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Synaesthesia: A method to create multi-sensory experiences to communicate with spaces  Introduction to synesthetic design.Synesthesia is a method which is implemented in various fields like graphic and product  to create imaginative and creative designs but in architecture and interior design there are different approaches to develop synesthetic design. In the design processes, commonly used synesthesia is aesthetic synesthesia which is one of the category of synesthesia. It is achievable from majorly two aspects i.e. a phenomenology of architecture, and another is, use of new media, since it majorly talks about user experience and emotional design.  In between there is one more  aspect of synesthesia which is directly not connected with the human senses, but it talks about a space as extension of the body. And there are some tangible aspects of the design of a space which are transformed from another tangible aspect in the space by use of certain methodology and analogies or metaphor to derive from it. For example, there are relationships between music and architecture and in few of the processes, architecture is transformed from the theory of the music; and like music, architecture also is driven by the motion of the dance and music; and performing art is directly connected with the human body, but in space it’s transformed into another form making a space an extension of body. Then the body and it’s extended part combine and create a new way of sensory experience in the design.From the extension of the human body there also is another possibility to experience, the outer space, which is possible through technology. Augmented reality (A.R) and virtual reality (V.R) can help the user experience a new dimension of the possibility and that’s the synesthetic experience between human and space.But nowadays design and contemporary practices mostly focus on the visual senses and do not focus on the other senses. Hence, design is losing its other senses too and at the end, the product becomes very mundane. This is happening because of an excessive use of visual media. AimThe aim is to implement synesthesia as a method into the design process,to enhance user experience by making communicative spaces.Objective    what is spatial synesthesia?what are the methods of  synesthetic implication in spaces ?what are the various generic perceptions of synesthesia in the spaces ?how to explore various synesthetic aspects of space in the user context ?to look into various visual representation methods in design process of spaces for users?Scope and limitationsThis study only focuses on the cross senses in museum spaces through current techniques to deriveexperiencesBenefits of cross senses to develop better spaces and observe changes in experiences for usersHow five senses are considered as a main part in experiential space (but if there is a no connection tocross senses then it won’t be considered as a part of case study)Methodology In the very beginning, this study will be divided into the three parts where there is the synesthesiaIs categorized by its meaning,To further study one part is mostly talk about synesthesia is derived from induced or spontaneous reflects of human where it is associated with the associations and metaphors and in this aspects the study more focus about visual meanings intangible and tangible elements  and total experience of the spaces.In second part is about esthetical synesthesia which is talk about transformation of one aspect into the another form of the senses for example music and architecture has deep connections, and the architecture and the space is transform from the music and the movement of the dance, in this part the research will be analyze the connection between two aspects of it,In the third part of the research try to apply Gestalt principle on other senses because its only about the visual sense and in this experimental method try to cover other senses like touch sound in the spaces Similarity which is  the way similar objects are come together ,Continuations where human eye can see everything in the continuations, Closure filling the missing gap, Proximity where objects gets together to create complexity, Figure and ground one object isolates another, This method is suggested to consist of 6 steps in application: Step 1. Deconstruction: The product is conceptually deconstructed first into its sensory components, and then to other physical/perceptual components depending on the content and context, through brainstorming, mind-mapping etc. for analysis. Step 2. Identification: The keywords/sensory adjectives are identified for each sensory component, through brainstorming etc., in order to be used for cross-sensory associations. Step 3. Placement: The keywords/sensory adjectives are placed onto the multi-layered cylindrical model in order to be used for sense-based ideation. Step 4. Ideation and Representation: The layers of keywords/sensory adjectives constituting the cylinder are turned to be matched for ideation. Each set of keywords/sensory adjectives is elaborated through the utilization of ideation and representation mediums in order to generate materialized forms of the set of layers. Step 5. Reconstruction: The materialized forms of the layers of the cylinders of different components are cross-matched on a sensory basis to reconstruct the conceptual product, through 2D and 3D mediums. Step 6. Finalization: The concept is finalized in 2D and 3D forms for further development.ImplicationsBy this research it can be helpful to some practices on the initial level to design experiential spaces andsynesthesia is a method to transfer one experience to another and also combining cross senses toenhance the experience and this experience will be made by technology as a tool.And this research will create bridge between architecture and technology and will create liminal spacefor interactive design and installation artist who are working on sensesThe trend today is of making interior spaces which enhance the experiences of the user. This researchstudy will basically help understand how different interiors can affect