MDes Interior Design School of Design
Hyojin An
INVISIBLE DIMENSION :
Dialogue of Sensorial Appreciation of Space
The project explores how ocularcentrism—the privileging of sight—has become entrenched in modern society and emphasizes the significance of incorporating multi-sensory perception into contemporary spatial practice. Challenging the visual-centric culture driven by digital technology, the research demonstrates through tactile and acoustic experiments alongside pure visual experience, how these senses can alter our perception of interior spaces. By focusing on invisible dimensions, it aims to show how spaces can possess character without relying on visually exhausting elements. Inspired by Juhani Pallasmaa’s emphasis that ‘sense of home is not merely a visual elements but is deeply influenced by activities combined with our embodied senses’ and the ‘Super Normal’ concept by Jasper Morrison and Naoto Fukasawa that they explored ‘qualities of ordinary objects form everyday life, creating an atmosphere that we feel but difficult to see’, the project highlights how integrating multiple senses can enrich our daily interactions and create more inclusive, meaningful experiences in everyday spaces.
Visual Experience – Sight and Breath
While walls are often considered the primary element reflecting vision because of their decorative potential, I argue that windows play a more crucial role. The T-shaped ‘IK window’ from the Maya city of Palenque, which served as an opening for sight and breath, exemplifies this by emphasizing the interplay of light and shadow in visual experience. Inspired by Junichiro Tanizaki’s ‘In Praise of Shadows’, which celebrates the beauty and significance of shadows and the contrast between light and dark, this approach enhances the appreciation of art, architecture and everyday objects. Drawing on this inspiration not only enriches the visual experience, but also promotes inclusive design, such as high-contrast markings on stairs for people with low vision. Some may think this visual experience isn’t for everyone, it can help people with low vision by using contrasts to aid navigation and provide a soothing environment for those with cognitive disabilities or sensory processing disorders. I believe this approach could be valuable in spaces for mental well-being, meditation, or even in secluded corners of homes for personal retreat. Drawing on these inspirations not only enriches the visual experience but also promotes inclusive design, where visual aesthetics meet practical needs.
Acoustic Sense – Humming Steps
In ‘Atmospheres,’ Zumthor states that “interiors are like large instruments that collect sound, amplify it and transmit it elsewhere”. Inspired by this insight, I conducted an experiment with steps designed to produce xylophone-like sounds, demonstrating the potential of integrating sound into interior space to create playful and creative environments. This experiment aimed to enhance spatial perception through auditory stimuli, challenging the visual-centric design paradigm by transforming the mundane activity of walking upstairs into an auditory experience. Similarly, Carsten Höller’s installation ‘Test Site’ uses giant slides as a means of transportation to explore sensory engagement with the built environment through touch and speed, demonstrating how playful, sensory-rich design can redefine our experience of space. Inspired by the xylophone and cane used by visually impaired people, each step in my staircase experiment was designed to produce a different sound by tapping metal surfaces with a provided cane, creating a soundscape that transforms the mundane activity of walking upstairs into an engaging auditory experience.
Tactility – The Sensory Grip
The sense of touch is fundamental to the human experience, even before vision develops in newborns. Tactile experiences in infancy play a crucial role in cognitive and emotional growth, adding depth to our spatial interactions as we grow. As Pallasmaa stated, ‘holding a door handle is like having a handshake with the building,’ so I decided to create a door handle as a threshold, a moment where the sense of touch is engaged to transition. For the material of the artifact, I used gelatin with aluminum powder, which made the door handle look metallic but feel soft when grasped. This approach reminded me of Steven Holl’s idea of manipulating material properties to challenge sensory expectations, creating memorable interactions. After experimenting with the tactile sense using the door handle, I saw its potential for further development in interior design, especially in intimate spaces like bedrooms or private studios for creatives, where it could encourage a personal connection to the space, fostering comfort and inspiring sensibility.
