SENSUOUS

FORMS
GROUP 5
CAPISTRANO, Alexander JAVIER, Erica
CARIÑO, Jenevic LIMJOCO, Mary Jane
HERMOSO, Brian MAULLON, Catherine
INAUDITO, Wellen PUA, Cyril
WHAT IS SENSUOUS?

– producing or characterized by gratification/source of

satisfaction or pleasure of senses
GROUND
FORM
 space may be defined
by man-made structures
in less dense
development of basic
natural materials: rock,
earth, water and plant
cover
 existing topography must
be thoroughly
understood before work
begins
GROUND
TEXTURE
 textural pattern plays a
role in guiding and
controlling the activity
 FINE GROUND TEXTURES
emphasizes the mass
and shape of the
underlying ground to
increase its apparent size
(moss or monolithic
pavement)
 COARSE GROUND
TEXTURES calls the
attention to the surface
itself rather than to the
underlying mass (rough
grass, cobble, bricks or
blocks)
WATER

 MOVING WATER gives a

sense of life
 STILL WATER conveys
unity and rest and may
be used to clarify a plan.
It is wise to place still
water at the lowest point
in its immediate
surroundings
 indicates its potential
richness in design:
ocean, pool, sheet, jet,
torrent, rill, drop, spray,
cascade, film (plus an
equal number of words
for liquid motion: trickle,
splash, foam, flood,
ripple, surge, run)
VISUAL
STRUCTURE
 Perceiving an
environment that creates
a visual hypothesis, builds
an organized mental
image that is based on
the experience and
purposes of the observer
as well as stimuli
reaching his eye
 congenial physical
characteristics:
continuity, closure,
differentiation,
dominance, contrast of
a figure on a ground,
symmetry, order,
repetition or simplicity of
form
LIGHT
 creates space and
volume with light that
activates surfaces
 Has the ability not only to
be a space but also to
make the users be in
space
 natural light, projection,
reflective mist, neon
lighting, optical
reception of light is
deeply intertwined with
affective response
 understanding of texture,
perceives both thermal
warmth and
metaphorical warmth
helps make sense of
depth and spatial
relationships
Nike’s retail store, NYC
consumer is drawn in by
her curiosity provoked by
the ambiguous window
display and the
information in the distance
The Weather Project by
Olafur Eliasson
the mist makes the viewers
physically aware of the
space as they feel the
moisture on their skin, and
the immersive, mystical
quality of the space
compels the viewer to lay
down to better absorb the
artificial atmosphere
 Color Therapy Pods

PODS sitting down and feeling

the walls pulse around you,
the power of color gives a
striking sensory response
intentionally crafted to
provoke affective
 small spaces, by nature, responses from the viewer
bring the structure closer by the use of color and
to the visitor’s body form
 when someone steps into
one of these pods, they
feel their body as the
operator of the space, Quiet Motion (Milan’s
design festival in 2013)
they feel as though they
are putting it on like festival-goers are invited to
clothing sit on the soft cork and
leather cushions as it slowly
and quietly rotates that
evokes feelings of
tranquility and relaxation
while fabric strips hang
down at the perimeter of
the pod protects the user
inside, while allowing for
visibility outside
 Hypar Pavilion

ORGANIC pavilion accommodates

for both a restaurant and

MATERIAL a public lawn that function

as both a green roof and
a public space while
ingenious twisting of the
roof creates surprise and
 wood is literally warm to
fluidity to the visually
touch and therefore
predicable Modernist
perceived as inviting and
structures
cozy
 stone or steel are
generally cold to the
touch and thus tend to Riverbed by Olafur Eliasson
be perceived as more
the museum is entirely
distant
covered with river rocks
 light materials have a and gravel creating a
tendency to be riverbed that flows down
considered cheap from the back to the front
of the gallery space that
 soft materials are mostly invites the viewer to climb
regarded as being alive around the rocks, play in
where hard materials are the river, and touch
considered dead everything
 Test Site by Carsten Höller
the combination of speed,
PARTICIPATION transparency, and
curvature, creates a
thrilling, vivid experience
that demands presence
from its user and evokes
experiences of childhood
 things that are tactile
playgrounds as the user
develop a deeper
races down the tube
relationship with its
participants by nature of
reciprocity
 by the nature of pressing
our hand or any part of The Event of Thread by Ann
our body on a subject or Hamilton
object, we cannot the sheet’s movement is
escape the contact choreographed by the
motion of many large
swings hung around the
room provokes feelings of
peace, euphoria, and
childhood nostalgia as the
sounds of chatter and
laughter are quieted by
the expansive ceiling
REFERENCES
 Yang, K.T. & Guaralda, M. (2013). Sensuous Geography. Retrieved from
https://eprints.qut.edu.au/60633/5/201111_Sensuous_geography_-02.pdf
 Cabrera, J. (November 7, 2015). Sensuous Forms. Retrieved from
https://prezi.com/nd-gjuy9bdxg/sensuous-forms/?webgl=0
 Berleant, A. The Sensuous and the Sensual in Aesthetics. Journal of Aesthetics and
Art Criticism. 185-192. Retrieved from
http://www.compilerpress.ca/Competitiveness/Anno/Anno%20Berleant%20Sensu
al%20Sensuous.htm#IV
 Zwiebel, S. (2015). Sensual Spaces: When experience meets architecture and art.
Senior Capstone Projects. Retrieved from
https://digitalwindow.vassar.edu/cgi/viewcontent.cgi?article=1430&context=sen
ior_capstone