SCHOOL OF DESIGN

LM - Interior Design - BV
A.A. 2016/2017

Experiential Exhibition
Based on Human Senses

Author: WEN XIN

Register number: 832545

Supervisor: GALBIATI MARCELLO

Co-Supervisor: ORIGONI FRANCO

 ABSTRACT
English
The experiential Exhibition exhibition design adhere to the audience-
centered design concept and make the visitor’s physiological,
psychological and emotional elements as the design point. To a greater
extent to stimulate the audience's senses and stimulates the enthusiasm
of the visitors to participate in interactive form emotional exchange, in
order to achieve the goals of improving the propagation efficiency of
the subject information.
Speaking of experiential exhibition, it is important to mention the
five senses.Because the senses are the basic of human experience,
the transmission of information in any form of exhibition needs to be
recognized by the senses. Human receptors have vision,sense, hearing,
touch, taste and smell and so on. Visual and auditory input are the
most important two ways to display information into the human brain.
However, if we excavate other senses in the process of display, make
appropriate combination, which will play a very good role in promoting
the effect of the exhibition.
In the paper, I first studied the characteristics of the five senses.For
further research, I developed several ways of interacting with five
senses.They are-Sensory transformation synesthesia,Sensory Respective
Synesthesia, Sensory Complete Synesthesia and Sensory Disorder.
On the basis of the above research, I have refined several forms of
design related to feeling which can be applied to the exhibition design.
I call it Five-sense design form.They are Sensory isolation,Separate
and emphasize a certain sensation,Separate and weaken a certain
sensation,Comprehensive use of sensory synesthesia and Sensory
reorganization.
On this basis, I try to apply the research results to the space
organization.Firstly, the independent space on microscopic scale is
a unit.Then focuses on the relationship between spaces,the role of
each space in the overall space should be controlled on macroscopic
scale, thus making each independent small space connect with the
surrounding space, form the overall visit pace, visitors feel the changes
in sensory density and experience mode and comprehensively develop
their own senses on the exploration and understanding of exhibition
contents.
2 3
ABSTRACT
Italiano
I moduli interattivi di allestimento aderire al concetto di design
visitatori-centrato e rendono gli elementi fisiologici, psicologici ed
emotivi del visitatore come punto di progettazione. La formazione di un
maggior livello di stimolazione dei sensi degli spettatori e l'entusiasmo
dei visitatori di partecipare in forma interattiva scambio emotivo, al fine
di raggiungere gli obiettivi di migliorare l'efficienza di propagazione
delle informazioni soggetto.
Parlando di interazione e l'esperienza, dobbiamo menzionare il
cinque sensi.Perche i sensi sono la base di interazione e l'esperienza,
la trasmissione di informazioni in qualsiasi forma di esposizione deve
essere riconosciuta dai sensi. Recettori umani hanno visione, udito,
tatto, gusto e olfatto, e così via. Impiego visivi e uditivi sono i più
importanti due possibilità di visualizzare le informazioni nel cervello
umano. Tuttavia, se scaviamo altri sensi nel processo di esposizione,
fare combinazione appropriata, che svolgerà un ottimo ruolo nel
promuovere l'effetto della mostra.
Nel tesi, ho studiato le caratteristiche dei cinque sensi. Per ulteriori
ricerche, ho sviluppato diversi modi di interagire con cinque sensi.
Sono: la sinestesia di trasformazione sensoriale, la sinestesia sensoriale
corrispondente, la sinestesia completa sensoriale e il disturbo
sensoriale.Sulla base della ricerca di cui sopra, ho raffinato diverse
forme di design relative alla sensazione che possono essere applicate
al design della mostra.Lo chiamo Forma di design a cinque sensi. Sono
isolamento sensoriale, Separare e sottolineare una certa sensazione,
Separare e indebolire una certa sensazione, Utilizzo completo della
sinestesia sensoriale e Riorganizzazione sensoriale.
S u q u e s t a b a s e c e rc o d i a p p l i c a re i r i s u l t a t i d e l l a r i c e rc a
all'organizzazione spaziale.In primo luogo, lo spazio indipendente sulla
scala microscopica è un'unità. Si concentra sulla relazione tra spazi, il
ruolo di ogni spazio nello spazio complessivo deve essere controllato
su scala macroscopica, rendendo così ogni piccolo spazio indipendente
collegato allo spazio circostante, formando Il ritmo complessivo del
visitatore, i visitatori sentono i cambiamenti nella densità sensoriale
e nella modalità di esperienza e sviluppano in modo completo i
loro propri sensi sull'esplorazione e la comprensione dei contenuti
dell'esposizione.
 Contents Part 2 Project
1 Introduction.........................................................................................................................................................124
List of figures..............................................................................................................................................................06 1.1 Exhibition Theme and main content
1.2 Concept
1.2.1 The reason why I chose "Nature and Human" to be the exhibition theme
Part 1 Research 1.2.2 The reason why I chose Metal Wood Water Fire and Soil to represent nature
1.2.3 How does the theme combine with five senses of humans
1 Introduction............................................................................................................................................................10 1.2.4 How does the exhibition combine with the former research “The sensory design forms”
1.1 Background.........................................................................................................................................................11 and “The reorganization of sensory design forms” of the paper?
1.1.1 Humanistic Background..........................................................................................................................11 1.2.5 Why is this exhibition special and extraordinary
1.1.2 Background in the field of exhibition design .................................................................................12
1.2 The relationship between human senses and experiential exhibitions...................................13 2 Project
1.2.1 Sensation and Perception.......................................................................................................................14 2.1 Location...........................................................................................................................................................131
1.2.2 Perception and Experience....................................................................................................................18 2.2 History of PAC...............................................................................................................................................132
1.2.3 Experience and Experiential Exhibition...........................................................................................20 2.3 Exhibitions in PAC after 2007................................................................................................................134
1.2.3.1 Sense-Centered Exhibitions............................................................................................................23 2.4 Cultural and historical buildings around PAC.................................................................................138
1.2.3.2 Interactive and experimental exhibition with New Media technology.........................38 2.5 Two important parks around PAC........................................................................................................140
1.2.3.3 Interactive and experimental exhibition with New technology.......................................40 2.6 Visitor category analysis......................................................................................................................... 142
1.3 Intention...............................................................................................................................................................52 2.7 Visit time analysis.......................................................................................................................................144
2.8 Traffic route analysis.................................................................................................................................146
2 The significance of Human’s Five Senses....................................................................................................53 2.9 Environmental function partition....................................................................................................... 147
2.1 Visual Sense......................................................................................................................................................58 2.10 Environmental function stratification analysis...........................................................................148
2.1.1 Form..............................................................................................................................................................59 2.11 Reconstruction of the surrounding environment.......................................................................149
2.1.2 Color..............................................................................................................................................................60 2.12 Site analysis.................................................................................................................................................150
2.1.3 The Relationship Between Form and Color..................................................................................61 2.13 Sections.........................................................................................................................................................152
2.2 Auditory Sense.................................................................................................................................................62 2.14 Exterior environment rendering.......................................................................................................154
2.3 Olfactory Sense................................................................................................................................................63 2.15 Analysis of building structure.............................................................................................................156
2.4 Tactile Sense.....................................................................................................................................................64 2.16 Exhibition area...........................................................................................................................................157
2.5 Taste Sense ........................................................................................................................................................65 2.17 Plan.................................................................................................................................................................158
2.18 Moving line..................................................................................................................................................160
3 Interaction of five senses...................................................................................................................................66 2.19 Functional area division........................................................................................................................161
3.1 Sensory transformation synesthesia.....................................................................................................68 2.20 Sensory density analysis.......................................................................................................................162
3.1.1 Transformation from vision into other senses ......................................................................69 2.21 Analysis of Five Sense Distribution..................................................................................................163
3.1.2 Transformation from hearing into other senses....................................................................73 2.22 Visit time line.............................................................................................................................................164
3.1.3 Transformation from smelling into other senses..................................................................73
3.1.4 Transformation from taste into other senses..........................................................................73 3 Detail......................................................................................................................................................................166
3.2 Sensory Respective Synesthesia.............................................................................................................74
3.2.1 Vision+Audition ......................................................................................................................................75
3.2.2 Vision+Tactile..........................................................................................................................................79 Bibliography.......................................................................................................................................................... .218
3.3 Sensory Complete Synesthesia................................................................................................................82
3.4 Sensory Disorder...........................................................................................................................................91

4 Five-sense design form......................................................................................................................................96

4.1 Sensory isolation...........................................................................................................................................98
4.2 Separate and emphasize a certain sensation..................................................................................100
4.3 Separate and weaken a certain sensation........................................................................................102
4.4 Comprehensive use of sensory synesthesia....................................................................................104
4.5 Sensory reorganization............................................................................................................................108

5 Reorganization of sensory design forms—Applied in the spatial arrangement....................112

4 5
 List of figures Fig.29 30 Studio Formafantasma and Michelin Star winning chef Yoji Tokuyoshi,Lexus – An
Encounter with Anticipation,2016

Fig.1 HAYATO https://lineblog.me/jack8810/archives/2016-12.html Fig.31 Teamlab,Crystal Universe,2015

Fig.2 John Holmes, Paradise XXVI,106, 1981 Fig.32 Touchscreen by Ikoeh, http://ikoeh.com/entenda-como-funciona-o-touchscreen/

Fig.3 Massana School Of Art And Design ,Barcelona,2016 Fig.33 Teamlab,Crystal Universe,2015

Fig.4 Lee Broom, Time Machine,Milan design week,2017 Fig.34 35 36 Pace Art + Technology and teamLab,Living Digital Space and Future Parks,
USA,2016
Fig.5 Nendo Thin Black Lines,Tai Wan,2011
Fig.37 38 39 Char Davies, Osmose,1995
Fig.6 Brigada Studio, Smokin’ Hot Art,Gliptoteka gallery Zagreb,2013
Fig.40 41 iOrchestra,Philharmonia’s digital media projects,2014
Fig.7 P-06 atelier, Water Museum, Lisboa Portugal,2014
Fig.42 43 44 45 Studio Azzurro. Immagini Sensibili,Milan,2016
Fig.8 Cadaval & Solà-Morales, Ulls del Mon, Barcelona, Spain,2009
Fig.46 The mind exists everywhere in the body,Kenya Hara’s “Designing Design”
Fig.9 Atelier BRÜCKNER,German Watch Museum, 2008
Fig.47 Self portrait photography by Leanne Surfleet
Fig.10 Nendo,Colourful shadows, Tokyo,2015
Fig.48 Vasily Kandinsky,Composition 8,1923
Fig.11 SO Architecture, SO100 Exhibition , Tel Aviv, Israel,2011
Fig.49 Claude Monet, Les Nymphéas bleus,1916
Fig.12 Ryoji Ikeda, datamatics,2006
Fig.50 51 Yves Klein,Anthropometry Performance,1960
Fig.13 Richard Hamilton, Install shot of Man, Machine and Motion,ICA,2014
Fig.52 Giuseppe Arcimboldo,The Four Seasons in One Head,1590
Fig.14 15Museum of Film and Television, Berlin
Fig.53 Harold Feinstein, Acik Radyo Music of the People,1952
Fig.16 Cadaval Solà-Morales,Susana Solano Trazos Colgados,Madrid,2013
Fig.54 Rouben Mamoulian,<Love Me Tonight>, 1932
Fig.17 Gensler, The William and Ida Friday Institute, North Carolina
Fig.55 Godard ,<First Name Carmen>, 1983
Fig.18 Brigada, Rovinj Croatia exhibit design, Adris Pavilion at WMF,2013
Fig.56 Hitchcock <Psycho> ,1960
Fig.19 Johnson &amp, Summer Olympics in Beijing,2008
Fig.57 31.media.tumblr.com
Fig.20 Joao Morgado, Ilustrarte exhibition,2014
Fig.58 59 Ingmar Bergman, <Persona>,1966
Fig.21 David Moreno, Silence, Installation view at the São Paulo Biennial, 2012
Fig.60 Alexey bogolepov – Function, http://alexeybogolepov.com/Function
Fig.22 Diller Scofidio + Renfro, How Wine Became Modern, San Francisco,2011
Fig.61 Photopraghy of Steven Holl
Fig.23 24 Diller, Scofidio + Renfro, The Art of Scent 1889-2012, NEW YORK,2012
Fig.62 Steven Holl ,Anchoring
Fig 25 26 Teamlab,Harmony, Japan Pavilion, Expo Milano 2015
Fig.63 Steven Holl ,The Church,1997
Fig.27 28 Yanko Design,SOL,2010
Fig.64 Frank Lloyd Wright, Fallingwater,1934

