigures the encounter between the self and others through the imaginary or fictional worlds that remind us of the uncertainties and vulnerability of such interactions.
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Kozbagarova, Nina Zh, i Bogdan Ya Tamara. "Role of architectural and landscape means in increasing the artistic potential of the urban environment of monocities in Kazakhstan". Urban construction and architecture 12, nr 3 (18.10.2022): 143–48. http://dx.doi.org/10.17673/vestnik.2022.03.20.
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The emotional component in the formation of a comfortable environment of urban space is considered. The influence of architectural and landscape means on improving the qualitative potential of the functional and spatial organization of the living environment of small towns is shown. Investigated eco-reconstruction, connection with the natural environment inside the city. The five main human sensory senses, their influence on the perception of the environment are considered. The sensation of the inhabitants of the rhythm of the urban environment, the perception of the compositional qualities of the space created by the architect through the combination of all sensory qualities is shown. The problem of de-urbanization and depressiveness of small single-industry towns of Kazakhstan is noted.
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ÖZKAN ÜSTÜN, Gizem, i Pınar DİNÇ KALAYCI. "‘TRANS-’ APPROACH TO ARCHITECTURE AND MUSIC INTERACTION: THE RELATIONSHIP BETWEEN MARCOS NOVAK’S LIQUID ARCHITECTURE AND MUSIC". INTERNATIONAL REFEREED JOURNAL OF DESIGN AND ARCHITECTURE, nr 21 (2020): 0. http://dx.doi.org/10.17365/tmd.2020.21.3.
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Aim: The aim of this research is to identify the Novak’s relationship of ‘liquid architecture and music’ as an approach that diverges from the architecture music relationships that have been built throughout the historical process. Method: In describing the approach, initially, the intellectual and critical foundations and features of liquid architecture were emphasized, and subsequently, its relationship with music was discussed through case studies in comparison to the current relationship between architecture and music. Results: When the current relationships of the architecture and music are evaluated, the attitude apart from the arising sensations and affections doesn’t exist within the relationship of liquid architecture and music. Liquid architecture, which has characteristics such as continuity, timelessness, plurality, poetry and obscurity, acquires the characteristics of the individual varying based on his/her body, senses, perceptions, and emotions as the way of producing architecture. It is claimed that the liquidity approach will influence music and architecture in different ways than is known, and that music will transform into a new form of architecture, while architecture becoming a new form of music. In this context, it extends ‘beyond (trans-)’ the limits of current approaches. Conclusion: The sixth category of methodical approaches in architecture music interaction can be defined as the relationship of liquid architecture and music. The way it relates to music and the way it produces architecture also suggests a direction of development to concrete architecture and virtually warns about renewing its theory and tools.
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Vojnović-Ćalić, Tijana, Katja Vaghi i Anja Ohliger. "A somatic approach as transgression in teaching architecture: A small house conversion project". SAJ - Serbian Architectural Journal 14, nr 3 (2022): 217–42. http://dx.doi.org/10.5937/saj2203217v.
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We perceive the world mostly with our vision, undervaluing all the other senses that can participate in a better understanding of our immediate surroundings. A comprehensive and subjective perception is especially relevant for those who take an active part in creating our environment - namely, architects. As educators, the authors took it upon themselves to awaken, through practical experience, a deeper awareness of the spatial environment in first-semester architecture students, with a design project of a small house conversion. This was achieved through an interdisciplinary, embodied approach, i.e. sets of somatic exercises within an exploratory workshop, which motivated the students to reconnect with bodily sensations which stay unnoticed or that they usually take for granted. They gained knowledge on how to comprehend with their bodies and critically approach spatial situations, search for inspiration in unconventional places and apply spontaneity and their corporeal experience in their own designs. The body was recognised as the place for potential creative and productive transgressions during the process.
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Perez, Katia. "Volta à infância: leitura des-verbal e formação de sentidos nos ambientes de trabalho de empresas de tecnologia". Las Relaciones Públicas en el nuevo milenio: retos y oportunidades 10, nr 20 (22.12.2020): 201–22. http://dx.doi.org/10.5783/rirp-20-2020-11-201-222.
