The interaction of our bodies in space is intrinsically linked to the ways in which we design. In spatial design we tend to focus on solely the visual, often treating it as the dominant sense while ignoring the other four senses: touch, sound, smell, taste. While research has been carried out on the perception of multisensorial experiences and design in the last two decades, there is no combined resource on how to address multisensory design in landscape architecture, architecture, urban and environmental design. This is a textbook for design students, professionals, and educators to develop multisensorial literacy. This book is the first of its kind, providing introductions on each of the five senses, along with exercises that demonstrate how to observe, record, and visualize them. It explores current design school pedagogy, and how we might imagine a more mindful way of teaching. The book is a foundational resource for students, professionals, and instructors to understand and ultimately create multisensorial spaces that are inclusive for all. This book imagines a world where seeing is redefined in a way that encompasses all of the senses—not just the visual.

'The Metropolitan Garden' shows how small scale public spaces become important alternatives in a worldwide process of urbanisation. This book offers possibilities to experience (smaller) rest spaces on the scale of human and physical perception. The garden is the classical example in making a landscape expressive and can structure urban conditions at the same time. With six prototypes: The Tofuku-ji Hojo gardens in Kyoto (1938), St. Catherine's College Quadrangle in Oxford (1959), Paley Park in Manhattan (1967), de Reflection Garden, Seattle (1979), the Jardin de Crazannes Garden and Jardin des Oiseaux, along the motorway in France (1993), and the Wasserkrater garden in Bad Oeynhausen in Germany (1997).

A powerful reminder to anyone who thinks design is primarily a visual pursuit, The Senses accompanies a major exhibition at the Cooper-Hewitt Smithsonian Design Museum that explores how space, materials, sound, and light affect the mind and body. Learn how contemporary designers, including Petra Blaisse, Bruce Mau, Malin+Goetz and many others, engage sensory experience. Multisensory design can solve problems and enhance life for everyone, including those with sensory disabilities. Featuring thematic essays on topics ranging from design for the table to tactile graphics, tactile sound, and visualizing the senses, this book is a call to action for multisensory design practice. The Senses: Design Beyond Vision is mandatory reading for students and professionals working in diverse fields, including products, interiors, graphics, interaction, sound, animation, and data visualization, or anyone seeking the widest possible understanding of design. The book, designed by David Genco with Ellen Lupton, is edited by Lupton and curator Andrea Lipps. Includes essays by Lupton, Lipps, Christopher Brosius, Hansel Bauman, Karen Kraskow, Binglei Yan, and Simon Kinnear.

This book studies the application of green roofs in ecoregions of the western United States and Canada. While green roofs were intended to sustain local or regional vegetation, this volume describes how green roofs in their modern form are typically planted with a low-diversity mix of sedums from Europe or Asia. The authors demonstrate how in the western USA and Canada many green roofs have been designed with native plants and have been found to thrive. Part I of this book covers theory and an overview of ecoregions and their implications for green roofs. In Part II vegetation from prairies, deserts, montane meadows, coastal meadows, and scrub and sub-alpine habitats are explored on seventy-three ecoregional green roofs. Case studies explore design concepts, materials, watering and maintenance, wildlife, plant species, and lessons learned. Part III covers an overview of ecoregional green roofs and a future outlook. This book is aimed at professionals, designers, researchers, students and educators with an interest in green roofs and the preservation of biodiversity.

Recent research in the cognitive sciences gives us a new perspective on the cognitive and sensory landscape. In The Multisensory Museum: Cross-Disciplinary Perspectives on Touch, Sound, Smell, Memory, and Space,museum expert Nina Levent and Alvaro Pascual-Leone, professor of neurology at Harvard Medical School bring together scholars and museum practitioners from around the world to highlight new trends and untapped opportunities for using such modalities as scent, sound, and touch in museums to offer more immersive experiences and diverse sensory engagement for visually- and otherwise-impaired patrons. Visitor studies describe how different personal and group identities color our cultural consumption and might serve as a compass on museum journeys. Psychologists and educators look at the creation of memories through different types of sensory engagement with objects, and how these memories in turn affect our next cultural experience. An anthropological perspective on the history of our multisensory engagement with ritual and art objects, especially in cultures that did not privilege sight over other senses, allows us a glimpse of what museums might become in the future. Education researchers discover museums as unique educational playgrounds that allow for a variety of learning styles, active and passive exploration, and participatory learning. Designers and architects suggest a framework for thinking about design solutions for a museum environment that invites an intuitive, multisensory and flexible exploration, as well as minimizes physical hurdles. While attention has been paid to accessibility for the physically-impaired since passage of the Americans with Disabilities Act, making buildings accessible is only the first small step in elevating museums to be centers of learning and culture for all members of their communities. This landmark book will help all museums go much further.

