07 JUL. - 07 SEP. 2015 CENTRE GEORGES POMPIDOU ENSEMBLE / TOGETHER
Assembly: Inês Oliveira Executive Coordination: Inês Oliveira Revision: Manuela Vieira Constantino Graphic Design: Inês Oliveira Printing: Les Papeteries Reaumur ISBN 978-989-95604-4-4 Acknowledgment Script © the authors Translation © the authors Works © the authors Photography © the authors Graphic Project © the designers All right reserved Publishing Phaidon Press Limited Regent’s Warf All Saints Street London NI 9PA Phaidon Press Inc Varick Street New York NY 10014 www.phaidon.com All rights reserved. No part of this publication may be reproduced, stored in retrievel system or transmitted in any form or by any means.
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CONTENTS
06 INTRODUCTION TASTE 09 Jinhyun Jeon 10 Sensorial Stimuli 15 17 21 22
HEARING Stephen Malinowski Tool for Listeners TACT Campana Brothers Works
VISION 29 Peter Saville 30 Works 34 Unknown Pleasure37
SMELL Sniffing an Opurtunity
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DESIGNING WITH SENSES
It is with the five senses that the man is unaware of the world around him. It is through the perception and stimuli that we came to know the reality and get aware of the environment around us. Hearing, taste, smell, sight and touch are the senses that we used rationally. In Design sight and the touch are the senses that more are taken into concideration when designing a product. But can we apply the five senses in design? There are few experiences that use all the senses to stimulate the user. When products have more contact with us, they become more challenging. Why not improve the design and use the five senses to a higher level of experience? Why not be able to hear, feel, taste and smell the design? This exhibition explores the position of the five senses in design and how these ascribe human emotions face products.
involves and interacts with the “visitor” through objects that use the principles of synesthetic to communicate. The space of exposure will be delimited by a pentagon, because i’s a perfect geometric shape that divides the five areas in equal spaces, in the context of giving equal value to the five senses. The movement in the exhibit is therefore done in an arbitrary way because it did not have a pre-defined course. Information areas of exposure and signposting can be read in diferent plans of the course. For this reason, the expository path it’s done solely and exclusively by the visitor. Each space contains plants / objects / experiences related to design and are thought to stimulate each sense as well as everything around the exhibition area, including tangible construction materials with different textures, stimulating lights, classical music and changing scents. The space seeks to make a connection with the objects on display, and to be entirely related to the development of the sensory abilities of each individual experience.
It aims to provide an experience that 5 SENSES
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Tact Tact guide us in the perception of space through textures, colors, shapes and proximities between the objects. It is through him that we see the shape of the forms around us. This sense is very important concepting the forms in design, it is with him that we perceive an object as comfortable or not, if the material is suitable for an area or situation, in short, people are largely atracted by the richness and texture of materials. Hearing The auditory perception is a major way of communication with the surrounding environment it fulfills key functions as alarming, communicate and emotional balance. Everyday we constantly use this sense to percept and analyze the environment. When designing, in most cases, hearing is not a factor taken into concideration, but it is certain that many sound elements are thought to create an unforgettable design. Taste The palate is probably the least explored sense in relation to design. Focusing on ways to make the eating experience much richer, a series of dozens of different models were created, inspired by the phenomenon of synesthesia.
which a stimulus to the sense may affect one or more of the other directions. Smell Smell is one of the most important senses we use to absorb space. Although we dont notice, it is present when thinking and understanding a product design. We can close our eyes, cover our ears and forget about touch, but smell is present in the air we breathe. It’s the only sense we can not “turn off �. It is also the sense that we have for granted and the most basic and direct sense we possess. Sight Design operates mainly in sight, through campaigns, visual identities, product forms and how they can become more attractive. A good example of this is graphic design that convey several types of concepts in a way that is more close to the sense of sight. It is through shapes, colors and basic graphic design structures that it communicates with the observer, it may contain multiple messages, transmit emotional states while persuading the viewer.