6 7
 Fig.65 66 67 68 Kijyo Rokkaku,Sense museum,2000

Fig.69 Yayoi Kusama, Infinity Mirrored Room – Filled with the Brilliance of Life, 2011

Fig.70 Yayoi Kusama,the Obliteration Room, 2011

Fig.71 Leandro Erlich,Swimming Pool ,2004

Fig.72 Tezi Gabunia ,Put Your Head into Gallery,2016 PART 1

Fig.73 74 Carsten Holler,Decision Corridors, 2015

Fig.75 76 Tristan Perich, A Contemporary Score, 2013

Fig.77 Ferruccio Laviani ,The garden of Wonders,2015

Fig.78 Dans-le-noir,London

Fig.79 Antony Gormley,Blind Light, 2007

Fig.80 Miguel Chevalier,Onde Pixel , Milan, 2016

Fig.81 Stahl Stenslie,The Ichihara Touch Tales, 2014

Fig.82 83 Studio Formafantasma and Michelin Star winning chef Yoji Tokuyoshi,Lexus – An
Encounter with Anticipation,2016

Fig.84 85 86 87 Optical illusion galleries, South Korea

List of graphs
Gra.1-44 Made by Wen Xin

8 9
 1.1 Background
1.1.1 Humanistic background
In primitive society, humankind directly
receives the information transmitted by
various sensory organs. Though coarse
and straightforward, it remains simple
and authentic. Such pure sensation
process makes our ancestors have in-
depth reverence and attitude for the world.
Without favorable shelter of house and
clothing, the skin of humankind is directly
exposed under the scorch of sun and the pat
of cold rain. They could merely watch the
blue sky and green land within the scope of
eyesight with naked eyes; they could only
listen to the chirping of insects, growl of
beasts, sound of thunder and lightening,
s o u n d o f r u n n i n g wa t e r, a n d s i m p l e
slogans of peers in nature; they are simply
surrounded by the fragrance of flowers
and seeds, the body odour of peers, and the
stinking smell of rotten flesh and fecal; they
could only eat fresh potherb and underdone
meat without any seasonings.
However, when creating more comfort and
coziness for surrounding environment with
intelligence, humankind turns increasingly
stagnant. As it were, although the width of
life has been greatly expanded, humankind
actually goes to more places, witnesses
many unbelievable scenes, savors more rich
tastes, gets access to more non-artificial and
artificial materials and has abundant life
experience than ever before. However, why
humankind turns increasingly oblivious and
indifferent to surrounding environment?
Probably, the inborn ability of tasting life, or
say, the perception of humankind, has been
isolated.
The perception ability of individuals
determines their depth of life. While people
living in modern society are surrounded
b y va r i o u s s u b s t i t u t e p r o d u c t s a n d
designs. For instance, walking is replaced
10
by automobiles, letter is replaced by
e-mail, and traditional reading is replaced
by E-BOOK. Devoid of certain necessary
sensory stimulation for a rather long time,
modern people are afflicted with many
psychological and physical problems. Next,
this thesis will illustrate the touch sensation
for example. Modern mothers mostly place
children on the comfortable infant bed and
coax children with electric tools. However,
according to scientific investigation results,
children without the fondling and embrace
of mothers would slow down intelligence
development and body growth. Similarly,
modern people usually deliver the greeting
to friends through phone, message and
e-mail but have few opportunities to
embrace, shake hands with or kiss others.
Therefore, adults might suffer from skin
hunger symptom and generate indifference
and inner sense of loss. By the same token,
since modern people stay in the office
for a long term, they could not get access
to sunshine and fresh air and naturally
decrease immunity (the thermal sensation
generated by sunshine and fluid sensation
generated by natural air belong to the
sensation of skin). The formation of such
phenomenon is a long-term and complicated
outcome, including scientific technology
development, ideological transformation
and social system factors. Admittedly,
modern society brings convenience and
unprecedented sensation experience to
people. Under the support and replacement
of various auxiliary technologies, the sense
of modern people does not turn stronger but
decrease instead.
11
 People should ask themselves how long
they have not bared foot and walked on
the muddy land of countryside, how long
they have not slept on the grassland to be
surrounded by gentle breeze and flower
fragrance, how long they have not warmly
embraced with friends after years of
separation, and if they have lost interests
in surrounding things. Maybe people in the
modern society are not in urgent need for
further development of scientific technology
and greater innovation, but the focus on
primitive sensation after slowing down
the pace. It is possible that human body
could not catch up with the tempo of world
progress.
1.1.2 Background in the field
of exhibition design
In retrospect to the history of exhibition
design, at the very beginning, the curator
displayed the products or artworks in
a simple and direct way. However, the
exhibitions were generally lack of unified
rules, just simply, directly putting words or
pictures in front of the visitors. Later, the
architects and designers began to consider
the artistic value of the exhibition itself, as
well as its impacts on visitors, and had made
a lot of meaningful attempts. Nowadays,
the forms of exhibition have become
more diverse and more comprehensive
theoretically. In the social and cultural areas,
exhibition has become more and more
influential and more humanized.
It should be noticed that nowadays, the
12
human society has entered the stage
of information society. The Internet of
1.2 The relationship between human senses and
things(IoT) has inadvertently changed
people's lives. In this society, information
experiential exhibitions
and knowledge can be shared and spread in
the whole world. Under such circumstance, (Five senses-Perception-Experience- Experiential Exhibition)
there are some new challenges and problems
incurred in exhibition design. For example,
a lot of new exhibitions are appearing on
daily basis. However, the pursuit of speed
and quantity has usually made the curator
ignore the connotation and quality of the
exhibition. Meanwhile, visitors who possess
more information tend to pursue the
feeling of freshness and speed and ignore
certain patience. Under such background,
a singular form of presentation seems to
have been unable to meet the needs of the
contemporary visitors who are looking for
spiritual and cultural experience. Thus, how
does the exhibition satisfy the increasingly FIVE SENSES
discerning visitors?
Luckily, some curators and designers
have already realized the importance
of experience in exhibition and have
made different attempts to make visitors PERCEPTION
participate in the process of exhibition, feel,
experience, and reckon instead of simply
seeing. Seeing is a singular simulation Trigger Feedback
which can be easily forgotten. However,
the immersive "experience" can stimulate
humans’ emotional resonance, trigger EXPERIENCE
imagination, explore thinking, and thus may
be more lasting memory.
Service Feedback
Speaking of experience, it is important to
discuss human’s five senses. As senses are
the basis of experience, the transmission of EXPERIENTIAL EXHIBITION
information in any form of exhibition should
be recognized by senses. Any person's
experience of things and space is multi-
sensory, and the perception of the form of
things and space is the combined result of
all the senses.
Gra.1
13
 1.2.1 Sensation and perception
The sensation is the direct response of an
individual attribute that directly reacts on
our different sensory systems.
The understanding of the sensory system
c a n b e a n a ly z e d a n d ex p l a i n e d f ro m
three aspects. The first is the source of its
information; The second is our physical
organs; The third is various kinds of
psychological phenomenon that it produces.
Perception is our brains' overall observation,
feelings, integration, processing, and
interpretation of the stimulant object.
In real life, the sensation and perception are
a continuous process, almost impossible
to be separated. The understanding of the
individual attributes of the objective object
is sensation, while the combination of all
kinds of feelings of the same object forms
the perception of an object. The perception
SENSATION
Vision
Audition
Olfaction
Taste
Haptics
14
There are two kinds of perceptual processing methods:
comes from the sensation, the sensation is
created at first, and the perception follows it.
If the individual attributes of the objects that
we feel are more and richer, the perception 1. The bottom-up processing[1]: refers 2. The top-down processing[2]:
of the objects is more accurate and more to the analysis of the stimulation beginning is often based on our past experience and
complete. The perception is the reflection of with the sensory receptors, and then rise to expectations. Complete the information
the overall objective in human's brain that the level of the brain and the mind. This is a processing starting with the higher level of
directly reacts on the sensory organs. But widely applied processing model in our daily psychological process, and then form the
the perception is not the simple addition life. sensory understanding.
of the sensation because the perceptual
process also depends on people's subjective
consciousness, namely the viewer's own
investment. People would use the existing SENSATION PERCEPTION
experience to explain the obtained sensory
information of the current objects, thus
How we process How we interpret
make the recognition of the current objects.
environmental stimuli environmental stimuli
EMOTION
PERCEPTION
BOTTOM-UP TOP-DOWN
Starts with sensory Starts with sensory
receptors,works up to input,but constructs
higher levels of processing perception based on
COGNITION
prior experience
Gra.2 [1]Based on Gregory's Theory [2]Based on Gibson's Theory Gra.3
15
 The characteristics of perception:
1. Integrity
In the process of perception, people don't
solitarily reflect the individual features
and properties of the stimulant, but do
the organic synthesis of multi-specific
properties, so as to reflect the entirety and
relationships of the objects.
People's understanding of an object is not a
partial, split type of understanding, but an
integral understanding. It is called "Gestalt"
in psychology.
Gestalt originates from the German word
- Gestalt. It is the organic whole that has
the separation properties in different
parts. It emphasizes the integrity of the
experience and behavior. It thinks that
the entirety is not equal to the sum of the
parts, the consciousness is not equal to the
collection of feeling elements behavior, and
the behavior is not equal to the cycle of the
reflex arc.
Gestalt's psychology thinks that , our
processing and organization of the sensory
information follow four principles: the law
of contiguity, the law of similitude, the law of
continuity, and the law of correlation.
Integrity
Comprehension
16
2. Selectivity
It means that the individual takes the
certain stimulus information or some
aspects of stimulation as the perceptual
object according to their own needs and
interests, and takes the other objects as
the background to do the processing and
organizing.
T h e p e rc e p t u a l o b j e c t i s d i s t i n c t ive ,
concrete, and mnemonic. The background is
ignored, feint. Object and background can be
interchanged.
3. Comprehension
In the process of perceiving objects, people
don't passively record the characteristics of
perceptual objects, but strive for making an
explanation to consciousness on the basis
of the past knowledge, so as to make it have
certain significance.
4. Constancy
When the objective conditions are changed
within a certain range, our perception image
has maintained its stability in a great extent.
Selectivity
Constancy
Gra.4
The Environmental Perception theory
The Environmental Perception [3] There is the common side between sensation
Theory includes the components of and perception, both are the primary form
cognitive (thinking), affective (emotional), of human's understanding of the world, and
interpretation, and evaluation. it reflects the external characteristics and
external links of the objects. But if we want
It starts with processing the individual to reveal the essential characteristics of the
stimulation in the environment. It usually objects, sensation and perception are not
gets through the following processes: the enough. We should do the complex mental
perceiving of stimulation, the discrimination activities on the basis of the perception and
of stimulation, and the recognition sensation, such as memorizing, imaging,
and evaluation of the stimulation. The thinking, etc.
environmental consciousness is dependent
on two different forms of information: the
environment and the percipient's own
experience.
The process the environmental
consciousness contains is: the sense organs
pick up information from the outside
world, extract a wide range of features from
external stimulation, and then the context
and background of the perceptual object
participate to form people's perception.
[3]Environmental perception is how a person perceives the environment through the brain’s ability
to process and store information that is gathered from other areas of perception. Gra.5
17
 1.2.2 Perception and experience
Pe rc e p t i o n i s h u m a n b ra i n' s ove ra l l
understanding of the external information
collected by the sensory system, and has
the effect of organizing and processing the
information. Experience is the sublimation
of perception. It is a kind of feeling,
validation, and become a memory in the
brain, makes us recall the feelings at any
time, and thus have a premonition about the
future. When the external stimulus appears
again, it participates in the formation of
perception once more again. The experience
behavior includes two parts: the first is
the stimulation reaction of the external
environment; The second is the mental
activity in the internal main body. According
to the order of the development of the whole
experience behavior, "experience" can be
divided into four stages.
Sensory reception:
At the moment of experience, the
experiencer had no time to prepare a
series of logical reasoning, but attracted
by the object's visual form, and input the
information. This is a moment behavior,
which completes the first step of the
communication with the main body through
the instantaneous experience. Consciousness
is a passive state at this stage. When the
experiencer's sense organs accept various
kinds of external stimulation, their first
feeling in the mind is "pleasure" or "lost".
Forming consciousness:
After the sensory acceptance of information,
the occurrence of a variety of sensory
interaction. Known as “synesthesia" in
psychology. These five kinds of perception
quote and emphasize mutually, together
outlining a panoramic image. With the
affection of synesthesia experience, the
information comes from every sensory
organs mix together, making the color seem
to have temperature, sounds seem to have
distance, gloss seem to have tactility and
colors seem to have taste. At this stage,
perception point to the object without
18
Experience is a very complicated psychological process, which is the collection of perceptions
of past, present and future. In the experience, people always subconsciously recall the past
and expect a good future. Therefore, the experience has a perceptual formation to connect the
association and empathy. The experiencers
dual dimensions of time and space. Through experience, we can understand the world more
obtain double experience in physiological
profoundly.
a n d p s yc h o l o g i c a l d i re c t ly f ro m t h e
perceptions of physical characteristics of the
objects.
The U.S. experience economist B Joseph Pine points out that
"An experience is actually a wonderful feeling when a person reaches
a certain threshold. Since experiences are essentially the results of
interactions between individuals and events, there are no two persons who
Form or awaken memory: obtain exactly the same experiences."
The feelings and perceptions of experience
subjects are abl e to trigger the past
perceptual experience and open the gates
of memory. At this stage, the experiencers
begin to search for the map of memory and
emotion to awaken the past ‘experience’ Generally, we have two kinds of ways to understand the world:
which is deeply hidden. In the perception
of the unfamiliar environment, the memory One is the method of objective thinking, The other is the method of experience,
can help the experiencers to integrate
the unknown to the strangers into the
namely the method to understand the namely the method of phenomenology;
objects with knowledge and science; phenomenology is against the second
transcendental category of self perception. method.
In the recall to the past memories,
experiencers associate the current images of
experience with the memory clues together,
constituting the imagination. Imagination Maurice Merleau Ponty criticizes the
is one of the most remarkable behaviors of objective thinking with examples of perceptions
human consciousness, which is the blasting throughout
fuse to trigger inspiration. In imagination,
the experiencers have emotional resonance “Phenomenology of Perception” to
a n d c o nve r s a t i o n w i t h t h e e x t e r n a l
environment.
emphasize ‘perceptual experience’. [4]
The experience He said,
of introspection: "What I realized is also the things
Introspection is the last stage of perceptual related to the world known through the
experience. It is a kind of supplementary
procedure of experiencers to deeply process
world. It is understood by me according
the images and a kind of purely subjective to my thoughts and experiences. If there
thinking process. It is precisely because of is no experience, scientific symbols will
this sublimation stage, the space has the be without any meanings".
artistic conception. This introspection also
has a profound impact on the design and
creation of the mental environment.
[4]In the book Phenomenology of Perception (1945)
19
 1.2.3 Experience and Experiential Exhibition Psychological studies have shown that people tend to remember.[5]