In this book Gayle Souter-Brown explores the social, economic and environmental benefits of developing greenspace for health and well-being. She examines the evidence behind the positive effects of designed landscapes, and explains effective methods and approaches which can be put into practice by those seeking to reduce costs and add value through outdoor spaces. Using principles from sensory, therapeutic and healing gardens, Souter-Brown focuses on landscape’s ability to affect health, education and economic outcomes. Already valued within healthcare environments, these design guidelines for public and private spaces extend the benefits throughout our towns and cities. Covering design for school grounds to public parks, public housing to gardens for stressed executives, this richly illustrated text builds the case to justify inclusion of a designed outdoor area in project budgets. With case studies from the US, UK, Africa, Asia, Australasia and Europe, it is an international, inspirational and valuable tool for those interested in landscapes that provide real benefits to their users.

This book provides a broad view on multisensory landscapes from multiple perspectives. It includes theoretical perspectives as well as case studies. Different theoretical perspectives on landscape emerging from research in the last decades also require a differentiated approach to landscape phenomena, going beyond the visual. For example, a social constructivist approach to the social world foregrounds the processes of negotiating social ‚realities‘. This is not limited to visual aspects, and is not based on a clear physical measurability with an accompanying (purely quantitative) recording. A phenomenological approach, for example, places the synesthetic experience of landscape at the core of interest. This approach to the topic of multisensory via ‚landscape‘ is obvious for several reasons. Firstly, landscape is created (from a constructivist perspective) through the synthesis of sensory impressions on the basis of social patterns of interpretation and evaluation. Secondly, communication about ‚landscape‘ is also accessible to people who do not have any ‚expertlike special knowledge‘ in this regard. Thirdly, landscape as a changing concept is not only a concept of landscape but also of landscape itself. Fourthly, landscape as a changeable concept is particularly suitable for conceptually framing the highly fleeting non-visual stimuli.

This edited collection presents state-of-the-art reviews of the latest developments in multisensory packaging design. Bringing together leading researchers and practitioners working in the field, the contributions consider how our growing understanding of the human senses, as well as new technologies, will transform the way in which we design, interact with, and experience food and beverage, home and personal care, and fast-moving consumer products packaging. Spanning all of the senses from colour meaning, imagery and font, touch and sonic packaging, a new framework for multisensory packaging analysis is outlined. Including a number of case studies and examples, this book provides both practical application and theoretical discussion to appeal to students, researchers, and practitioners alike.

Multisensory Experiences: Where the senses meet technology takes you on a journey that goes from the fundamentals of multisensory experiences, through the relationship between the senses and technology, to what the future of those experiences may look like, and our responsibility in it.

What if we designed for all of our senses? Suppose for a moment that sound, touch, and odor were treated as the equals of sight, and emotion considered as important as cognition. What would our built environment be like if sensory response, sentiment, and memory were critical design factors, the equals of structure and program? In Sensory Design, Joy Monice Malnar and Frank Vodvarka explore the nature of our responses to spatial constructs--from various sorts of buildings to gardens and outdoor spaces, to constructions of fantasy. To the degree that this response can be calculated, it can serve as a typology for the design of significant spaces, one that would sharply contrast with the Cartesian model that dominates architecture today. In developing this typology, the authors consult the environmental sciences, anthropology, psychology, and architectural theory, as well as the spatial analysis found in literary depiction. Finally, they examine the opportunities that CAVE and other immersive virtual reality technologies present in furthering a new, sensory-oriented design paradigm. The result is a new philosophy of design that both celebrates our sensuous occupation of the built environment and creates more humane design. A revolutionary approach to the built environment that embraces all of our senses and modes of understanding.