different senses of the humans,and can hence result in enhanced experience of the space for the user.literature reviewReviews the book, Synesthetic Design: Handbook for a Multisensory Approach by MichaelHaverkamp (see record 2015-23813- 002). Overall, the organization of the text into three primarysections is well thought out and largely intuitive. The first section (Tasks and Fundamentals)defines synesthetic product design, lays the foundation for the use of perceptual processes(especially cross-modal experiences) as a basis, and evolves from discussion about cross-modal influence to higher level cognitive processing (e.g., grouping based on Gestalt principles).The second section (Strategies of Perception and Design) discusses and provides examples ofspecific, cross-modal perceptual influence; addresses issues related to cross-modal analogies,iconic connections, symbols, and metaphors; and returns to a detailed discussion of genuinesynesthesia. In the third and final section (Holistic Design), Haverkamp attempts to bringtogether all of the concepts addressed and to provide examples of the application of theprinciples discussed in the text. The book is intended for a scholarly, informed audience.Despite some weaknesses, the author’s intent and the resulting outcome are extremely valuableand prompted the reviewer to think even more carefully about cross-modal research findingsand their potential application to many aspects of contemporary lifeHaverkamp, M. (2013). Synesthetic design handbook for a multisensory approach. Basel: Birkha?user.ReferencesCytowic, R., Synesthesia: Phenomenology and Neuropsychology,A Review of Current Knowledge. Psyche: An interdisciplinary journal of research on consciousness.Konorski,S-Hampe,M(2012) The Design of Material, Organism, and MindsRiccò, D., Guerini, S., & Giovanni Anceschi, by. (2002). Synesthetic Design. The Laboratory of Basic Design as place of experimentation on the intersensory correspondences. International Multisensory Research Forum, 24–26. Retrieved from http://www.sinestesie.it/v1/Presentazione/Dina/RiccoGuerini2002-IMRF.pdfMerter, S. (2017). Synesthetic Approach in the Design Process for Enhanced Creativity and Multisensory Experiences. The Design Journal, 20(sup1), S4519–S4528. https://doi.org/10.1080/14606925.2017.1352948Jormakka, K., Schürer, O., & Kuhlmann, D. (2008). Basics Design Methods.Frascari, M. (2011). Eleven Exercises in the Art of Architectural Drawing.Stamenovic, R. B. (n.d.). SYNESTHETIC ARCHITECTURE FOR WELLBEING – CONCEPT AND CONTRADICTIONS. Retrieved from http://www.academia.edu/8454595/SYNESTHETIC_ARCHITECTURE_FOR_WELLBEING_-_CONCEPT_AND_CONTRADICTIONSBudarick, J. (2011). Synaesthetic Architecture: The Lost Senses of Architecture, 13. Retrieved from https://joshuabudarick.files.wordpress.com/2011/07/synaesthetic-architecture.pdfNo Title. (n.d.).Ramachandran, V. S., & Hubbard, E. M. (2003). The phenomenology of synaesthesia. Journal of Consciousness Studies, 10(8), 49–57. https://doi.org/10.1080/02643290500200122 PRIYANK MISTRY UI 1612UG STUDENTFACULTY OF DESIGN,CEPT UNIVERSITY Synaesthesia: A method to create multi-sensory experiences to communicate with spaces  Introduction to synesthetic design.Synesthesia is a method which is implemented in various fields like graphic and product  to create imaginative and creative designs but in architecture and interior design there are different approaches to develop synesthetic design. In the design processes, commonly used synesthesia is aesthetic synesthesia which is one of the category of synesthesia. It is achievable from majorly two aspects i.e. a phenomenology of architecture, and another is, use of new media, since it majorly talks about user experience and emotional design.  In between there is one more  aspect of synesthesia which is directly not connected with the human senses, but it talks about a space as extension of the body. And there are some tangible aspects of the design of a space which are transformed from another tangible aspect in the space by use of certain methodology and analogies or metaphor to derive from it. For example, there are relationships between music and architecture and in few of the processes, architecture is transformed from the theory of the music; and like music, architecture also is driven by the motion of the dance and music; and performing art is directly connected with the human body, but in space it’s transformed into another form making a space an extension of body. Then the body and it’s extended part combine and create a new way of sensory experience in the design.From the extension of the human body there also is another possibility to experience, the outer space, which is possible through technology. Augmented reality (A.R) and virtual reality (V.R) can help the user experience a new dimension of the possibility and that’s the synesthetic experience between human and space.But nowadays design and contemporary practices mostly focus on the visual senses and do not focus on the other senses. Hence, design is losing its other senses too and at the end, the product becomes very mundane. This is happening because of an excessive use of visual media. AimThe aim is to implement synesthesia as a method into the design process,to enhance user experience by making communicative spaces.Objective    what is spatial synesthesia?what are the methods of  synesthetic implication in spaces ?what are the various generic perceptions of synesthesia in the spaces ?how to explore various synesthetic aspects of space in the user context ?to look into various visual representation methods in design process of spaces for users?Scope and limitationsThis study only focuses on the cross senses in museum spaces through current techniques to deriveexperiencesBenefits of cross senses to develop better spaces and observe changes in experiences for usersHow five senses are considered as a main part in experiential space (but if there is a no connection tocross senses then it won’t be considered as a part of case study)Methodology In the very beginning, this study will be divided into the three parts where there is the synesthesiaIs categorized by its meaning,To