10% of what they read

20% of what they hear
Generally, experience refers to personal experience: understand, analyze and feel some
30% of what they see
people or things with sense organs, thereby being impressed with them and having a deeper
50% of what they see and hear
feeling about the reality or the future. It is the nature of the events someone or something has
70% of what they say
undergone.
90% of what they say and do
Experience-centered interaction design is an effective means to fulfill emotional demands and
implement requirements. As for interactive devices, they put more emphasis on experience.

The computer specialist Cooper believes that experience is the result of interactions between
humans and artifacts. It is adjusted by personal environment – the psychological and internal
environment that is constituted by cognitive factors such as motives and past experiences.
Experience design means designing user experience brought by artifacts or systems.

Experience design aims to test whether

i n t e r a c t ive e x h i b i t i o n s c a n p r o v i d e
comfortable visitor experiences for viewers,
thereby better conveying and memorizing
the exhibition information.

“Artworks are
According to Du Shang,
not merely created by artists”, which
emphasizes the importance of audience
participation. Viewers proceed from their
own perspectives to understand and
reinterpret artworks. Gra.8

Manners and Becnel (1992) believe that museum communication is the

Gra.6 interaction between exhibitions and viewers, rather than a simple copy of
commentaries.
Gra.7

Experience
Fock and Dirk (1992) believe that interactive experience is actually the
trigger acting on
Information transmission with
experience feedback feedback
combination of individuals, cultures and the society. Viewers obtain
different experiences in museums.

information exportation

General information transmission Human senses Exhibition

[5]Dale’s Cone of Experience, Build A Better Trade Show Image.

20 21
 1.2.3.1 Sense-Centered Exhibitions
The 2010 NRC report identifies strategies that take advantage of the way emotional responses
can stimulate learning (NRC, 2010). For example, one model developed for the design of
museum exhibits suggests that they should have six elements (NRC, 2010, p. 83)[6]:
Successful visitor experience is attributed to the following Six Elements:

Curiosity – viewers are surprised at this and take the initiative to explore it.
Confidence – viewers are competitive.
Challenge – viewers recognize that they qualify for some jobs.
Control force – the visitor has a sense of self-determination and control
Entertainment – the visitor experiences sensory enjoyment and playfulness
Communication – the visitor engages in meaningful social interaction. Fig.1

(1) Visual-centered displaying method

Based on these standards, it is possible to understand how to arouse the interests of viewers in
exhibitions, how to make viewers profoundly understand exhibitions and how to make a deep
impression on viewers. In addition, it is possible to understand the influences of what viewers
read, see, hear and do on their perceptions of exhibitions.
In the scope of exhibition design, the main role of visual sense is to receive visual information
from exhibits, texts, pictures, videos, etc. and perceive the information of spatial planning,
spatial scale, light, color, and material. It can be said that only relying on vision can support an
exhibition. In fact, even now, most of the exhibitions only use human vision.
Overall, visual-centered exhibitions are characterized by the following features.

In the information age, exhibition design is facing some important changes

and challenges,

1. Since humans put higher requirements 2. Multimedia and mechatronics technology

on cultural experience, ordinary exhibition
forms and media (graphic panels and
video display) cannot meet the demands
of viewers for profound understanding.
As a result, some new exhibition forms
characterized by strong participation are
required.
have integrated complicated contents into
things with rich visual effects and strong
artistic appeals. They are likely to form new
interactive forms and meet the demands for
experience of complex and abstract contents.
Therefore, it is necessary to further research
characteristics and control methods of these
techniques, and apply these techniques
flexibly to meet the psychological demands
of viewers.

CHANGES AND CHALLENGES

[6]NRC. Surrounded by science: Learning science

in informal environments. Washington, DC: The
National Academies Press; 2010. Fig.2

22 23
 1.Diversified display props Fig.6
The diversification of display props is closely related with the exhibition contents and
the exhibition space. The diversified display props diversify the means of information
communication, thereby enriching the ways of obtaining information and achieving better
interaction and visual effects. These human-centered props satisfy design demands of human
engineering and meet psychological and physiological requirements of the audience. They not
only serve as carries of information, but also construct and divide the exhibition space. The
exhibition space is divided into different parts by changing the artistic styles and the location
of display props. Since the walking routes and perspectives vary among viewers, the means of
information communication change constantly.

Fig.3 Fig.4

Massana School Of Art And Design ,Barcelona,2016 Lee Broom, “Time Machine”,Milan design week,2017
Fig.5

Nendo ”Thin Black Lines”,Tai Wan,2011 Brigada Studio, “Smokin’ Hot Art”,Gliptoteka gallery Zagreb,2013

24 25
 2 Multidimensional ways of viewing
Due to the differences in number, size and density of the exhibition information, exhibition
forms are ever changing. The various modes of information carrying result in multidimensional
ways of viewing, thereby bringing different experiences to viewers and influencing the
acceptance of information to varying degrees. When the exhibition content matches the way
of viewing, good exhibiting results shall be obtained. In interaction design, it is important to
employ multidimensional ways of viewing to achieve better results. Specifically, the ways of
viewing are as follows:
·Single-surface exhibitions
Single-surface exhibitions refer to exhibitions whose exhibition information is displayed on
one wall or one surface and disseminated to one direction. Information of these exhibitions
focuses on one direction, which facilitates reading and viewing of viewers. These exhibitions
tend to appear in the form of display boards, display walls and display cases, and display texts,
pictures, multimedia messages and video information. Being easily arranged and constructed,
single-surface exhibitions are one of the most common exhibition forms in exhibition design.
Fig.7
P-06 atelier, Water Museum, Lisboa Portugal,2014 Cadaval & Solà-Morales, Ulls del Mon, Barcelona, Spain,2009
26
·Three-surface exhibitions
Three-surface exhibitions are also known as semi-surrounded or multi-surface exhibitions.
The same as angle exhibitions, three-surface exhibitions are also constituted by three
surfaces. The difference is that three-surface exhibitions create a stronger sense of enclosure.
The smaller the angle is, the stronger sense of enclosure the display props will have. Semi-
surrounded exhibitions have a stronger sense of enclosure than angle exhibitions, with a
high participation rate. Generally, semi-surrounded exhibitions are used to display specific
contents. Three-surface exhibitions are divided into three categories. 1. All the three surfaces
are vertical: create a sense of enclosure and attract viewers to move their eyes horizontally. 2.
One surface is vertical while the other two are horizontal: rarely seen; generally combined with
multimedia, with the vertical surface as the main display panel. 3. One surface is horizontal
while the other two are vertical: make viewers feel as if they were passing through tunnels.
Fig.8 Fig.9
Atelier BRÜCKNER,German Watch Museum, 2008
27
 ·Upward view and aerial view Fig.10 ·Multi-surface exhibitions
Upward view and aerial view are in opposite Multi-surface exhibitions mainly refer to
directions. According to the characteristics exhibitions with multiple display panels.
of directions, upward-view exhibitions and Differences in the surface structures cause
aerial-view exhibitions are suitable for different ways of viewing. To be specific,
exhibitions with different themes. Wherein, multi-surface exhibitions include single-
upward-view exhibitions are appropriate surface exhibitions, angle exhibitions, three-
to display information related to the sky. surface exhibitions, upward-view exhibitions
For example, museums tend to display the and aerial-view exhibitions.
preamble with upward-view exhibitions. In
order to avoid fatigue and dizziness caused
by long-term looking up, viewers tend to ·Wraparound exhibitions
lie down or settle back to view videos and Wraparound exhibitions refer to exhibitions
pictures. In addition, proper lighting and whose exhibits are in the center of the
colors are adopted to alleviate the resultant exhibition space, just like sculptures in the
discomfort. As for aerial-view exhibitions park. They are characterized by divergent
– exhibitions that are suitable for macro transmission of information and of high
exhibits, they take the bottom surface as the value. Such exhibitions allow viewers to
display panel. Viewers will look down at the view the exhibits from multiple perspectives.
exhibits. P re v i o u s ly, w ra p a ro u n d e x h i b i t i o n s
are mainly held in museums. With the
technological development , however,
there have been an increasing number of
exhibits that are applicable to wraparound
exhibitions.
Nendo,Colourful shadows, Tokyo,2015
Fig.11 Fig.12 Fig.13