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Nowadays, references to childhood can be easily perceived in workplace, especially in companies that take as a model the innovative, relaxed offices in Silicon Valley, California (USA). Both the architecture and the decoration of these workplaces suggest new senses, different from those formed in traditional offices. The employees of these companies, in turn, construct imaginary representations about the office - and, consequently, about the company - using all this shown material, in addition to their own experiences, memories, sensations and affections. In these communicational interactions, the highlight is the non-verbal language (Ferrara, 2001), where that childhood symbolic objects produce senses (Orlandi, 2012), suggest interpretations (Santaella, 2008) and create emotional bonds (Silva, 2012) in everyday work life. Studying these relationships that involve all the human senses in the communication process within organizations is the main theme in this article. As the objective of this research, we seek to understand how these organizational discourses are constructed in order to involve employees emotionally using their own experiences, recovered by childhood symbolic objects. Summing up: how are these shown discourses, involving childhood memories, in the work routine, materialized? As corpus of our research, we chose to observe and analyze the workplace of three multinationals from technology sector, represented by their Brazilian offices: Google-Belo Horizonte, in Minas Gerais, OLX-Rio de Janeiro and LinkedIn-São Paulo. The material for analysis was collected from images available on the corporate websites of these companies and on the websites of the architecture firms responsible for the architectural projects created for these offices. Collected data as well as its organization and analysis were based on Lucrécia Ferrara's proposal of reading non verbal messages, contextualizing in time and space each researched places, searching for "estrangement" - non-homogeneous elements or situations - and find out the "dominant" - the conflicting element in the observed environment (Ferrara, 2001). The non-verbal reading are based on the memories recovered not only by the act of seeing something, but also for hearing, smell, taste and touch. And these memories can be used to create new sensations and emotions - positive ones - for new perceptions of the corporate 'world'. In the three companies researched, which hired architects and decorators to transform the work space according to the companies' world headquarters guidelines, we found the non-homogeneous in the office organization itself. In this innovative interior, the presence of childhood symbols appear as dominant. This is the case of the Google-Belo Horizons popcorn cart, the giant slide at OLX-Rio de Janeiro and elements such as a swing at LinkedIn-São Paulo. We understand that employees' perceptions of childhood symbols refer to distant and pleasurable memories, brought by remembrance to other contexts and situations. And these memories and feelings are activated not only by the sight of these objects, but also by smell, taste - like as the popcorn cart - and by touch - as in the act of slipping or rocking. It is essential to highlight that mental and symbolic representations have an emotional charge brought about by specific moments, lived in certain contexts and recovered by memory through associations by similarity. This reading of the non-verbal material transfers the happy memories of employees to the workplace, to the company, and can contribute to the formation of meanings of pleasure and well-being for corporate world. The bridge between employees and the organization, for this image formation, is the symbolic material.
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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture". Ikonotheka, nr 29 (16.09.2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.
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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.
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Sakai, Nobuyuki. "Sensation and perception of chemical senses". Journal of Japan Association on Odor Environment 37, nr 6 (2006): 397. http://dx.doi.org/10.2171/jao.37.397.
Pełny tekst źródłaRozprawy doktorskie na temat "Senses and sensation in architecture"
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Wansten, Jamie. "Back to your senses". This title; PDF viewer required Home page for entire collection, 2008. http://archives.udmercy.edu:8080/dspace/handle/10429/9.
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Schroeder, Stephanie Ann. "Connections through natural perceptions". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/schroeder/SchroederS1209.pdf.
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I believe that through sensory connection to our natural surroundings we will reinvigorate a deeper connection with ourselves and to the environment. Architecture could become the medium to create that connection as well as the physical manifestation of our understanding of existence and of time, which facilitates this connection. This thesis seeks an understanding of self and place through our sensory connection to nature. In our modern world, we are presented with a growing amount of synthetic and manufactured surroundings that are designed to be perceived through sight, while sound, smell, taste and touch are considered secondary senses, and experiential quality is not inherent. Our society is moving farther away from a connection to nature and a connection to the earth. I believe that through sensory connection to our natural surroundings we will reinvigorate a deeper connection with ourselves and to the environment. This thesis is exploring how nature is the medium for a deeper connection and understanding of ourselves, who we are, and how we interact with the environment through sensory perception. Natural materials and practices are being replaced with synthetics, which lack the cyclical nature and life of natural materials. Machine-made products lack the ability to connect on a humanistic level due to their perpetual state of youth. "We are increasingly detaching ourselves from 'organic and functional periodicity' which is dictated by nature, and replacing it by 'mechanical periodicity' which is dictated by the schedule, the calendar, and the clock."³ These fabricated objects intensify the isolated state of man from the natural world through their constant neglect of the senses and disregard for the energies intrinsic in natural materials. It is my belief that to be able to live meaningful and impassioned lives, we must become more aware of fabricated surroundings, and return to natural environment from which we came. By refocusing on natural processes and materials in the built environment, man can reawaken the relationship we have with nature. I believe that through understanding our surrounding's impact, we can connect with not only ourselves, but the environment.
