Synesthetic design strives to develop products that systematically incorporate all five senses. In future, the current wealth of medical technical insights in psychology, physiology, motor functions, and neurology and the development of innovative materials with astonishing new properties will open up almost unlimited opportunities for the designer’s creativity. Haverkamp brings together for the first time precisely those aspects of this fundamental knowledge that are specifically relevant for designers. The result is a book that offers designers of all schools a clear and well-organized practical handbook and a solid foundation for their own designs.
Synesthetic design strives to develop products that systematically incorporate all five senses. In future, the current wealth of medical technical insights in psychology, physiology, motor functions, and neurology and the development of innovative materials with astonishing new properties will open up almost unlimited opportunities for the designer s creativity. Haverkamp brings together for the first time precisely those aspects of this fundamental knowledge that are specifically relevant for designers. The result is a clear and well-organized handbook that offers designers of all schools a a solid foundation for their own designs. Michael Haverkamp has been working on the concept of multi-sensory design for many years; he is an internationally recognized expert on sound design and synesthesia research in general
Synesthesia is a fascinating phenomenon which has captured the imagination of scientists and artists alike. This title brings together a broad body of knowledge about this condition into one definitive state-of-the-art handbook.
Design is eminent throughout different disciplines of science, engineering, humanities, and art. However, within these disciplines, the way in which the term design is understood and applied differs significantly. There still is a profound lack of interdisciplinary research on this issue. The same term is not even guaranteed to carry the same meaning as soon as one crosses over to other disciplines. Therefore, related synergies between disciplines remain largely unexplored and unexploited.This book will address design in the hope of promoting a deeper understanding of it across various disciplines, and to support Design Science as a discipline, which attempts to cover the vast number of currently isolated knowledge sources.
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.
The first comprehensive history in English of film at the Bauhaus, exploring practices that experimented with film as an adaptable, elastic “polymedium.” With Design in Motion, Laura Frahm proposes an alternate history of the Bauhaus—one in which visual media, and film in particular, are crucial to the Bauhaus’s visionary pursuit of integrating art and technology. In the first comprehensive examination in English of film at the Bauhaus, Frahm shows that experimentation with film spanned a range of Bauhaus practices, from textiles and typography to stage and exhibition design. Indeed, Bauhausler deployed film as an adaptable, elastic “polymedium,” malleable in shape and form, unfolding and refracting into multiple material, aesthetic, and philosophical directions. Frahm shows how the encounter with film imbued the Bauhaus of the 1920s and early 1930s with a flexible notion of design, infusing painting with temporal concepts, sculptures with moving forms, photographs with sequential aesthetics, architectural designs with a choreography of movement. Frahm considers, among other things, student works that explored light and the transparent features of celluloid and cellophane; weaving practices that incorporate cellophane; experimental films, social documentaries, and critical reportage by Bauhaus women; and the proliferation of film strips in posters, book covers, and other typographic work. Viewing the Bauhaus’s engagement with film through a media-theoretic lens, Frahm shows how film became a medium for “design in motion.” Movement and process, rather than stability and fixity, become the defining characteristics of Bauhaus educational, aesthetic, and philosophical ethos.
Synesthesia comes from the Greek syn (meaning union) and aisthesis (sensation), literally interpreted as a joining of the senses. Synesthesia is an involuntary joining in which the real information from one sense is joined or accompanies a perception in another. Dr. Cytowic reports extensive research into the physical, psychological, neural, and familial background of a group of synesthets. His findings form the first complete picture of the brain mechanisms that underlie this remarkable perceptual experience. His research demonstrates that this rare condition is brain-based and perceptual and not mind-based, as is the case with memory or imagery. Synesthesia offers a unique and detailed study of a condition which has confounded scientists for more than 200 years.
This Research Topic is linked to the 3rd International Conference of Environmental Psychology (ICEP 2021), to be held in Siracusa, Italy, 4-9 October 2021. The ICEP is one of the most important scientific events in the global community for experienced scholars, junior researchers and professionals working in the field of Environmental Psychology across the world. Submissions to this Research Topic welcome, but are not limited to, works that have been presented (on site and virtually) at the ICEP 2021. Research Topic articles will be published immediately once accepted in the journal. This Research Topic aims to promote the scientific debate over the most recent empirical findings and theoretical advances in Environmental Psychological science, and to build evidence-based knowledge and innovative approaches to understand the relationship between humans and their socio-physical environments. It aims at hosting empirical and theoretical works that contribute at advancing our scientific knowledge on some of the most urgent challenges of contemporary human society.