SO Architecture, SO100 Exhibition , Tel Aviv, Israel,2011 Fig.12 Ryoji Ikeda, datamatics,2006 Richard Hamilton, Install shot of Man, Machine and Motion,ICA,2014

28 29
 ·Immersive exhibitions
The same as wraparound exhibition,
immersive exhibition is another kind of all-
round exhibitions. Immersive exhibitions
combine multimedia with exhibition items
to create a sense of enclosure, or create an
enclosed environment with display props.
Immersive exhibitions make viewers feel
as if they were personally on the scene. The
three-dimensional pictures turn illusions
of viewers into virtual realities. By virtue of
image mosaics, the exhibition space is built
into an enclosed environment full of virtual
scenes. The interactive art is realized on the
basis of high techs and exhibited in a virtual
and symbolized exhibition space. Immersive
exhibitions attract viewers to be immersed
in the virtual scenes and impressed with the
exhibition information.
Since immersive exhibition is all-round
exhibition and a new interactive mode, they
enjoy independent display props and place
viewers in virtual scenes. They are visually
striking. Immersive exhibitions enable
viewers to be highly interactive with the
exhibition items.
Fig.15 Museum of Film and Television, Berlin
30
·Mobile viewing
Mobile viewing mode refers to the visiting manner where the audience is guided into a
designed path or some mobile carrier such as an escalator, conveyer belt, or cable car and tour
within a given exhibit space. The biggest advantage is that exhibiters have complete control
over the touring path and time of the audience to ensure that the latter arrive at a specific
exhibit section at a specific time, avoiding inconsistency of information input caused when the
audience inadvertently skips a part and achieving a better interaction between the audience
Museum of Film and Television, Berlin Fig.14 and the exhibiting environment. In the meantime, making visits on a carrier is, in itself, a
distinctive touring experience. Those carriers are large equipments, the designing of which
The film museum in Berlin is a typical requires a high compatibility with arrangements of the content and space of the exhibition
case of immersive art. The exhibition hall to make detailed plans and calculations on moving trajectory and time, and to decide their
creates an aura of mystery and high tech, appearances based on the main theme, making them fit into, or even add to the whole
which invites viewers into a digital forest. exhibiting space.
Each digital screen tells different stories.
Fig.16
Coupled with the lighting effects, the
exhibition hall is wonderful and magnificent.
Multidimensional mirrors are interleaved
with digital screens, which makes the space
complex, quiet and giant. These digital
media are longer simple tools of information
communication. On the contrary, they
become carriers that divide the exhibition
space into several parts and display formal
beauty. Such immersive art allows viewers to
be immersed in the sea of films. It is possible
to say that immersive art brings wonderful
experiences to viewers and makes them
linger over.
Cadaval Solà-Morales,Susana Solano Trazos Colgados,Madrid,2013
31
 Fig.17

There are lots of other ways to increase the feeling, impact and fun of the exhibition. For
example, visual illusion can be used to make visual impact; color can be utilized to divide
space; the variations of light and shadows can be utilized to create different atmospheres;
vertical space can be fully used to increase the spatial layering; the combination of different
materials can inhibit the visual fatigue, etc. The basic design elements can be polished
and redesigned to inject new vitality to the traditional exhibition means. Nowadays, many
exhibitions have already got rid of the shackles of traditional exhibition, and have begun to
move from static to dynamic, from two-dimensional to three-dimensional exploration.

Gensler, The William and Ida Friday Institute, North Carolina

Fig.18 Fig.19 Fig.20

Brigada, Rovinj Croatia exhibit design, Adris Pavilion at WMF,2013 Johnson &amp, Summer Olympics in Beijing,2008 Joao Morgado, Ilustrarte exhibition,2014

32 33
 (2) Hearing-centered displaying method (3)Smelling-centered displaying method

To offer a hearing-dominant interactive
experience, designers can either use sound
to effect other elements or the other way
around. Being most susceptible to outside
interferences, hearing-based information
exchange can be hindered by various factors
during the whole process of interaction,
greatly compromising the achievement of
intended goals. To enhance the effects of
audio communication, the designing process
of interactions should involve the adoption
of multiple communicative methods,
modification of interactive environment
as well as analysis on the properties that
might attract participants’ interests in order
to eliminate the possible interferences.
Therefore, the designing of hearing-
dominant interaction requires ways to tackle
origins of interferences as well as more
experiments and tests during the process.
The main part of human hearing which is
mostly used in traditional exhibition is the
screening room and the explanation system.
Among them, the screening room is mainly
used for video projection. The combination
of visual and auditory senses can make the
visitors integrate into the video and capture
the message delivered from the video. When
people feel the images with the sound, it is
not a simple parallel relationship between
the two senses. Thus, this is how the word
“audition” appears. The explanation system
usually utilizes the audio information as
the auxiliary information source of exhibits
to help deliver the information beyond
the exhibits. For example, from the whole,
a narrative way is used to connect the
timeline of the entire exhibition and partial
explanation is used to tell the story behind
the picture. Under these two circumstances,
auditory sense, as an auxiliary sense,
synergizes with the visual sense to receive
information and transform information into
individual comprehension and thinking
pattern.
For a long time, exhibition curators and Fig.22
designers have not paid sufficient attention
to the functions of olfactory sense. Instead,
i t s f u n c t i o n s we re f i r s t ex p l o re d by
commercial exhibition. The fashion show
exhibition hall with special perfume scent
conforming to the brand positioning can
usually make customers feel happy and
better understand the brand. The food
exhibition hall usually further magnifies the
scent of food to attract customers. With the
strengthening of people’s cognition towards
Diller Scofidio + Renfro,
sense organs and the further exploration
How Wine Became Modern,
of the relationship between humans and San Francisco,2011
exhibition, scents have been applied in some Fig.23
theme exhibitions.

Fig.24 Diller, Scofidio + Renfro, The Art of Scent 1889-2012, NEW YORK,2012

Fig.21

David Moreno, Silence, Installation view at the São Paulo Biennial, 2012

Undoubtedly, in addition to the two most traditional forms, many artists and exhibition
designers try to make auditory sense itself as the content of their exhibition or attempt to
extract or magnify auditory sense from visual sense. These attempts can help people better
realize the importance of auditory sense in exhibition.

34 35
 (4) Touching-centered displaying method
Fig.25
Teamlab,Harmony, Japan Pavilion, Expo Milano 2015
Fig.26
Through touching, we can gain more direct
understanding of the characteristics of the
exhibits, feel the delicate difference and gain
more comprehensive comprehension of the
exhibition environment. Through research,
the behavior of touching can directly
enhance people’s participation rate and
experience value. However, in real practice,
most exhibits must be protected due to its
historic and artistic value. This explains why
touching is a taboo instead of an encouraging
behavior in exhibition. Nowadays, thanks
to technological development, exhibition is
not limited to observation; instead, it is an
interaction through multiple ways, such as
the touch screen and the multi-touch table.
These facilities make visitors participate in
the exhibition through manual operation
and better absorb knowledge through such
interactive experience.
36
(5) Tasting-centered displaying method
Fig.27
Yanko Design,SOL,2010
Fig.29 Studio Formafantasma and Michelin Star winning chef Yoji Tokuyoshi, Fig.30
Lexus – An Encounter with Anticipation,2016
Fig.28
To offer a touching-dominant interactive In fact, the sense of taste and the exhibition There will be a surprising effect if the sense
experience, designers mainly use itself have no substantial connection. In of taste is introduced into the process
equipments to collect data of all sorts of general, people tend to consider that the of visiting in an appropriate time. For
trigger information from the space, and chewing behavior can distract attention, and example, in the 2015 Milan World Expo,
input them into a computer through the the noise can also affect the visiting. Thus, the exhibition hall of every nation had fully
operating system’s redundant interface visitors are generally forbidden to bring integrated the characteristics of the local
to be processed by a program and finally food into the museum. However, the sense of food to enable people to visit the exhibition
to generate an image, audio-file or other taste, as one of the most important sensory and meanwhile taste delicious food. With
forms of feedback. The generation process organs of human beings, also participates in no doubt, the visitors could have a three-
is random, making the results unrepeatable, forming the emotions of human-beings and dimensional cognition of the exhibition and
uncertain and unpredictable, and the memories. leave a deeper impression.
different information received when the
exhibits interact with audience may lead to
different effects in the end. As a creation of
the interaction between the audience and
the computer, it is forever changing, allowing
the audience to keep looking for new
answers in the interaction process. In the
designing process of the touching-dominant
interaction, better creations are possible
only when the interactive properties are
highlighted and careful analyses are made on
different audiences’ participating demands,
cultural mindset, and esthetic preferences.
37
 1.2.3.2 Interactive and experimental exhibition with
New Media technology
the most distinctive qualities of a
Roy Ascott, pioneer of new media arts, said that
new media art are “connectivity” and “interactivity”. Generally, the creation
process of this art form consists of five phases: connection → fusion →
interaction → transformation → emergence.
Primarily, connection and fusion, instead of observation in a distance, must be completed to
enable the interactive relationship with the computer and human beings, thus leading to the
transformation of the works and ideas and finally brand new relationships, images, thinking
patterns and experiences. So when analyzing and evaluating new media art works, we need
to trace the question upward, such as “How is the work special in terms of connectivity and
interactivity?” or “Does it allow the audience to participate in the creating process of new
images, experiences or thinking patterns?”
Gra.10
38
The intervention of digital media has terminated the isolation of art and
enabled it to form direct communication, thus connecting all differences
and making it the most prominent feature of the new media. And
interactivity has brought the audience new artistic experiences, because
interactive installation art’s display space sensation definitely prompts
the audience to participate in the works of installation art to realize on-
site personal appreciation; and the hyperlink of the Internet can achieve
rich and mobile expressions as well as spontaneity, making the audience
one of the creators of the exhibition and realizing original appreciation.
Displaying methods of the new era have constructed a new sensual
space fusing image, movement, time and space with viewing, hearing
and touching, which has never been realized by any art form, creating a
new esthetic experience human being have never had before.
Teamlab,Crystal Universe,2015
Fig.31
The era of new media has dramatically changed the communication
method between the audience and the museums, introducing a new
relationship characterized by mobility and bringing about historic shifts
in the display subject and object. It has imposed new requirements on
the ability of esthetic subject, changing the dichotomized humans and
objects into a conscious mutual-fusion. With the new media technology,
interactive display allows the audience either to play different roles,
present their works to each other using different scenarios, and
have the opportunity to complete the display together, or to directly
interact with the exhibits and change their status, procedure, style or
even connotation through touching, moving and making sounds. The
interaction designing with new media technology has developed the
traditionally clear-cut mutual subject-object relationship between the
audience and museum exhibits into one consisting of two subjects
experiencing each other in a deeper way, manifesting the charm of
interaction.
39
 1.2.3.3 Interactive and experimental exhibition with
New technology
·Multi-touch table
Multi-touch table is a display table capable
of multi-media presentation and interaction,
which can fully display intended contents
of every section of the table by combining
audio, optic and electric methods, images,
3-Dimension animations and computer SPC
with physical models to achieve vivid and
diversified dynamic visual effects. Besides,
the audience can select what they like to
view or directly involved in the interaction
of the whole exhibition.
M u l t i - to u c h t a b l e i s h i gh ly dy n a m i c ,
interactive and compatible, mainly
characterized by technologies of digital
projection and hologram image display etc.
Generally, it consists of components such
as multi-media demonstration system, light
control system (mainly to synchronize the
status of lights on the models), touch screen
integrated machine; central control software
and post-production special effects for film
and television etc.
Touchscreen by Ikoeh
40
Take the Exhibition Hall of Japan of 2015
Milan World Expo as an example, the
teamlab created an interactive installation
of digital waterfall called “diversity” that
displays information and offers visitors an
experience loaded with Japanese diet and
culture.
That work aimed to promote the information
diversity found in plenty of Japanese
food. To achieve that, the installation was
designed to look like a giant water fall which
could be viewed from a 360-degree angle
and displayed many images of food. Visitors
were able to touch the falling water and the
images, even download detailed information
to their smartphones and go home with it.
Through digital technology and multi-media
interaction, a super-subjective space was
created.
Fig.32
·Immersive theme theater
The so-called immersive them theater technology refers to the experience of immense visual
impact created by putting the audience in a life-like display space scene, combining audio, optic
and electric technologies and video special effects, etc. in integrated control. The photographic
and video technologies related to the theater include arc-screen projection, graphics stitching
and overlaying as well as adjusting techniques, graphic and image processing techniques,
multiple image spontaneous-photographing technique, high-resolution 2-dimensional image
construction technique, 3-dimensional model construction technique, and image processing
fade-in/out technique. Through the application and cooperation of these technologies, an
immersive atmosphere was created to surround the audience with imagery scenes and create
a real-life experience for them. Generally, these technologies require a relatively enclosed or
half enclosed space to fully unveil the cutting-edge demonstration projects such as various
natural phenomena, grand scenes of urban planning and renewal, the mysterious cosmos and
starry sky, recreation of all sorts of disastrous scenes, and exploratory travel in the time tunnel,
etc.
Types of immersive theaters include circular-screen assembled theater, arc-screen assembled
theater, dome screen assembled theater, joint demonstration of anomalous screen projection
and mechatronics, 4-dimensional cinema mutual demonstration, all of which have many real-
life applications in museum exhibitions and are well accepted. Among them the 4-dimensional
cinema is a combination of 3-dimensional cinema and 1-dimensional ambient effect, which can
customize all the mechanisms to work in accordance with the movie plot, such as sprinkling
and spraying water, blowing wind and smoke, and lower the seats to make the audience feel
that they are experiencing rainfall, ocean water splashing, falling into traps, falling or soaring,
or even being attacked by animals, so that the audience can be “in the movie” and satisfied in
their senses of view, hearing and the like, thus achieving desirable interaction.
Teamlab,Crystal Universe,2015 Fig.33
41
 Pace Art + Technology and teamLab,Living Digital Space and Future Parks, USA,2016 Pace Art + Technology and teamLab,Living Digital Space and Future Parks, USA,2016 Fig.35