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De, Kock Servaas Willem Lourens. "Music Performance Lab : architecture as a sensory conductor". Diss., Pretoria : [S.n.], 2008. http://upetd.up.ac.za/thesis/available/etd-11252008-155320.
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Magner, Jeremy. "The machines of perception". Thesis, Atlanta, Ga. : Georgia Institute of Technology, 2008. http://hdl.handle.net/1853/24630.
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Landis, Mark J. "Building Kant: The Architecture of Richard Neutra as an Application of Kantian Ideas". Kent State University Honors College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1462626205.
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Brown, Megan (Megan Francesca). "Sensations: a fabric of natural alcoves to provide relief from city life and stimulate the five senses". Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/61196.
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Thesis (S.B. in Art and Design)--Massachusetts Institute of Technology, Dept. of Architecture, 2008.Cataloged from PDF version of thesis.
Includes bibliographical references (p. 91).
Cities have always been, and will likely always be, hectic. With every new technological advance this characteristic becomes amplified, and today city life offers little relief from cell phone chatter, honking car horns, bustling crowds and towering buildings. This is the essence of the city, and to many can be considered to be part of its charm, but it does not provide opportunities for relaxation and peace, creates an individualized society with little opportunity to form communities and also allows for very little interaction with nature. The goal of my thesis is not to design a way to change the vivacity of the city, but rather to create a fabric within it that would provide temporary escapes into natural environments scattered throughout and inspire a new way of city life. These "natural alcoves" uniquely bring nature into the city and are designed to stimulate the five senses: sight, smell, taste, touch and sound. They are connected both by design similarities and shared materiality, and create unique paths between them that run through the city and further insert nature into its environment. I have designed five possible alcoves for Davis Sq., in Somerville. These are not intended to exist independently, but rather to be part of the much larger fabric with even more diverse spaces utilizing similar characteristics, and together could be used as a prototype for other similar surroundings. Olmstead designed Boston's Emerald Necklace in order to provide all city residents with a relief from the pollution, noise and overcrowding of city life. In doing so, he created a network of parks throughout the city that united the greater Boston area through nature. As life becomes progressively more hectic, the need for relief from city life becomes increasingly necessary. We currently have the opportunity to follow Olmstead's lead and produce a framework of places that are compatible with the electronic age but also give a break from frenzied city life.
by Megan Brown.
S.B.in Art and Design
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Solander, Tove. ""Creating the Senses" : Sensation in the work of Shelley Jackson". Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65968.
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This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors. Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship. Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political radicalism go hand in hand. Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces. Her work is also described as object writing: a literary equivalent to surrealist object art. A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.
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Wilson, Jim. "An analysis of the significance of the senses in Scripture with a view toward their use in expository preaching". Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.
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Li, Kelin, i 李科林. "The liberation of sensation from reason: going beyond Kant with Deleuze". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43703835.
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Davidson, Kelly Patricia. "On unifying the laws of sensation : an empirical investigation of predictions arising from Norwich's theory of perception". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/29594.
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The present thesis constitutes an empirical investigation of the prediction of Norwich's Entropy Theory of Perception that the positive exponent of the magnitude estimation power function and the negative exponents of equations relating the Weber fraction and simple reaction time to stimulus intensity should, since they can all be derived from the theory's Fundamental Equation, be numerically the same.
A pilot study consisting of magnitude estimation and reaction time experiments (using pure tone auditory stimuli of varying intensities at five frequencies), and a "main" study comprised of magnitude estimation, reaction time, and Weber fraction experiments are described.