This is a neurological condition in
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JINHYUN JEON 1981 -
Jinhyun Jeon is a South Korean designer based in Eindhoven, Netherlands. Jeon held interest in joint perception and integrated this idea into products during her Masters course at Design Academy Eindhoven. In 2012, she graduated with her thesis on synesthetic sensorial stimuli. She identifies herself as a designer, exploring sensorial perceptions and intuitive behaviors to enrich emotional experiences. She eld interest in joint perception, which is when one of our senses carries the ability of other senses. The designer integrated this idea not only into product design but also into experience intervention: primary behavioural research for artistic inspiration.
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TABLEWARE AS SENSORIAL STIMULI Cutlery design focuses on getting food in bite-sized morsels from the plate to the mouth, but it could do so much more. The project aims to reveal just how much more, stretching the limits of what tableware can do. Focusing on ways of making eating a much richer experience, a series of dozens of different designs has been created, inspired by the phenomenon of synesthesia. This is a neurological condition where stimulus to one sense can affect one or more of the other senses.
The materials in the design currently compose of metal, plastic and ceramics. Each material possesses its natural temperature, which works in harmony with the intent of the design. From the thickness of the handle to the volume mass of the spoon, it evokes a different effect. Weight distribution changes according to the thickness and the volume affects the sound vibration. Each of these features is subtle but in combination, they harmonize into enhanced tasty effects. As for the specific workings of the features of the design, it could be understood through the elaboration of the five elements – temperature, color, texture, volume/weight and form.
An everyday event, ‘taste’ is created as a combination of more than five senses. Tasty formulas with the 5 elements – temperature, color, texture, volume/weight, and form – are applied to design proposal. Via exploring ‘synesthesia’ if we can stretch the borders of what tableware can do, the eating experience can be enriched in multi-cross-wiring ways. Each of designs have been created to stimulate or train different senses – allowing more than just our taste buds to be engaged in the act and enjoyment of eating as sensorial stimuli, therefore it would lead the way of mindful eating which guides to rediscovering a healthy and joyful relationship with food.
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Each of these designs has been created to stimulate or train different senses, allowing more than just our tastebuds to be engaged in the act and enjoyment of eating as sensorial stimuli, therefore it would lead the way of mindful eating which guides to rediscovering a healthy and joyful relationship with food. The volume of the hollow part of the spoon influences and enhances the auditory sense of the sound scraping against glassware, as well as our taste/appetite. A spoon that is 40g in weight can give us the sense of stability. However, if you decrease the weight to 10g, then we are able to feel the weight of food, making us more aware of the amounts of food that we are eating. Adding new elements to the general archetype of a spoon aims to give the sense of comfort in hand, but also makes using it more intimate. Changing the thickness of the handle can create more awareness when eating. Small amounts of food can become heavy, or big amounts of food increase awareness about the consuming moment.
<Tasty formulas>
_Temperature SWEET × 36.5°C = SWEET × +++ SALTY × < 36.5°C < SALTY × < 0°C SOUR × 36.5°C = SOUR × 100°C BITTER × 36.5°C > BITTER × 100°C _Tactility +++ ×(SWEET + SALT) = X SWEET+ (0.5% × SALT) = SWEET + SALT ÷ SOUR = SALTY/SOUR SALTY × SOUR = SWEET + _Colour 10%×(5R4/14+5YR4/14+5Y 4/14)=2.0 90%×(5R4/14+5YR4/14+5Y 4/14)=0.1 20% × R > 20% × Y _Volume/ Weight 5cm3×SOUND/SIGHT=10g× TOUCH _Form 1mm × TOUCH > 10mm × TOUCH (y=f(x)) × TOUCH = Y
How can we slow down the moment of one bite and taste enhanced sweetness, while nevertheless consuming less sugar? ‘Tasty formulas’ help us to understand interesting ways of how we consume our food interpreted in synesthetic ways:
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STEPHEN MALINOWSKI 1953 -
Stephen Anthony Malinowski is an American composer, pianist, educator, software engineer and inventor. He is most well known for his musical animations and his computer program, the Music Animation Machine, which animates music trough geometric shapes. He visualizes music using a system of colored horizontal lines, taking information from a MIDI file. The first version of the Music Animation Machine was created in 1985. In the 1980s, he began working as a software writer. In the 1990s, Malinowski started selling video tapes with his animations on them. In 2001, he began working on psychoacoustically inspired audio processing algorithms.