Fig.34
For example,Pace Art + Technology and teamLab present a digital show:
Living Digital Space and Future Parks
an immersive and large-scale, site-specific installation and digital playground in USA 2016.
Participants were encouraged to partake in this digital playground for all ages, to witness the
visually morphing beauty of the 20 immersive works, to explore the associated pioneering
Fig.36
and intellectual concepts of these technologists at work, as well as the mesmerizing
innovative capabilities at play. These deeply interactive works are a powerful testament to
the advancement of and growing interest in digital art as well as its unique ability to nurture
creativity and curiosity through technology.

42 43
 ·Virtual reality technology
Morton Heilig, an American scientist, first
proposed the conception of virtual reality
in 1961. He designed a mechanism which
looked like a telephone booth and allowed
the audience in it to wander the virtual
Brooklyn city, hearing the winds, smelling
the aroma and feeling the vibrations on the
streets. Although the conception could not
begin to compare to the current highly life-
like and immersive virtual reality space,
it inspired the mutual demonstration idea
to combine digital technology and virtual
reality technology.
Virtual reality technology can create a
virtual environment of integrated viewing,
hearing, and touching senses by jointly using
computer model-construction technology,
space monitoring, and audio-visual tracking
technique. It allows the audience to be
immersed in the demonstration space of
virtual reality to experience the highly
immersive and mutual multi-sensual space.
Ever since its creation, designers and artists
have endeavored to use its specialty, even
combining it with joint technologies such as
the Internet, to create brand new, virtual-
reality interactive demonstration methods.
In the virtual interactive space, the audience
can communicate with the computer with
the help of equipments like digital helmet
display, digital gloves and clothes, having
sensual experiences extremely similar to
those in real world.
44
Osmose , an exhibit displayed in the
Montreal Museum of Contemporary Arts,
Canada in 1995, maximized the sense
of immersion brought by virtual reality
technology. After wearing data helmets
and measuring instruments on the
chest, audiences entered a green garden
overflowing with vigor, where there were
all kinds of creatures. Feeling the sense of
weightlessness, audiences saw light among
clouds, dripping dewdrops, translucent
insects, and other scenes in the virtual
environment . When they entered the
simulated boskage, with the stereoscopic
monitor in the helmet-mounted display,
audiences felt that they touched real stones
CharDavies, Osmose,1995 Fig.37 and plants’ rootstocks when they passed
through the soil. Finally, they came into a
micro-world with flickering light. Causing a
great stir throughout the world, this exhibit
was displayed in museums all over the
world. Although being experienced by only
thousands of people, this exhibit aroused
strong repercussions in circles of aesthetics,
phenomenology and virtual art. Virtual
reality technology raises the interactivity of
exhibitions in museums to an extreme high
level.
CharDavies, Osmose,1995 Fig.38
CharDavies, Osmose,1995 Fig.39
45
 Of course, there are more display methods of experimental exhibition. Holographic phantom and stereo-imaging:
The routine techniques of experimental interactive exhibitions are shown in the figure.

Interactive projection: Large-scale

360-degree
scene spectra
holographic
vision system
projection system

Interactive virtual Interactive ground Large-scale

page turning system projection system 360-degree Single face
holographic 180-degree
projection holographic
projection

Multi-touch
Multi-touch
interactive
interactive
desk device
wall system
Large-scale
holographic Open hole
projection system stereoscopic
display

Gra.13
Gra.11

Large-scale screen display:

Science and education popularization and amusement:

Multimedia ball Multimedia

screen display interactive
system ground screen

Multimedia
interactive
mini-game
Multimedia 360-degree
Multimedia image gallery and ring screen
Multimedia touch query spatio- display system
interactive temporal tunnel
E-zine

Multichannel ring Upper screen

screen display display system
system

Gra.12 Gra.14

46 47
 Analog simulation driving: Table display:

Simulated flight
Three-dimensional Multimedia
roam system
virtual projection
digital table table

Simulated
flight roam system
Multimedia Multimedia
interactive screen display
digital table table

Gra.15 Gra.18

Three-dimensional cinema: Mechanical interaction:

Ring screen Mechatronics

4D dynamic device
cinema

3D
three-dimensional Large mechanical
cinema system media project

Gra.16
Virtual reality:
Gra.19

Virtual reality

Gra.17

48 49
 In most situations, above technologies will not be applied singly, but combined in various ways
to create the expected experiential environment.
For example,
The installation, Universe of Sound :
The Planets is a collaboration between the
Philharmonia Orchestra and the Science
Museum. The Philharmonia Orchestra
under their chief conductor Esa-Pekka
Salonen made a high definition recording of
a performance of Holst's The Planets with
multiple microphones and multiple cameras.
This meant that each section of the orchestra
was able to be captured separately and the
installation was divided into separate spaces
for each group of instruments.
The show of a symphony orchestra is
Fig.40
50
displayed to audiences by huge anomalous
screen, touch screen and technologies like
mobile interaction and starry sky projection.
By digital technology, participators may
play a conductor. Their gestures will be
recorded when they command before the
screen, and then the band in the screen
which corresponds to the gesture starts to
play. Except for conductor, audiences also
can play virtual musical instruments or play
with the band with those instruments. In
addition, audiences are allowed to record
their movements and expressions recorded
by a camera, and share them on the internet.
Under the perfect combining of science and
art, participators achieve self-fulfillment
d u r i n g t h e ex p e r i e n c i n g o f s h ows o f
musicians.
Fig.41
iOrchestra,Philharmonia’s digital media projects,2014
Another example is The exhibition 'Studio
Azzurro. Sensitive Images' – on view
in the Palazzo Reale in Milan 2016.
“Sensitive Images” offers a unique, one-off
opportunity to admire the works that have
thrilled whole generations in one venue.
The exhibition is a journey, an engaging
experience and a special occasion to convey
the creative approach of Studio Azzurro,
wh o s e a i m h a s a lways b e e n to e l i c i t
participation from visitors by allowing them
to move within an environment that reacts
to their presence and ordinary gestures.
Their artistic research initially revolved
around the development of video-
environments exploring the integration
between electronic images and physical
settings, with the aim of giving viewers and
perceptual itineraries a central role.
Fig.42 Studio Azzurro. Immagini Sensibili,Milan,2016
Fig.43
Fig.44
Fig.45
Ever since its early days, Studio Azzurro
has also been producing various spectacles,
extending its research to the fields of
theatre and performance. An original mode
of integration between theatre acting and
video images was found with the invention
of the “double scene”, whereby the body of
an actor is directly integrated within the
virtual space of a video. This experimental
research was further developed in later
years by exploring themes related to dance
and musical theatre.
In 1995 a new, crucial interest emerged in
interactive and multimedia approaches,
with the development of a series of works
described as “sensitive environments”. These
react to stimuli from visitors, combining
technology with a narrative and a setting.
With no need for visitors to carry any
technological equipment, the works react
to ordinary modes of communication –
when touched, walked upon or exposed to
sounds. In addition to this, the development
of various multimedia museum itineraries
– featuring compelling narratives and
immersive elements – ensured a broad
dialogue with the public and with local
communities.
51
 1.3 Intention
1.3.1 The study of the five
senses respectively, and how
five senses interact with each
other.
52
1 . 3 . 2 Tr y i n g t o f i n d o u t
some design forms based
on the study of five senses.
Then try to find out a useful
guideline to transform
these design forms into a
spatial combination form.
Used to develop the sensory
experiences
of visitors during exhibitions
Gra.20
53
 Sensation: the direct reaction of individual attribute made by human brain
to the forces directly applied to a variety of sensory systems.

Sensory systems can be analyzed and interpreted in three aspects. The first
is its information source; the second is the sensorial bi-organ; and the third
is the various mental phenomena resulted from it.

Human’s sensory receptors include visual
sense, auditory sense, tactile sense, taste
sense and olfactory sense. The organs of
feeling in the human body are eyes, ears,
nose, tongue, and skin. More accurately
speaking, the human senses can be divided
into five systems, including the visual
system, auditory system, taste system, haptic
system and olfactory system. Visual sense
could collect information of color, form
and structure; acoustic sense could collect
information of tone, pitch and frequency;
smell sense could collect information of
fragrance and stink; taste sense could collect
information of sweetness or bitterness and
touch sense could collect information of
temperature, texture and weight.
These systems work together to receive
signals from the outside world, and output a
variety of different human emotions through
the further processing of the human brain.
All the senses generate synergistic effects to
help define the outside world. Humankind
could make response to various phenomena
in the objective world.
For example, once seeing an apple on the
table, the eyes would tell humankind that
“Look! That is a red and round object in the
middle of the table. ” Later on, after walking Kenya Hara believes that humans are the ones who ‘enjoys the information’
towards the table and leaning forward to and ‘the aggregation of every feelings’.
smell the object, the nose will tell that “the The concept is described as "brain is everywhere in the body" in his theory.
object has light fragrance and it is harmless The human brains will process the sensory information collected by sensory organs, which
and safe.” When picking the apple in hands, means our sensory organs have their own initiative. ‘The organs have their own and
the touch sense would tell the weight of purposing living habits and special memory. Besides, we can almost say
the object and deliver the message that
“the object has smooth face and solid that they have their own intelligence’.
density.” In the end, when opening mouth Of course, this opinion is just a humorous metaphor. The human sensory organs cannot think,
to bite the apple, the taste sense of tongue but keen to capture the signals around us and bring a colorful world into our minds through a
would tell that “this object tastes crispy delicate synergy. From this point of view, they are competent to be regarded as the assistants
and juicy, with a sour but sweet flavor.” of the brain scattered in every parts of the body.
In this way, humankind could finally have
comprehensive recognition towards the
entity of apple after this series of process.
While during the process of recognition,
human brain also generate some positive
or negative feedback, namely whether such
experience makes individual pleasant or
disgusting or whether the individual would
like to have the similar experience next time.
S u c h s e e m i n gly s i m p l e a n d c o m m o n
perception process is filled with every
minute and every second of human life and
all of these sensory abilities prove whether
this individual is a normal and sound person.
In addition, exactly during such trivial
process, humankind finishes the recognition
for the whole world.