The results, while offering possible confirmation of the prediction, remain somewhat tentative, owing to the persistently problematic technique of curve fitting upon which determination of the reaction time and Weber fraction exponents rests.
The theory, in leading one to even attempt to compare such previously unrelated measures as magnitude estimation and reaction time with Weber fractions, has yielded, theoretical issues aside, some worthwhile empirical results: I have obtained measures on three different psychophysical tasks from the same subjects over (effectively) the same stimulus range for each of those subjects; and, moreover have, I believe for the first time, explicitly noted that the Weber fraction displays the same decrease in exponent with increasing frequency, followed by an upturn at the highest frequencies, that characterizes both the equal loudness curves and the reaction time curves a la Chocholle. Suggestions are made regarding supplementary curve fitting methods by which to analyze these data, as well as for future research in the psychophysiological realm which, in addition to expanding the scope of the prediction that is being tested, may provide some much needed insight into the numerical values of the multiplicative and additive constants that occur in the equations under consideration in this thesis.Arts, Faculty of
Psychology, Department of
Graduate
Książki na temat "Senses and sensation in architecture"
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Kirke, Philip James. The architecture of perception. Shelley, W.A: Friend Books, 2006.
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Bahamón, Alejandro. Light, color, sound: Sensory effects in contemporary architecture. New York: W.W. Norton & Co., 2010.
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Costescu, Silvia. Implicarea senzorială în percepția obiectului de arhitectură. București: Editura universitară "Ion Mincu", 2007.
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Angelis, Claudio De. Sopralluogo e schizzo: Sconfinamenti tra percezione e progetto in architettura. Roma: Officina, 2009.
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Villamira, Marco Alessandro. Ambienti dell'ospitalità. Firenze: Alinea, 2008.
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Dahmen-Ingenhoven, Regina. Animation: Form follows fun. Basel [Switzerland]: Birkhäuser, 2004.
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Philippe, Daverio, i Purini Franco 1941-, red. Spazi sensoriali : prototipi spaziali. Roma: Palombi, 2010.
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Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Wyd. 3. Chichester, UK: John Wiley & Sons, 2012.
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Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Wyd. 2. Chichester, UK: Wiley-Academy, 2005.
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Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Wyd. 3. Chichester, UK: John Wiley & Sons, 2012.
Znajdź pełny tekst źródłaCzęści książek na temat "Senses and sensation in architecture"
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Mather, George. "The chemical senses". W Foundations of Sensation and Perception, 367–83. Wyd. 4. London: Psychology Press, 2022. http://dx.doi.org/10.4324/9781003335481-13.
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Zanker, Johannes M. "Chemical Senses: Smell and Taste". W Sensation, perception and action, 112–23. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-09210-6_9.
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Zanker, Johannes M. "Body Senses: From the Control of Posture to Touch". W Sensation, perception and action, 124–36. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-09210-6_10.
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Garrison, Laurie. "Magnetic Science and the Sensation Novel: Stimulating Bodies, Senses and Souls". W Science, Sexuality and Sensation Novels, 56–106. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230297586_2.
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Delage-Toriel, Lara. "‘A Tactile Sensation Is a Blind Spot’: Nabokov’s Aesthetics of Touch". W The Five Senses in Nabokov's Works, 347–59. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-45406-7_21.
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Cody, Robert, i Angela Amoia. "Thermodynamic—Health and Instruments of Sensation". W Alvar Aalto and the Future of Architecture, 181–223. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003160571-6.
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Misharina, Anna, i Eleanor Betts. "The Embodied City: A Method for Multisensory Mapping". W Capturing the Senses, 237–64. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23133-9_11.
