In Good Sense

“The body is our general medium for having a world.” 

― Maurice Merleau-Ponty.

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Early philosophers and phenomenologists, such as Maurice Merleau-Ponty, have long understood that the human senses are the cornerstone of how individuals perceive and engage with their surroundings (Merleau-Ponty, Phenomenology of Perception: An introduction, 2011). Thus, considering our senses should be at the forefront of architectural design. Yet historically, this has often not been the case. Contemporary Architects are driven by notions of form, proportion, and visual harmony while largely ignoring more intangible concepts such as smell and soundscapes. In the words of Juhani Pallasmaa,

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“Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless.”

   -The Eyes of the Skin, 1996

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Even considering the broader senses, we focus on eliminating discomfort, such as controlled ventilation and modern plumbing (Spence, Senses of Place, 2020). But while this works to smother bad sensations, we forget to reintroduce positive ones. This tendency to eliminate or disregard the senses forgoes the potential of positive sensory engagement, marginalizing the senses and creating monotonous or overstimulating environments that hinder psychological prosperity. My research, therefore, aims to explore how one might leverage the senses within architectural spaces to foster environments that--are not just neutral--but actively contribute to human well-being.  

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To achieve this, my design approach hinges on two key elements: embracing the multisensory and leveraging the stimuli of nature.  A multisensory architectural framework, in contrast to current contemporary models, harnesses the interconnected neurological pathways of our senses to forge more harmonious and balanced sensory experiences. Yet this concept still requires a catalyst--and here, nature emerges as an ideal source. With its inherent complexity and sensory richness, nature offers a possible sensory bank from which multisensory design can be pulled. By incorporating natural elements--both through the overt inclusion of biological objects such as plants and water or through subtle mimicry of their systems and rhythms—nature can inform a sensory-immersive architectural model.

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The challenge of this thesis, then, is to apply these principles to an urban context, namely the Deep East in Oakland. An area at a distinct sensory disadvantage, this series of neighborhoods has fewer public parks per square mile and higher rates of mental distress and sensory disorders—all while being more likely to spend more than 95% of time indoors (Hoover, Sensory Disruption in Modern Living and the Emergence of Sensory Inequities, 2018; U.S Census Bureau, 2020). By developing both a series of adaptive strategies for existing buildings and a framework for new public construction, The Deep East can be reimagined as a sensory haven in which people and places exist harmoniously.