Fig.46

54 55
 Human Information Sources

Gra.22

However, the dominance of vision in the senses and the isolation of other senses make us become
accustomed to unilaterally using eyes to capture information. The unbalanced development of
this sensory system is likely to influence our imagination and creativity.
VISUAL AUDITORY SMELLING AUDITORY TASTE
SENSE SENSE SENSE SENSE SENSE “The perception of signht as our most important
Julian Pallasmaaz point out that
83% 11% 3.5% 1.5% 1% sense is well grounded in physiological,perceptual and psychological
facts.The problems arise from the isolation of the eye outside its natural
interaction with other sense modalities,and from the elimination and
Gra.21 suppression of other senses,which increasingly reduce and restrict the
experience of the world into the sphere of vision.” [7]

According to the research of the experimental psychologist, Rachel, 83% of
human’s information is from visual sense, 11% from auditory sense, 3.5%
from the sense of smelling, 1.5% from tactile sense and 1% from the sense
of taste.
At the same time, today, a large number of visual images of mechanized production tend to
become de-emotional and the image is changed into a stream of consciousness which is lack of
pertinence and a sense of participation. When people have become lazy of visual information, we
need to consider how to arouse their attention to accept the things they have seen.
[7]In the book <The eye of the skin>

56 57
 2.1 Visual Sense
It is not difficult to see that visual sense is
an important means for the human brain
to receive information. Through the visual
sense, people can feel the size, light, color,
motion, distance and other details of the
outside things. Since the Greek times, it has
been generally believed that vision is the
most sacred sense as it is closely related to
human intelligence. It turns out that there is
evidence in the field of medication that vision
plays a dominant role in our consciousness
and the thinking system. In our times, the
importance of vision is magnified by the
invention of modern technology and the
spread of network image.
Rudolf Arnheim once mentions in Art and Visual Perception that “visual sense
is a basic method of humankind in the exploration of external world.
Different from the passive acceptance and mechanical record of cameras,
visual sense explores in surrounding space, seizes and explores the
boundary of things, and examines the texture of entities." He expresses that
the so-called visual sense actually perceives primitive materials before
eyes though creating common formal deconstruction corresponding to
the quality of stimulus materials. Such common formal structure could
not only represent individual things at present, but also unlimited other
similar individual things.
Fig.47
58
Whereas, as a kind of sense, visual sense could not be taken as some rational activity at
all,since multiple ideas and feelings generated on this basis could not be explained. But in
common conditions, there are two main information perceived by visual sense, namely form
and color.
2.1.1 Form
Form is an important visual language that
indicates the image, shape and form of There have some interesting phenomena
objects. “Representation exists in structure”. concerning visual sense. For example,
The grasp of structure is finished by the people usually see the most rough and direct
observation of form in sensory state. Form structural essence of objects in the first
could be generalized as point, line and plane sight. When seeing the four points presented
in two-dimensional space and body and in Fig.1, most people would autonomously
structure in three-dimensional space. All of view the graph as a square in Fig.2 rather
these belong to the category of form. Point, than other forms in Fig.3,4,5. However, once
line and plane are in the relative sense. This adding other points, people would not see
implies that point, line and plane could the square in their mind forever.
be mutually transformed according to the
difference of observation perspective and
manner. Point in typical sense is relatively
isolated and eye-catching. While several
points could gather together to form some
uncertain outline. For instance, clear
direction and pertinence could be observed
when the points gather together to form
the straight line. As said by Kandinsky,
“coldness and smoothness are the keynotes
of straight line.” The straight line could be
transformed into broken line after high-
frequency buckling, thus generating intense
feelings for people during watching process.
It indicates the conscious reflection and
emotional change of visual sense. In fact,
people would form emotional reasonable
sublimation during watching by way of
individual experience and memory. As a
result, the examination of form is the most
aesthetic observation and experience mode
in the world. In addition, the form of object
is not merely decided by its image but
cooperatively constructed by visible parts
of present objects and various existing
concepts and past experience.
Gra.23
59
 2.1.2 Color
“Strictly speaking, all visual
ph e n om e na are generated by
color and brightness. The outline
that defines form is derived by
eyes while differentiating totally
different regions with brightness
and colors.” [8]
2.1.3 The Relationship Between Form and Color
Form and color always coexist with each
other. The relationship between the two
goes like that the color suffers from the
norm of form and simultaneously intensifies
the visual effects of norm.
Expressiveness of color could better
represent the value of color due to the
existence of form. During artistic creation
and work representation, maybe color
firstly forms the stimulus to visual sense.
In addition, the formation of more in-depth

As proved by studies, color could generate understanding has to depend on the function
passive and perceptual emotional experience of form. Only in this way could works have
Therefore, where is light where is color. while form could generate positive and the meaning of existence.
Kandinsky believes that “color is a mode reasonable control. Modeling could lay the
that could leave direct impacts foundation of taste with pleasant forms but Mattis once says that
on the soul.” Schach Teil also points out not form joyful color expression with visual “If line resorts to the soul, then
sense. The color that forces experience to color resorts to the sense.
in Discussion of Color and Emotions that
emit brightness exerts stimulus functions
there actually exist many similarities among
since it could add attractive gloss to objects.
Therefore, people should firstly
individuals concerning the experience of draw the lines and guide color to a
Whereas, the objects could never turn into
color and emotions. Although there has a
the object of aesthetic beauty. reasonable path after the baptism
set of conventional associations of color in
the long term, many uncertainties still exist of soul.”
up to now. This is because that people from
different countries and races with unique
life habits and experience have different
emotional associations for color. Even so, the
special and intense expression of color could
not be denied.

Wassily Kandinsky said that

" O u r hea r i ng o f co l o urs i s so
precise ... Colour is a means of
exerting a direct influence upon the
soul. Colour is the keyboard. The
eye is the hammer. The soul is the
piano with its many strings. The
artist is the hand that purposely
sets the soul vibrating by means
of this or that key. Thus it is clear
that the harmony of colours can
only be based upon the principle of
purposefully touching the human
soul."

[8]Arnheim Rudolf,Art and VisualPerception Gra.24 Gra.25

60 61
 2.2 Auditory sense
Auditory sense means that the acoustic
wave caused by the vibration of the acoustic
source is transferred to the inner ear
through the transmission system, and the
mechanical energy of the acoustic wave
is transformed into the auditory nerve
impulses through the inner ear. The latter
one is transmitted to the auditory center of
the cerebral cortex. Human language and
music, to some extent, are based on hearing.
The sense of hearing, from a certain degree
of emphasis on, is a behavior of human
bodies to accept information passively. Due
to the physical properties of hearing as well
as the lack of specialized listening training
in our culture, this "imposed on ears" sound
makes it difficult for us to select and filter
its contents. So we often passively accept
62
some unexpected information, which often
interferes and influences our perception.
Sounds are often accompanied by the
appearance of vision, such as the film we are
most familiar with. The utilization of sound
to be assistant in explaining the effects has
been known and familiar.
Usually, voice is associated with memory,
sub-consciousness, quietness, contemplation
and meditation. [9] Coming from afar, it
causes association and features irrational
mystery. Juhani Pallasmaa held that vision
could lead to isolation. The relationship
between to see and to be seen revealed the
confrontation of inner and outer. However,
voice created the internal experience of
connection and combination. When people
see a certain object, they can take the
initiative to approach it. On the contrary,
voice approaches people actively. Vision
requires exploration while voice comes from
acceptance. The internal perceptive function
of voice is amiable and enduring.
If the vision is isolated, the sound is
integrated; if the vision is directional, the
sound is all round. Compared to the eyes, the
ears have more precise analytical ability to
study the time and can help us better see the
exhibits as well as the external environment.
As a matter of fact, we often ignore the
i m p o r t a n c e o f a u d i to r y s e n s e i n t h e
experience of visiting, for it is often wrapped
in visual impression. However, when we try
to extract the sound from the audio-visual
environment, for instance, watching a silent
film, we can see the important role that
auditory sense plays in our environment and
context.
[9]Michel chin Audio-Vision <Sound on Screen>
2.3 Olfactory Sense
Olfactory sense, as a type of sensory feeling,
is a remote sense. That is to say, it is a sense
stimulated by long-distance chemicals. It
is shown that people can identify around
ten thousand types of senses generated
by the seven most basic molecules of
taste perception. From the perspectives
of neurophysiology and psychology, the
identification of the auditory is a very
complicated process taking a long time
which may be a few seconds. Meanwhile,
it is difficult for human beings to identify
a variety of smells at the same time. The
identification of two different flavors need
a several-second interval to be completed
accurately.
Like auditory and visual, smelling is not
objective or rational to some extent. Many
physiological processes, including physical
desires and demands, affect the sense of
smell. For example, people are particularly
sensitive to the fragrance of food when they
are really hungry.
T h e g re a t e s t d i f fe re n c e o f o l fa c t o r y
organs from other sensory organs is its
interpretation to the impressions of odor
occurs mainly in the parts of the brain
that are related to emotions, feelings and
motivations. The result is that olfactory often
does not go through the brain to analyze and
judge, but directly produce emotions and
feelings, thus directly responding.[10]
A special sense can usually compel the eyes
to record the images and form unforgettable
memories.According to research, Olfactory
sense could be used as the assistance of
memory, the longest memory towards space
is often associated with olfactory sense.
Pleasant smells are often accompanied by
pleasant memories, because they evoke
feelings along with some kind of memory.
The more pure and familiar smell, the
memory will be more likely to be effectively
preserved.
A particular smell makes us unkowning
re-enter a space completely forgotten by
the retinal memory;the nostrils awaken a
forgotten image and we are enticed to enter
a vivid daydream.
[10]PIET VROON SMELL ,The Secret Seducer,1997.
63
 2.4 Tactile Sense
Tactile sense refers to the feeling aroused by
the mechanical simulation on skin, such as
touching and pressing. Human’s receptors of
tactile sense are highly distributed in nose,
lips and fingertip. Skin can feel the texture,
weight, density,temperature, and thickness
of the object. According to scientists,
compared to visual sense, tactile sense is
more real and precise and less deceiving.
The development of senses in any body
starts from touch. This is why human art
civilization is also develop from sculpture.
In Architecture of the Seven Senses, Pallasmaa discussed the impact of touch sensation
on architectures. He called this cognition as “tangible shape” , meaning skin could
understand quality, weight, density and temperature. He believed all senses were extension of
touch. For this reason, touch could directly communicate with multi-layered phenomenon and
sensory experience.
64
2.5 Taste Sense
Taste sense is a sense aroused by direct chemical stimulation. Compared
to olfactory sense that also belongs to chemical stimulation, taste sense
is a short-distance sense. Olfactory sense and taste sense have the
functions of integration and interaction. While people are eating, the
airflow will rise from the mouth to the nasopharynx to make olfactory
sense participate in the tasting process. If the nose is blocked, the taste
sense will be greatly reduced. Meanwhile, visual sense can transfer
into taste sense. For instance, the visual sense can affect the taste sense
through particular color and shape.
People will develop their own tactile
experience to temperature, texture, material
and texture. This experience offsets the
adequate cognition to visual observation
objects so that people will obtain more
delicate psychological feelings to the objects
through tactile experience when watching.
Different temperature will make people
develop tactile experience of enthusiasm
and indifference, noisy and quiet; different
texture or different materials may have
different impacts on people's psychological;
smooth and rough, hard and soft will also
give people different tactile experience.
Berkelay Hegal claimed that:
The only sense which can give
a sensation of spatical depth is
touch,because touch can sense
the weight ,resistance,and three-
dimensional shape(gestalt) of
material bodies,and thus makes
us aware that things extend away
from us in all directions.
65
 Almost all of our perception of the world is the result of sensory interaction, of which most of
the time we are not aware.