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AbstractThis chapter presents a methodology for recording sensory data in an urban landscape and looks forward to how this might be adapted to enable multisensory mapping of ancient spaces more broadly. The premise is that it is impossible to make a single map of a city without overlapping temporal, monumental, social, and sensory spaces, a premise situated in Henri Lefebvre’s philosophy of social space. The focus of the authors’ methodology is lived space. Lived space is constructed from the relations between people and their habitation of the physical environment. Recognition of, and attachment to, places is constructed through personal experience and memories. Sight, sound, smell, taste, kinaesthesia, and touch all contribute to the creation of the experience and affectiveness of place. Sensation is complex, and the sensory experience of place is more so. In any discipline, taking a multisensory approach means embracing this complexity, while recognising the myriad variables and finding methods and approaches by which to record them. In order to draw attention to the embodied city, the authors invited a group of workshop participants to work with a map of the Canterbury city centre (Kent, UK) as a critical tool with which to analyse concrete space. Participants were encouraged to map the impressions engendered by their physical environment in the specific moment in which they encountered it. The objective of this exercise was to capture the qualitative experience of sensory space by recording individual perceptions of sensory stimuli. The results were then digitised and are presented in the final section of this chapter.
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Manzetti, Maria Cristina. "Combining 3D Visibility Analysis and Virtual Acoustics Analysis for the Architectural Study of Ancient Theatres". W Capturing the Senses, 105–25. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23133-9_6.
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AbstractThe research presented in this chapter demonstrates the fruitful combination of interdisciplinary and multisensory approaches in the field of archaeology. Several disciplines, such as architecture, archaeology, computer science, acoustics and geophysics, cooperated to obtain new data and to elaborate new hypotheses about the original structure of the Roman theatres in Crete. All the information available about these monuments (such as ancient drawings, descriptions of travellers, plans, archaeological reports, aerial pictures and geophysical anomalies) were the basis to hypothesise their original architecture, together with the support of comparisons with well-preserved Roman theatres and with Vitruvius’ proportions. These reconstructive hypotheses were visualised by 3D models and their accuracy was verified through a new methodology that sees the application of 3D visibility analysis and virtual acoustics analysis. The 3D visibility analysis was useful to verify the level of visibility of the stage by the spectators in the seating area. The virtual acoustics analysis was used to obtain quantitative values of acoustic parameters helpful to judge the acoustic quality of the 3D reconstructions. The auralisation was also carried out to attain a subjective parameter about acoustic perception. In particular, by 3D visibility analysis and virtual acoustics analysis, it is possible to verify the reliability and the accuracy of hypothetical reconstructions, assuming that every spectator was able to watch the stage and able to listen and to comprehend any performance. The case study presented here is the theatre at the acropolis of Gortyna. Two different 3D reconstructions were tested and it has resulted that the 3D model of the theatre which maintains some Greek characteristics is the most reliable one. This approach made it possible to obtain data that could not be obtained otherwise, as well as raising new questions and opening up new perspectives.
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Piccoli, Chiara. "Home-Making in 17th Century Amsterdam: A 3D Reconstruction to Investigate Visual Cues in the Entrance Hall of Pieter de Graeff (1638–1707)". W Capturing the Senses, 211–36. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-23133-9_10.
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AbstractThis paper investigates the role of 3D modelling in enhancing our understanding of the spatial arrangement and representational character of a room in a 17th century Dutch home. The case study presented here is the entrance hall (“voorhuis” in Dutch) of the house of Pieter de Graeff and Jacoba Bicker located at Herengracht 573 in Amsterdam. This research draws upon a heterogenous dataset which includes the surviving architecture, the probate inventory of De Graeff’s properties that was drawn up after his death, and the almanacs in which he recorded some of the construction works in the house. This paper shows how the “materialization” of the inventoried objects in a 3D model suggests otherwise unnoticeable intentions and visual cues underlying their disposition within the room. In addition, this approach offers a non-intrusive and non-destructive way of visualizing past building phases and a room’s forgotten function which prompts a more dialogical engagement with architectural heritage in comparison to permanent physical reconstructions.
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Latifi, Mehrnoush, Jane Burry i Daniel Prohasky. "Make the Invisible Microclimate Visible: Mixed Reality (MR) Applications for Architecture and Built Environment". W Impact: Design With All Senses, 325–35. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29829-6_26.
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MacDonald, Marie-Paul. "Design of Sound and Place - Recent Studios". W 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.29.
