DESIGN FOR THE SENSES: MULTISENSORY INTERIOR DESIGN

The human brain

Interior Design is at times dismissed by some, as subjective, thus, "superficial" or "unimportant". However, this is far from the truth. Architecture and interiors, where we spend the most part of our lives, do affect us, profoundly; our body as well as our feelings. Our senses are constantly receiving information from the environment, whether interior or exterior, which the brain has to process. Understanding this, one starts respecting the relative profession. By the way, architects and interior designers, do study psychology relative to their profession.

One of the author’s college teachers used to say that design should be experienced by all the senses. Presenting the example of an Italian restaurant, where the food prep area was visible to the patrons, the smell of the food was carried through mechanical ductwork into the dining area, while you heard Italian music, touched the checkered tablecloth and tasted the food. The particular interior design in effect orchestrated a symphony of our senses.

INVOLVING THE SENSES IN INTERIOR DESIGN

In other interior spaces designers may choose to employ mini waterfalls so the sound of running water, blends in with the sights or scenery and the tactile elements. Essentially involving the senses, we elicit emotions, which are powerful decision makers; the experience tends to linger within us, we forget harder (Various studies have shown that multi-sensory learning helps one retain information more effectively).

Therefore, a designer may choose to incorporate the sensual approach as part of his/her Design Concept; as we saw in the Italian restaurant above. This can be done in many ways; our imagination is the limit.

Some designers would cringe at such an approach. For example, architect Peter Eisenman (the author’s teacher) is very Doric, lets the structure speak for itself, unhindered by any added means. For him, design should be entirely based on a concept and follow a syntax like a language. Therefore for Eisenman, the word “like” (a subjective expression) is irrelevant in design, which ought to be entirely objective.

SOME FINAL THOUGHTS

Architecture and interior design involves more than shaping boxes where humans interact, live or work; ideally, we should experience spaces. The most successful design, ultimately forms memories we live with.

Multi-sensory interior design, is one of those subjective areas, where each designer chooses how he/she prefers to express himself/herself. There is no right or wrong in this respect. Regardless of how cerebral our methodology is, in the end, it’s how the public perceives our work. For they are our real critics.

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