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Stravinsky, The Rite of Spring
Mozart, Eine Kleine Nachtmusik
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A TOOL FOR LISTENERS
Music moves, and can be understood just by listening. But a conventional musical score stands still, and can be understood only after years of training. The Music Animation Machine bridges this gap, with a score that moves -- and can be understood just by watching. This animated score contains much of the information in a conventional score, but shows it in a way that can be understood intuitively by anyone, including children. How? The Music Animation Machine display is a score without any measures or clefs, in which information about the music’s structure is conveyed with bars of color representing the notes. These bars scroll across the screen as the music plays. Their position on the screen tells you their pitch and their timing in relation to each other. Different colors denote different instruments or voices, thematic material, or tonality. And each note lights up at the exact moment it sounds, so you can’t lose your place.
of music, especially for people who are sensitive to music but lack the training to “see inside” a conventional musical score. A tool for listeners of all ages. The subtleties and intricate patterns at the core of DNA of western classical music—which have enchanted and fascinated people for centuries— still challenge us today: how do we find our way into a musical language developed long ago and containing considerable structural complexities? Musician and inventor Stephen Malinowski uses a simple visual approach to stimulate our ability to build expectations and thereby enhance our engagement with the music. Malinowski uses a newly-developed version of his Music Animation Machine software which allows him to synchronize his graphical score in a live performance.
The experience of watching the Music Animation Machine can be a remarkable awakening to the inner structure
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Chopin, Nocturne in B Major, opus 32 no.1, Piano Solo
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FERNANDO & HUMBERTO CAMPANA Fernando and Humberto Campana, are Brazilian designers with international recognition, developing their work in a of composition creativity, art and design.
At a time that design is moving towards industrialization, innovations arise from double with handmade interventions become more expensive the product of material experience.
Destroy, build, weave, and mix together a wide range of materials, which are generally simple turning them into something enigmatic and diferent.
Products of the Campana brothers are made with all kinds of materials: rope, wood chips, EVA, PVC wires, rain guards, paper, plastic bottles, toilet drains and other materials considered kitsch as teddy bears.
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Armchair, Edra, VERMELHA CHAIR . 1993 . 85 x 76 x 57 Fernando and Humberto Campana Wrap-around armchair with steel frame painted with epoxy powders and massive aluminium legs.
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Armchair, Edra, GRINZA . 2011 . 106 x 88 x 74 Fernando and Humberto Campana Steel tubing with the padding attached and finished with the upholstery deliberately loose and casually disposed.
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Armchair, Edra, JANETTE CHAIR . 1999 . 40 x 41 x 93 Fernando and Humberto Campana With a solid structure, the back is covered with about 900 flexible PVC stems.
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Armchair, Edra, FAVELA CHAIR . 2006 . 67 x 62 x 74 Fernando and Humberto Campana Armchair made from pieces of natural wood, glued and nailed together by hand one over the other.
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Armchair, Edra, CORALLO . 2004 . 145 x 100 x 100 Fernando and Humberto Campana The irregular weaving of hand-bent steel wire forms this large free-standing armchair. The wire is smoothed to eliminate any jutting edges .
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PETER SAVILLE 1995 -
Peter Saville is best known for developing album covers for bands like Joy Division, New Order, Pulp and Suedecomo British graphic designer. Heâ&#x20AC;&#x2122;s a central figure in graphic design as culture and style. In graphics, fashion and art projects his work combines elegance with a remarkable ability to identify images that can resume a moment. Appropriating styles and sensibilities of the entire artistic spectrum he conveys mood with messages in his artwork.
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EMI, 2.0 .2004.100x100 cm Peter Saville Inkjet Mounted on aluminium
Characteristically, Saville has found a route to satisfy his own particular method. Embracing the challenge, he elects to join the fray - not as a lamb to the slaughter - but as an astute observer and skillful manipulator of the art. Drawing on the very essence of the thing, Saville isolates and utilises the key elements to produce work which simultaneously reflects and celebrates the digitally saturated, informationoverladed world we live in.