further study one part is mostly talk about synesthesia is derived from induced or spontaneous reflects of human where it is associated with the associations and metaphors and in this aspects the study more focus about visual meanings intangible and tangible elements  and total experience of the spaces.In second part is about esthetical synesthesia which is talk about transformation of one aspect into the another form of the senses for example music and architecture has deep connections, and the architecture and the space is transform from the music and the movement of the dance, in this part the research will be analyze the connection between two aspects of it,In the third part of the research try to apply Gestalt principle on other senses because its only about the visual sense and in this experimental method try to cover other senses like touch sound in the spaces Similarity which is  the way similar objects are come together ,Continuations where human eye can see everything in the continuations, Closure filling the missing gap, Proximity where objects gets together to create complexity, Figure and ground one object isolates another, This method is suggested to consist of 6 steps in application: Step 1. Deconstruction: The product is conceptually deconstructed first into its sensory components, and then to other physical/perceptual components depending on the content and context, through brainstorming, mind-mapping etc. for analysis. Step 2. Identification: The keywords/sensory adjectives are identified for each sensory component, through brainstorming etc., in order to be used for cross-sensory associations. Step 3. Placement: The keywords/sensory adjectives are placed onto the multi-layered cylindrical model in order to be used for sense-based ideation. Step 4. Ideation and Representation: The layers of keywords/sensory adjectives constituting the cylinder are turned to be matched for ideation. Each set of keywords/sensory adjectives is elaborated through the utilization of ideation and representation mediums in order to generate materialized forms of the set of layers. Step 5. Reconstruction: The materialized forms of the layers of the cylinders of different components are cross-matched on a sensory basis to reconstruct the conceptual product, through 2D and 3D mediums. Step 6. Finalization: The concept is finalized in 2D and 3D forms for further development.ImplicationsBy this research it can be helpful to some practices on the initial level to design experiential spaces andsynesthesia is a method to transfer one experience to another and also combining cross senses toenhance the experience and this experience will be made by technology as a tool.And this research will create bridge between architecture and technology and will create liminal spacefor interactive design and installation artist who are working on sensesThe trend today is of making interior spaces which enhance the experiences of the user. This researchstudy will basically help understand how different interiors can affect different senses of the humans,and can hence result in enhanced experience of the space for the user.literature reviewReviews the book, Synesthetic Design: Handbook for a Multisensory Approach by MichaelHaverkamp (see record 2015-23813- 002). Overall, the organization of the text into three primarysections is well thought out and largely intuitive. The first section (Tasks and Fundamentals)defines synesthetic product design, lays the foundation for the use of perceptual processes(especially cross-modal experiences) as a basis, and evolves from discussion about cross-modal influence to higher level cognitive processing (e.g., grouping based on Gestalt principles).The second section (Strategies of Perception and Design) discusses and provides examples ofspecific, cross-modal perceptual influence; addresses issues related to cross-modal analogies,iconic connections, symbols, and metaphors; and returns to a detailed discussion of genuinesynesthesia. In the third and final section (Holistic Design), Haverkamp attempts to bringtogether all of the concepts addressed and to provide examples of the application of theprinciples discussed in the text. The book is intended for a scholarly, informed audience.Despite some weaknesses, the author’s intent and the resulting outcome are extremely valuableand prompted the reviewer to think even more carefully about cross-modal research findingsand their potential application to many aspects of contemporary lifeHaverkamp, M. (2013). Synesthetic design handbook for a multisensory approach. Basel: Birkha?user.ReferencesCytowic, R., Synesthesia: Phenomenology and Neuropsychology,A Review of Current Knowledge. Psyche: An interdisciplinary journal of research on consciousness.Konorski,S-Hampe,M(2012) The Design of Material, Organism, and MindsRiccò, D., Guerini, S., & Giovanni Anceschi, by. (2002). Synesthetic Design. The Laboratory of Basic Design as place of experimentation on the intersensory correspondences. International Multisensory Research Forum, 24–26. Retrieved from http://www.sinestesie.it/v1/Presentazione/Dina/RiccoGuerini2002-IMRF.pdfMerter, S. (2017). Synesthetic Approach in the Design Process for Enhanced Creativity and Multisensory Experiences. The Design Journal, 20(sup1), S4519–S4528. https://doi.org/10.1080/14606925.2017.1352948Jormakka, K., Schürer, O., & Kuhlmann, D. (2008). Basics Design Methods.Frascari, M. (2011). Eleven Exercises in the Art of Architectural Drawing.Stamenovic, R. B. (n.d.). SYNESTHETIC ARCHITECTURE FOR WELLBEING – CONCEPT AND CONTRADICTIONS. Retrieved from http://www.academia.edu/8454595/SYNESTHETIC_ARCHITECTURE_FOR_WELLBEING_-_CONCEPT_AND_CONTRADICTIONSBudarick, J. (2011). Synaesthetic Architecture: The Lost Senses of Architecture, 13. Retrieved from https://joshuabudarick.files.wordpress.com/2011/07/synaesthetic-architecture.pdfNo Title. (n.d.).Ramachandran, V. S., & Hubbard, E. M. (2003). The phenomenology of synaesthesia. Journal of Consciousness Studies, 10(8), 49–57. https://doi.org/10.1080/02643290500200122 PRIYANK MISTRY UI 1612UG STUDENTFACULTY OF DESIGN,CEPT UNIVERSITY

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