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Urban public spaces and their associated architecture should be capable of eliciting responses from all of the human senses, yet traditionally urban and architectural designers rely primarily on visual display to persuade the public of the qualities of new proposals. As it becomes more common to use a variety of media to depict and simulate proposed urban spaces, designers and teachers of design look for ways to sensitize emerging designers to the full spectrum of sensations that inform potential users of a public space. The design studios discussed in this paper bring together the issues of the design of the experience of visual and aural settings, in an era of podcasts and ear-buds.In order to address issues of sound and public space, the author selected examples from two architectural design studios that took place in 2016 and 2018. Undergraduate students composed their own programs and projects to take into account the aural as well as visual qualities associated with their design intentions and ambitions. The process began with a programming phase to designate performing and listening as interactions that constitute primary activities happening in the context of the proposed public built form and related urban space. The research continued with an exploration of the tectonics and materials of the projects. Preliminary field research located and mapped small centralized urban organizations related to the sonic: collectives and small businesses working, for example, in the areas of sound recording, radio and musical performance.
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VLLAMASI, Andia, i Anxhela ASIMI. "Examining the User of VR Technologies to Improve Architectural Visualization and Immersive Design. Experiences Virtual Reality for Architectural Visualization". W ISSUES OF HOUSING, PLANNING, AND RESILIENT DEVELOPMENT OF THE TERRITORY Towards Euro-Mediterranean Perspectives. POLIS PRESS, 2023. http://dx.doi.org/10.37199/c41000120.
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When we think about architectural design what comes to mind is the final result, this being the visualisation ofthe proposed structure, which enables architects to successfully present their con- cepts to customers, stakeholders, and the general public. Advancements in technology systemat- ically keep transforming the way architects present their work, from traditional methods such as drawings, renderings and physical models to digital representation. Although these techniques offer useful presentation, they frequently fail to capture the real spatial experience and sense of immersion that buildings offer. Today, Virtual reality (VR) technologies offer an either further ad- vancement, and are effective tools for improving architecture visualization and offering immersive design experiences. This paper will look into the potential of VR for architectural visualization as well as its effects on how architects communicate and make decisions. By building immersive, engaging, and realistic virtual worlds that closely mimic the sensation of being inside a built location, virtual reality presents a potential to reduce this gap. The study evaluates the effect of VR on architectural vision from various angles. What are the benefits of VR? Does virtual reality truly capture an authentic spatial experience? This prompts the need to assess how VR can enhance design communication. This involves facilitating interaction and immediate input among stakeholders like architects, clients, and others. Additionally, it requires contemplat- ing how VR can facilitate collaborative design procedures. One way it achieves this is by aiding architects in appraising design alternatives and experimenting with light conditions. However, while presenting opportunities, the pragmatic application of VR includes many obsta- cles to its acceptance. These considerations encompass factors such as accessibility and the ne- cessity for specialized knowledge and tools. The study also outlines fundamental principles and optimal approaches to effectively integrate VR into architectural visualization workflows. This is realized by conducting a thorough examination of existing literature and case studies. The investi- gation delves into various VR techniques and their real-time interactivity, along with their impacts on architectural design and communication. In addition, the human elements that influence VR experiences will be taken into account such as user comfort, presence, and the risk for cognitive overload. The results of this study demonstrate how virtual reality can revolutionize architectural visualization. Suggestions for architects, designers, and stakeholders include how to use virtual reality (VR) to improve decision-making, increase design communication, and provide more cap- tivating and immersive architectural experiences.
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Hua, Zizhong, i Jing Luo. "Interactive design based on five senses solution for the externalization of pain sensation". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001727.
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Pain is the most common cause of the elderly entering the medical system, and according to the survey, the elderly who visit the clinic due to chronic pain account for 44% (Tao et al., 2017). So the pain assessment for the elderly has become particularly important, but with the aging of the cognitive ability and behavior of the elderly, it has become difficult to communicate with doctors. This paper is based on the existing tools of pain assessment, starting from the interaction design based on the five senses, using questionnaire survey and in-depth interview, combining the cognitive thinking and behavior characteristics of the elderly. The design of tools of pain assessment suitable for the elderly was concluded, and finally the design scheme is proposed based on the conclusion. Keywords: Doctor-patient Communication, Pain Feelings, Interaction Design, Five Senses, The Elderly, Pain Assessment
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Datta, Soumya Kanti, i Thomas Coughlin. "An IoT architecture enabling Digital Senses". W 2016 IEEE 6th International Conference on Consumer Electronics - Berlin (ICCE-Berlin). IEEE, 2016. http://dx.doi.org/10.1109/icce-berlin.2016.7684719.