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EMI, 3.0 .2004.100x100 cm Peter Saville Inkjet Mounted on aluminium
EMI, 4.0 .2004.100 x100 cm Peter Saville Inkjet Mounted on aluminium
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EMI, 5.0 .2004.100x100 cm Peter Saville Inkjet Mounted on aluminium
EMI, 6.0 .2004.100x100 cm Peter Saville Inkjet Mounted on aluminium
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Joy 1 . 1998 . 61 x 61 Peter Saville Ink Jet print on Hahnem端hle paper
Joy 3 . 1998 . 61 x 61 Peter Saville Ink Jet print on Hahnem端hle paper 5 SENSES
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#9 The Crown Jewels . 2003 . 66 x 76,5 Peter Saville Iris print on somerset enhanced satin, diamond dust
New Order Fine Time . 1988 . 43 x 63 Peter Saville Inkjet Mounted on aluminium
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Unknown Pleasure . 1979 . 43 x 63 Peter Saville Ink Jet print on Hahnemühle paper
“This was the first and only time that the band gave me something that they’d like for a cover. I went to see Rob Gretton, who managed them, and he gave me a folder of material, which contained the wave image from the Cambridge Encyclopedia of Astronomy.
Having the title on the front just didn’t seem necessary. I asked Rob about it and, between us, we felt it wasn’t a cool thing to do. It was the post-punk moment and we were against overblown stardom. The band didn’t want to be pop stars”
They gave me the title too but I didn’t hear the album. The wave pattern was so appropriate. It was from CP 1919, the first pulsar, so it’s likely that the graph emanated from Jodrell Bank, which is local to Manchester and Joy Division. And it’s both technical and sensual. It’s tight, like Stephen Morris’ drumming, but it’s also fluid: lots of people think it’s a heart beat.
-Peter Saville
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SNIFFING AN OPPORTUNITY Almost our entire understanding of the world is experienced through our senses. Our senses are our link to memory and can tap right into emotion. A bright fresh spring day has a particular smell to it. Manufacturers try to bottle this feeling of lifeâ&#x20AC;&#x2122;s renewal. Then the marketers use the emotional connection to spring to sell their dishwashing liquids, toilet cleaners, shampoos, soaps, window cleaners and, well, you name it. Bringing on the five senses has worked very well in emotionally connecting people to the rituals of faith. Candles flicker, the incense wafts, the choir strikes up rousing anthems of devotion, thereâ&#x20AC;&#x2122;s pageantry, elaborate costumes, and foods for special occasions. Even the sixth sense-the intuitive perception beyond the five senses-is given a special place in the pantheon of world religions. Do you remember when you bought your first new car? It had a definite new-car smell. Many people cite the new-car smell as being one of the most gratifYing aspects of purchasing a new car. The smell is as much a statement of newness as the shiny body. Smell is almost impossible to describe. We are exposed to thousands of different smells yet we have an extremely limited vocabulary to address them.
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McDONALDS
BARBIE
TOBACCO
NEW CAR
CUTTED GRASS
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CONFERENCES
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JINSOP LEE â&#x20AC;&#x153;DESIGN FOR ALL FIVE SENSESâ&#x20AC;?
Jinsop Lee is a former professor who has given keynotes on his innovative ideas for improving design. Currently Lee is an industrial designer. One of his notable designs transformed old telephones into iPod speakers. Lee has studied the role that the five senses play in enjoyment, both in terms of experiences and products. He firmly believes that products can be seriously improved by incorporating features that appeal to more of the senses. He states that designers have previously focused on sight and touch, while neglecting things like taste, sound and smell.
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MARTIN LINDSTROM “BRAND SENSE”
Lindstrom delves deep beneath the surface to explore the human senses and how these are activated in the decision making process. The reliance on a 2-dimensional sensory advertising world becomes the catalyst to the question: why? We have 5 senses available, Lindstrom contends, why not use them all to make a brand truly touch its market. He explores this notion, and how marketers, armed with this knowledge, are able to push the purchase buttons – stronger than ever before. The WallStreet Journal called BrandSense “...one of the 5 best marketing books ever published.”
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“TELL ME AN SHOW ME AND I M
INVOL
A
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ND I FORGET, MAY REMEMBER,
LVE ME
AND I LEARN” BENJAMIN FRANKLIN
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