“What if we designed for all our senses? Suppose, for a moment, that sound, touch, and odor were treated as the equals of sight, and that emotion was as important as cognition. What would our built environment be like if sensory response, sentiment, and memory were critical design factors, more vital even than structure and program?” – JOY MONICE MALNAR & FRANK VODVARKA
“One simply cannot turn up one’s nose these days at the role of scent in design.” – ASHRAF OSMAN, CLAUS NOPPENEY & NADA ENDRISSAT
Graphic designer Sarah Hyndman thinks that the shape of a letter can impact the way stuff tastes, smells, and sounds. To her, typefaces are multi-sensory experiences that affect the way we interact with the world around us.
The Lucerne School of Art and Design is the oldest college of art and design in German-speaking Switzerland. In fact, it is celebrating the 140th anniversary of its foundation throughout this academic year. Thus, the school reflects on the history and prospects of art and design education and organizes a sequence of keynote lectures titled: Craftsmen and Visionaries: Art and Design Education between Social Responsibility and Freedom. Here is the program: Ringvorlesung Symposium 2015. In this context, Claus Noppeney has been invited to explore olfaction as an innovative field in art and design (education). Being strongly rooted in craftsmanship, traditional perfumery takes a cultural turn. Innovative products and services (see our Scent Culture News) show how the sense of smell steadily becomes a design parameter. Moreover, the olfactory dimension is increasingly part of contemporary artistic practices.
Scratch-and-sniff stickers became popular in the late 1970s. Since then they have been used in different contexts. In these days, the British city York uses microencapsulated city smelly to promote the city as a tourist destination.