People always try to separate senses, study them respectively, and combine the research
results together to figure out the relationship between the five senses. However, these attempts
often come to failure, as human feelings are actually very complex. In everyday life, senses may
transform from each other instead of existing in isolation, and the combination of senses will
not be simple.

Kent CBloomer and Charles W Moore argue in there

book Body,Memory,and Architecture that “The body
image is informed fundamentally from haptic and
orienting experiences early in life.Our visual images
are developed later on,and depend for their meaning
on primal experiences that were acquired haptically.
What is missing from our dwellings today are the
potential transactions between body,imagination,and
environment.”
Each object inquires itself in its own way. Each sense is an
integrated factor. And the five senses are indivisible.
—Maurice Merleau-Ponty
Julian Pallasmaaz point out that
“We behold,touch,listenand measure the world with
our entire bodily experience,and the experiential
world becomes organized and articulated around the
centre of the body.Our domicile is the refuge of our
body,memory and identity.We are in constant dialogue
and interaction with the environment,to the degree
that it is impossible to detach the image of Self from its
spatical and situational existence.” He also insist that “The
senses not only mediate information for the judgement
of the intellect;they are also a means of igniting the
imagination and of articulating sensory thought.Each
form of art elaborates metaphysical and existential
thought through its characteristic medium and sensory
engagement.” [11]

In general, exhibition design should fully consider the subjective feeling of the visitors
and emphasize on the psychological and emotional elements. In this way, it can arouse the
visitors’ sensation to a greater extent, encourage them to participate in the process, arouse
their resonance, evoke their associations, and produce long-term memory in order to spread
information more comprehensively and more effectively.

[11]In the book <The eye of the skin>

66 67
 3.1 Sensory transformation synesthesia 3.1.1 Transformation from vision into other senses

Transformation from vision into audition

Gra.26
Human confuse all the impressions in infancy, when the perception of information will be
mixed or overlapped and a sense cannot be stripped from the others. This phenomenon is
called synesthesia.

The phenomenon will improve with the development of the brain, but will not completely
disappear. In fact, it mysteriously exists in human sensory world, playing an indispensable role
in human cognition. Even for adults, a sensory stimulus may make it easy to think of another.
For example, when listening to music, people are easy to conceive the picture following the
rhythm. When seeing a picture of food, the taste will show in mind and people will feel hungry.
Red leads to excitement, blue leads to calm, smooth music can calm human emotions, and
intense music may urge you to speed up. Moreover, the combination of several sensory stimuli
may stimulate a more complex sensory resonance instead of just a “1 + 1” result. For example,
when watching a movie, the interaction between a picture of natural scene and the music may
make you feel immersive, as if you could smell the aroma of wild flowers and touch the soft
and humid grass after raining.
The inspiring process and manifestations of synesthesia are different for different people,
and mostly the specific form of synesthesia is closely related to personal experience and
personality. Most of the synesthesia is irregular to follow, for example, when seeing the
sea, some people may think of the gentle touch surrounded by water and regard the sea
as refreshing and pleasant, while some people may think of the horrible picture of shark
wounding and regard the sea as cold, horrible, and unfathomable. Even so, I still try to
classify and analyze the synergies of five senses based on the form of synesthesia, which is
mainly divided into four categories: sensory transformation synesthesia, sensory respective
synesthesia, sensory total synesthesia and sensory dislocation synesthesia.
Vasily Kandinsky,Composition 8,1923 Fig.48
Music was important to the birth of abstract art, since music is abstract by nature—it does not
try to represent the exterior world, but expresses in an immediate way the inner feelings of the
soul. Kandinsky said that "music is the ultimate teacher," Kandinsky sometimes used
musical terms to identify his works; he called his most spontaneous paintings "improvisations"
and described more elaborate works as "compositions."Kandinsky's paintings from this
period are large, expressive coloured masses evaluated independently from forms and lines;
these serve no longer to delimit them, but overlap freely to form paintings of extraordinary
force.
It is clear that however arbitrary his scaffolding of theory, he had genuinely arrived at a way of
playing on the canvas with the tensions and relationships between pure colours.
According to Kandinsky, each painting consists of two parts: the material surface and the
physical support. Wherein, the former moves the viewers with visual stimuli while the latter
arouses a strong resonance. Generally, the material surface is deemed as a characteristic of
realistic art and the physical support is considered as the embodiment of virtual worlds and
the product of sensory illusions.

68 69
 We can easily find the shadow of music from Kandinsky's paintings. Looking at a picture Transformation from vision into tactile
with undulating story is like listening to a symphony. This may be related to his musical
accomplishment, or just the commonness of all art forms. In the process of abstraction, the
image is symbolized and ordered, resulting in a clever connection between vision and hearing
He also did some pieces intriguing experiments in the synthesising of drama, words, colour
and music into a single seamless whole.

Transformation from vision into olfactory

Fig.49

Fig.50 Yves Klein,Anthropometry Performance,1960 Fig.51

The phrase “body of art” aptly describes Yves Klein’s “Anthropometrie” series. Klein (1928
– 1962) employed female models as “living paintbrushes” for the paintings, which were named
after the study of human body measurements. Clad only in the artist’s patented International
Klein Blue paint, the models made imprints of their bodies on large sheets of paper.

This series of Yves Klein's works not only want to show a few pieces of painting, but also the
creative process itself which is regarded as a work of art. Although most people do not have
the opportunity to visit the whole process of painting in the scene, where the model is painted
blue and draws a picture on the canvas with body with the rhythms of music, we can feel
intuitively the shape and tactility of female body in the finished product and trace back to the
Claude Monet, Les Nymphéas bleus,1916
creative process.

Monet is good at drawing flowers, and in his paintings, both water lilies in garden pond and
poppies in mountains are three-dimensional instead of just a simple visual impression. We
seem to be able to smell the fragrance of flowers in the painting. When looking closer, hazy
floating and collision of particles in air can be felt in almost every painting, and they may be
odor molecules. Although odor molecule is usually of no color, the artist may feel surrounded
by aroma, which makes it believable that the smell can be displayed on screen by some kind of
painting. Whether this speculation is reasonable, it is undeniable that the transformation from
visual sense into olfactory can be perfectly interpreted through his paintings.

70 71
 Transformation from vision into taste
Giuseppe Arcimboldo,The Four Seasons in One Head,1590 Fig52
At a distance, Giuseppe Arcimboldo's portraits looked like normal human portraits. However,
individual objects in each portrait were actually overlapped together to make various
anatomical shapes of a human.
These two portraits of human heads made up of vegetables, plants and fruits, which were used
as the source of mascot of 2016 Milan Expo.When looking at them,we can imagine that after
the autumn outdated harvest, our senses are surrounded by delicious food.
72
3.1.2 Transformation from hearing into other senses
Similarly, hearing can also be transformed into other feelings. For example, the sound of crisp
glass collision may be associated with a scene of glass cup falling to the ground. Hearing the
crackling of potato chips in advertising, we may aftertaste the taste of potato chips in mouth.
Hearing the sound of cooking mocha coffee, we immediately feel surrounded by the aroma of
coffee. Hearing the sound of metal suddenly hit, we feel as if a part of our body was metal beat.
3.1.3 Transformation from smelling into other senses
It is also common that smell transform into other senses. For example, the sweet smell of
flowers in garden makes us think of the garden full of flowers in spring. The burning smell of
fire makes us hear the crackling sound of flame burning. Smelling the aroma of cooking beef
in kitchen, we feel as if the mouth has begun to chew. Smelling the fresh taste of the soil after
rain, we feel as if our feet were sunk into soft soil.
3.1.4 Transformation from taste into other senses
Although taste plays a less important role in information recognition than other senses, it can
also finish sensory transformation. For example, drinking a fragrant tea makes us think of
the green grass swayed by breeze. Chewing a cool mint in hot summer, we feel as if heard the
sound of ice hitting glass. Eating a piece of chocolate will make you feel smooth skin contact
like touching silk.
73
 3.2 Sensory Respective Synesthesia 3.2.1 Vision+Audition
The so-called respective synesthesia refers to the combination of two senses and the following The combination of vision and audition
phenomenon. undertakes most sense organ information
collection tasks of human beings. Despite
Film is a very comprehensive art. It is also one of the artistic forms which could best combine numerous examples, it is still hard to figure
the five sense organs. In the following section, the author will combine the film art to study the out the relationship between the two.
combination conditions of two typical sense organs. The Pythagoreans were probably the first
westerners at it when they declared: "The
eyes are made for astronomy, the ears for
harmony, and these are sister sciences.
Image and sound would melt away into a
kind of spiritual.
The combination of vision and hearing
is often not a simple combination of two
senses, and when people feel a picture
together with the sound, the word "vision-
audio" appeared. Michel Chion, a film creator
and theorist, calls the part between sound
and image audiovisualillusion.
Gra.27
74
The final role of film is to unify or combine
the image and sound stream.
In the development history of film, vision
underwent thirty-five-year independent
development process from 1892 to 1927.
The appearance of sound film in 1927
initiated a brand new situation for films.
After nearly ninety years, people seem to
be accustomed to the coexistence of sound
and pictures and consider it as a natural
thing. However, once calming down to
watch a silent film, people would realize
the great difference between silent film and
sound film in terms of narrative techniques
and expressive means.Silent film has a
variety of punctuation modes: action, visual
and rhythmic. The emphasis of inserting
subtitles is also used as a new and special
type of punctuation. It is usually realized
based on mobile and fast montage.
Ever since the inception of sound, film
expression turns increasingly simplistic. For
movies, sound is more likely to be a potential
tool for emotional and semantic control than
effects. On the one hand, sound affects us
more directly from physiological part; on
the other hand, sound has an impact on the
perception. Through the phenomenon of
value-added, sound explains the meaning of
image so that we can even understand some
contexts without seeing the image.
Fig.53
75
 Synchresis refers to the spontaneous combination of specific visual phenomena and acoustic
phenomena. It could create a subtle audio-visual structure.

It could also create the sensory interaction in real sense. Through synchresis, the acoustic
sense is brought to images and the visual sense is brought to sound.

Fo r exa m p l e , < L ove M e To n i g h t >

1932,an American Pre-Code musical comedy
film produced and directed by Rouben Godard ,<First Name Carmen>, 1983
Mamoulian, with music by Rodgers and Fig.55
Hart.
There has a scene in the film. In the morning To be sure, other kinds of wonderful feelings
of this silent city, here comes the sound might be generated through some very
of the first bike, successively followed by regular combinations.
the working sound of workers, cleaning of
females, and schooling of children. The city For instance, audiences could watch the
starts to turn boisterous. In combination scene of Paris subway while listening to the
with images, these sounds progressively sound of sea gulls in the film <First Name
t u r n f ro m we a k to s t ro n g , a n d f ro m
simplistic to complicated to constitute a Carmen> directed by Godard in 1983.
city symphony. This is the typical case of Critics hold that the sea gulls symbolize
synchresis with pertinence. It not only fully
adopts the synchresis of vision and audition,
? seaside and the iron tower symbolizes city.
The mismatch of sound and scene leads
but also successfully emphasizes the appeal to the deviation of human recognition.
of sound. However, without critical points of views,
the recognition of people will not be
affected. As a matter of fact, such mismatch
Fig.54 Rouben Mamoulian,<Love Me Tonight>, 1932 is very common in film production. For
instance, the sound of pressing human body
in thrilling films is usually replaced by the
sound of pressing a tomato. But in specific
audio-visual context, people are usually
introduced into the scenes and rarely care
about the source of these sound and images
but simply consider that they are uniform.

