Senses of place: architectural design for the multisensory mind

Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously.

Aging embodiment and the somatic work of getting into and out of a car

This study examines the embodied realities and sensory experience of vehicle ingress and egress from the point of view of older drivers. In-depth interviews were conducted with 15 women and three men, aged 57-81, and followed by ride-a-longs whereby the researcher observed participants in interaction with their automobile. Using the perspective of phenomenological gerontology and the concept of somatic work (Vannini, Waskul, & Gottschalk, 2012), older drivers are conceptualized as simultaneously sensing and making sense of somatic experience evoked by aging embodiment and the bodily movements required of entry and exit into an automobile. It is argued that older drivers acquire a sensory auto-biography of incorporated bodily memory regarding vehicle morphology and texture in their past and current life, which informs embodied capacities of movement, awareness, and response relative to practical knowledge about what is attainable (or unattainable) for a sensuous older body. Through reflective and reflexive engagement with the sensory realm and material world, participants report structuring their lives through the haptics of touch, adoption of somatic rules, consumerist practices, as well as, specialized bodily movements and footwork sequences to ensure safety and comfort when using their automobile.

The case for characterising type-2 blindsight as a genuinely visual phenomenon

Type-2 blindsight is often characterised as involving a non-visual form of awareness that blindsight subjects experience under certain presentation conditions. This paper evaluates the claim that type-2 awareness is non-visual and the proposal that it is a cognitive form of awareness. It is argued that, contrary to the standard account, type-2 awareness is best characterised as visual both because it satisfies certain criteria for being visual and because it can accommodate facts about the phenomenon that the cognitive account cannot. The conclusion is made that type-2 blindsight is best characterised as involving a form of abnormal, degraded visual awareness.