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Sosa, Marco, Boris Orellana-Alvear i Natalia Pacurucu. "Making Architecture: Javier García Solera - The Sense of Place in Architecture". W 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003678.
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There is a growing awareness in today's society of the importance of architecture and place, but as the cities we live in grow and our lifestyles change, so does the way we use space. This means that the role of the architect is increasingly important. The development of the city and its rapid growth has become a stage to demonstrate the individualism of an architecture biased towards the spectacle and clearly towards real estate. It is important to recognize the good way of doing architecture. This article intends to establish the importance of the place in the work of the architect Javier García Solera, being for him an important condition to project and a result to be achieved with the construction. Through the bibliographical review, the condition of its architecture and the purpose of its design are described, establishing the strategy that is part of the solution, when facing the place and the initial idea of projecting. At the same time, the present study establishes through the bibliographic review, the notion of what the place means, its different scales and perceptions. It is concluded that architecture is the human response to the environment in which we live and what is its impact on the landscape, as an expression of identity and what sensations it provokes in those who inhabit it. With this study the fundamental role of the place is defined, understanding it as a necessary condition for architecture to exist.
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Antonio Gambera, Davide, Emilia Duarte i Dina Ricco. "Internet of Senses (IoS) and Internet of Sensory Health (IoSH): A New Technology Epiphany". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001403.
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In the field of healthcare design, a great revolution is taking place. The use of Internet of Things (IoT) technologies, and in particular the great success of smartwatches, fit bands, and specific wearable medical devices allowed people to self-monitor their health parameters. At the same time, physicians were allowed to track, assist, make diagnoses, and prescribe treatments, remotely. Everything is done with the collection of and analysis of high-quality data, assisted by Artificial Intelligence (AI) (Forgan; 2021; Chiapponi & Ciotti, 2015; Islam et. al, 2015). At the same time, the easier accessibility to sensory technology, the high-speed internet connection, and rate of adoption of Virtual Reality (VR), Augmented Reality (AR), and Mixed Reality (MR), which are altogether known as eXtended Reality (XR), is accelerating innovations, with the digital experiences expected to become even more immersive.According to a recent report of Sony Ericsson® the biggest trend for future technology developments until 2030, will be the evolution from IoT (Internet of things) to IoS (Internet of Senses). Nowadays, we can use XR solutions to support patients’ recovery, promote mental health, or treat chronic pain conditions, but, digital communications are still audio-visual. In the next decade, it is expected that devices, sensors, and actuators, and software would enable these experiences to become even richer, through the concomitant use of all our senses, and merging the digital and the physical reality. This type of experience is based on the Internet of Senses.This revolution will drive designers to create more immersive environments. Future experiences with the diffuse use of haptic feedback will be enriched with digital flavors/aromas, more sophisticated haptic stimulations, and immersive interfaces. Future experiences are going to involve multiple sensory modalities, opening interesting possibilities for multi-sensory and cross-sensory interactions. (Sony Ericsson, 2020)These observations are particularly interesting for the field of Synesthetic Design, («synaesthesia» from the Greek syn," together", and aisthēsis, "sensation", literarily “perceiving together”), the study of sensory perception is used to design sensory stimuli with the specific purpose of “contaminating” other different sensory modalities (senses) changing the nature of stimuli. All the sensations can be coordinated based on the systematic connections between different modalities”. (Haverkamp, 2014). How this revolution is going to affect the world of healthcare?The Internet of Senses revolution will open important horizons for designers, responsible for the sensory characterization of everyday experiences. In this paper, we are going to introduce what are the opportunities of implementing Internet of Senses technologies for healthcare. To do so, we are going to present and discuss a Case-Study (a between-subjects experience involving 42 participants) in which a synesthetic design approach has been used to reduce the sensation of pain in people (using cold-induced pain CPT). The study has been realized creating an immersive experience based on cross-sensory interactions in a sensory-controlled environment. Particular attention will be given to the methodological aspects of the study.
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Adachi, Takuto, Keiichi Watanuki, Kazunori Kaede i Yusuke Osawa. "Factor of Discomfort During Jumping Extended in Virtual Space". W 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004671.
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In conventional games, enhancing a character’s physical abilities leads to increased entertainment and exhilaration. However, in virtual reality (VR) games, the movements of the in-game characters and players are synchronized, enhancing the sense of physical presence and immersion. Therefore, it is believed that the entertainment value of VR games can be enhanced by extending the characters’ physical abilities. This study focuses on the impact of enhancing a character’s jumping ability in a VR game, which is a fundamental human movement. Our findings indicate that significantly increasing the jump height diminishes the sense of motor subjectivity. This is attributed to the incongruence between visual input and the anticipated sensation based on previous experience. We then investigated the senses that exhibited the largest discrepancies. We found that the discrepancies were particularly large in terms of speed and height, with a higher sense of levitation correlating to increased entertainment value. Future work will aim to propose a trajectory that can minimize the discrepancy in sensations of speed and height and enhance the sensation of floating.
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Zacca, Darine T. "Experiencing spaces and places through human senses with the presence of nature". W 6th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2023, 14-16 June 2023. Alanya University, 2023. http://dx.doi.org/10.38027/iccaua2023en0325.
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MacLean, Karon E., Scott S. Snibbe i Robert S. Shaw. "An Architecture for Haptic Control of Media". W ASME 1999 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/imece1999-0029.
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Abstract Most haptic interfaces are designed with a desire to produce simultaneous perception across multiple senses, with haptic behaviors that complement the task at hand. However, software architectures for haptic interfaces often distribute a virtual model and tasks among multiple processes and CPUs. This functional segregation can reduce the quality of haptic experience, by hiding important details of the dynamic model and reducing the communication bandwidth between the haptic controller and the application. We present a means of closely coordinating a haptic interface with a virtual model, application content and other sensory displays. Our architecture features the ability to customize haptic behavior at a low level, in the dynamic relations among control parameters. Furthermore, we have located significant application control within the haptic process in order to facilitate effective bidirectional communication. We describe some applications for haptically manipulating dynamic media; and propose extensions to our architecture for increased generality, decreased code size and high-level programmability for efficient application development.
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Shirakawa, Kazuma, i Daigo Misaki. "Multimodal haptics perception of underwater flow for scuba diving safety training". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002639.
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Water accidents require intuitive decisions and training for such decisions because of the short time between involvement and death. The goal is to use engineering techniques to train and prevent accidents that require split-second decisions or are caused by human actions or scenarios that are difficult to anticipate.In recent years, the number of fatalities in traffic accidents and disasters has decreased significantly due to the development of technology and new technologies. However, water-related accidents, especially those caused by currents, involve human factors, and the ratio of fatalities to the number of accidents is still high. It is difficult to cover and solve such human-caused accidents with engineering technology alone. Therefore, it is necessary to solve the fundamental problem. The most important solution is to train people. By training people, the fundamental awareness of human factors can be trained, which will reduce accidents. The most effective way to learn these factors is through hands-on education and training. Among these, VR can be performed regardless of the location. It is expected to be much more effective than those obtained from videos or books.Many studies on VR training and Evangelos Markopoulo et al. have conducted a study on maintenance and safety education of ship engine systems using VR. In another study, Victor Saint-Martin et al. studied fire VR training for hospital personnel who have difficulty participating in regular on-the-job training. While there are studies on VR training that focus mainly on visual training, few studies on VR training focus on water accidents and aim to reduce accidents by tactilely displaying the strength of underwater currents. In addition, many underwater VR studies have been conducted for entertainment purposes, and few studies evaluate the perception of danger. In this study, we propose a VR system and a multimodal interface to post the flow of water hazards caused by the flow. Here, we validated the experience of flow using multiple senses, including VR and tactile sensation, to confirm the validity of the risk assessment. We found that the degree of risk perceived by a person can be combined in an additive manner with the risk postings given to each sensory organ, resulting in a higher risk rating. We also found that force postings produced higher danger ratings than tactile postings. These results indicate that using multiple senses to assess the danger of water currents increases the danger rating, and combining it with force instead of tactile sensation further increases the danger rating. In the future, we plan to discuss the effectiveness of this training in developing intuitive judgment. Furthermore, we would like to utilize this training for water accidents and other intuitive accidents to develop the ability to grasp the situation and make a judgment instantly.