Gra.28

76 77
 H o we ve r, t h e c o m b i n a t i o n o f v i s i o n
and audition not only generates simple
synchresis, but also leaves the brain a
space for full associations. This is because
that under the combination of vision and
audition, people usually enter into a thinking
illusion and fully open the analysis and
association mindset. In this circumstance,
even very simple audio-visual combination
s t i m u l u s m i g h t e n c o u ra g e a b u n d a n t
imaginations.Montage is a technique in film
editing in which a series of short shots are
edited into a sequence to condense space,
time, and information. The term has been
used in various contexts. It was introduced
to cinema primarily by Sergei Eisenstein
It proposes the restructuring of a series
of split shots to fabricate new meanings.
Concrete expression means contain “multi-
perspective”, “slow motion”, “feature shot”
and “flashback”.
In the opinion of the author, such method
could be abbreviated for “montage of
sensual”.
Human sense organs might be fully activated
during the restructuring of visual images
and sound. In some cases, even there do not
have authentic scenes, people could still
guess the process of event and even have
personal experience feelings under the
influence of conventional thinking according
to the combination of vision and audition.
Fig.56 Hitchcock <Psycho> ,1960
78
3.2.2 Vision+Tactile
All sensory organs cannot play an effective
role alone. Neither does vision. Pallasmaa
thought all sensory organs, eyes included,
were extension of touch. And similar to skin,
eyes also could contact and fondle an object.
Gaze meant unconscious touch. Vision
showed what touch already knew and touch
was unconscious perception.
There exist a part of visual language that can
be defined through tactile sensation.Ipek
Bilecen of University of Paris describe it as
“Images de la main” et “lecture haptique”.
Hereby, the author refers to it as the “tactile
image”. The author will explain this concept
through films. In the film, the director
endows the characters with certain emotions
besides the simple contact while arranging
the behavior of touch. The reason lies in the
fact that people could not subjectively decide
what to be seen but could internally decide
what to be touched. The touch behaviors
of human beings usually represent their
inner desires and curiosity. The target of
touch might be practical or virtual objective
targets imposed by consciousness on the
touch conductor.
For instance, in the film <Psycho> of
Hitchcock, there exists a classical bathroom Fig.57
murder scene. In fact, this film does not
directly present any bloody scenes but
simply describes the fragments of behaviors
including the shadow of the murderer, the
sword in water, the victim fell over the tub
out of fear and the draining blood down the
sewage. The whole process from the tension
caused by constant running water and the
scream and final silence of the victim is
very smooth. Audiences still experience the
intense atmosphere without watching the
sword piercing into the victim and might
even personally sense the pains and smell
the bloody taste in the air.
79
 As for the former, the visual scenes and touch
are realistic. In this situation, the desire
or curiosity of human beings is properly
satisfied and the vision and audition are
properly combined. Therefore, the receiver
has in-depth understanding about figures or
objects before eyes.
Ta k e I n g m a r B e r g m a n ’ s c i n e m a
<Persona>(1966) as example.
The actress Elisabeth Vogler suddenly turns
voiceless. She considers every tone as a lie
and every gesture as a false motion. Elma
undertakes the responsibility of taking care
of her as the nurse. The relationship between
the two is rather ambiguous, but the two
subjects have incredible similarities. Until
both of them standing before the mirror and
touching the face and hair of each other, they
find that they are integrated as a whole, thus
realizing the integration of persona and “the
real self”.
Fig.58 Ingmar Bergman, <Persona>,1966
80
Fig.59 Ingmar Bergman, <Persona>,1966
As for the latter,these images are loaded
with tactile data that are sensitive to tactile
sensation.These data which are inscribed
in the images do not address directly to
the hand or skin but first to the eyes. the
interactive function of the virtual vision
and touch cooperatively delivers the sense
organs to the memory or association of
people.
Take <Persona> (1996) as the example
once again.
In the beginning of the film, there has
a feature scene concerning the touch
behavior of Elisabeth’s son. He tries to
touch a screen. On the screen, there firstly
appears the ambiguous and clear face of
the son, successively followed by the face
of the nurse, the face of the mother and
the face of a stranger. The son touches the
face of the mother for a rather long time. It
seems to be a greeting process from nose
to eyes and mouth. However, the son turns
dubious while seeing the unfamiliar face
of the nurse and holds the hands in the air.
The scene at this time is very clear. The
strange but familiar face in the end is not an
ascertain image, but actually the synthesis
of the two. The hands of the child start to
touch the screen once again. But it seems to
be the exploration this time which signals
the recognition of the mother for the child.
Although previous two images are real
figures but the last image is the synthesis
figure that the little boy wants to touch. It is
also the answer of the little boy in his mind.
The sense organs in the mind of human
beings play an important role in self-
consciousness. If the recognition and
association in former condition are formed
on certain objective conditions, they belong
to the recognition for the real world.
Corresponding, the second situation seems
to be the awakening of self-consciousness.
It reflects the inner mind of people by outer
skin.
81
 3.3 Sensory complete synesthesia
Sensory complete synesthesia does not mean that
all sense organs have to take full participation,
but means certain synesthesis state where most
sense organs participate in. In fact, this is the
common state in human life. For instance, once
arriving at home, you will see the wide and tidy
living room and the opening television. The father
is watching sports broadcasting and the mother is
preparing the launch. After smelling the fragrance
of food in the kitchen, you could not help eating
the dishes on the table and lying on the sofa to
watch television with the father. During this
process, you actually finish the recognition of
home. For another instance, while entering into
the shopping mall, you walk into a clothing store
with precise and bright atmosphere, soft music,
light and soft smell. The natural atmosphere in
the room makes you take out a warm but gentle
cashmere sweater. At that time, you unconsciously
finish the recognition for this clothing store. In
fact, the recognition for the world represents the
recognition for various spaces. While this process
is the outcome of multiple sense organs.
As certain solid art, architecture is exactly the
space fabrication behavior of human beings.
Most activities of human beings are completed in
architectures. Therefore, architecture naturally
becomes the main place where human beings
use sense organs. A good architecture usually
comprehensively considers the physiological
features and spiritual demands of people and
assesses various aspects. At the same time, the
architecture itself also has life and feelings. This is
because that human beings in the architecture are
not simple organic subjects. They have memories
and emotions. A good space knows how to
interact with people and how to make people fully
explore it with the sense organs.
Gra.29
82
The perceptual experience in the architecture
space is the perception obtained by various sense
organs. The experience of sense organs propels
the constant fitting between human beings
and environment and the body perception and
the world impression will become a uniform
and constant existential experience. Therefore,
basic sensory experience is the basis of the
understanding about world. The experience
of architecture is formed by multiple sense
organs. The quality of space, material and size
is commonly measured by eyes, ears, mouth,
nose and skin. The architecture itself exists
considerable visual factors, including hardness,
softness, lightness, weight, transparency and
uncertainty. These visual factors bring different
experience to people concerning architecture.
The experience of all architectures is integrated
with multiple senses. Space, scale and material
quality are jointly measured by eyes, ears,
mouth, nose and skin. The five senses interact
and integrate with each other, resulting in a
comprehensive experience beyond description.
That cannot be achieved by only one sense. The
result of each sense is experience. Most buildings
are composed of various surfaces, hard and
soft, light and heavy, tightened and relieved. All
these are perceptual elements of architecture. To
experience architecture is to comprehend and
emphasize on these perceptual system which is
used to perceive architectural elements.
83

Fig.60 Alexey bogolepov - Function
Experiencing architecture requires
people to use the sensory system to
perceive the architecture factors
and emphasize the interior of
space. Or say, the space perfectly
exists in the interior. The meaning
of space lies in the existence of
space. Every point in the space is
in its place that could be perceived
by others. One point is here and
another point is there. Space is
the basis of orientation. Direction,
extremity and coverage are all
phenomena derived by human
perception.
- Maurice Merleau Ponty
84
Steven Holl considers the sense of individuals in architecture or architecture structure as
certain experience in phenomenology. As for him, phenomenology is the study on the nature
of things while architecture is certain means which awakens the essence of daily life. As a
sensory architect, Holl believes that the past experience of people is the visual art but he also
deems that space and form are accompanied by the common role of touch, audition and smell.
Holl takes the personal feelings and concrete experience and perception for architecture as the
inspiration and outcome of architecture design. It has dual connotations. On the one hand, it
refers to the realistic perception of architect for architecture. On the other hand, it means the
chance that creates personal experience or guidance of perception for people in architecture
on this basis.
Fig.61 Fig.62
Juhani Pallasmaa places much emphasis
on uniform sensory experience and the
i m p o r t a n c e o f t o u c h ex p e r i e n c e . H e
considers that contemporary architecture
has become the art which takes eyes to
make duplication and form the image of
retina. Due to the contempt for touch sense
and the disappearance of size and details
in human body and hand, the architecture
turns into the flat geometrical form devoid
of original material texture and features,
thus generating distance with real life. In
his article <An Architecture of Seven
Senses>, he illustrates seven perceptions
of people for architecture, namely vision,
audition, silence, smell, touched form, skin
and bone. In The Eyes of Skin, he defines
vision as the touch with special form. He
advocates uniform architecture idea which
subtly combines experience with sense
organs and certain architecture science of
skin and touch sense. His architecture is
known as the architecture of sense organs InAnchoring , Hall stated that "The essence of architecture work was the
which requires the combination of coarse organic connection of idea and form." When architecture work succeeds in integrating
space and complicated sensory details
and the delivery of sense. The creation
architecture with site, its extension and intension are combined. Expression mode and the
technique of Pallasmaa is a method which
idea put into the site meet and guide each other. What leads to association and what inherently
exists are different aspects of the same intention. In fact, it comes from the combination
starts to design forms from parts, such as
of architecture and phenomenology of site. Hall called it as chain of “metaphysics” or
part that the hands could reach. In common
conditions, people might think it is rather chain of “poetic quality”. In other words, it was the anchorage point of his Anchoring.
difficult to integrate the whole. However, Specifically, the phenomenon (experience) of “inner perception” was combined with
after the in-depth excavation of hands and external perception by a certain rule. In Anchoring, he proposed the idea that architectural
eyes, Pallasmaa creates a comprehensive thought was an activity happening in real phenomenon. Originally, this activity was triggered
work with in-depth implications. by a certain idea which came from site. Hall realized that the vital question in architectural
field was not simple form but how to deal with the relationship of architecture and site. As for
Hall, the design method of architectural imagination was to integrate experience in a certain
place. Therefore, the design thought of Hall was based on an overall and authentic control of
phenomenon of place. According to it, building anchor could be fixed in the place.
85
 Fig.64 Frank Lloyd Wright, Fallingwater,1934

Another architecture I want to emphasiaze is Frank Lloyd Wright.

Fig.63 Steven Holl ,The Church,1997
Wright believed in designing structures that were in harmony with humanity and its
environment, a philosophy he called organic architecture. Although never well-articulated by
The Church design by Hall for Seattle University was his representative work. his cryptic style of writing.
Seen from the outside, the church is an extremely plain concrete building which looks like
Organic architecture is a philosophy of architecture which promotes harmony between human
a box. The box is made by putting precast concrete pieces together. The box is covered by a
habitation and the natural world. This is achieved through design approaches that aim to
galvanized top dust hood with mysterious colors. There is a shallow pond with its reflection in
be sympathetic and well-integrated with a site, so buildings, furnishings, and surroundings
the water and a soaring bell tower, which separate the church from other parts on campus. The
become part of a unified, interrelated composition.
church stands on a platform similar to a parking lot. 21 pieces of slant concrete wallboards
were assembled in a way like jigsaw puzzles. Between the seam crossings of the building, there
Organic architecture also belongs to the building starting from human senses. The harmony
are some long and narrow windows. The concrete wallboards used to be Roman brown. The
between human, architecture and nature means to make human senses close to nature by
rings used to lifting concrete are retained as decoration of the church.
means of architecture. As a result, human are enabled to perceive the existence of nature in the
When entering the church, all the lights show gorgeous colors, directly, indirectly, reflected
architectural space to the greatest extent.
or polished. The colors change just like game. All exhibit Hall’s original idea perfectly: “put
seven empty bottles on the stone box”, indicating seven days God used to create the world.
Matching with different religious ceremonies, the seven empty bottles of various forms bring Fallingwater stands as one of Wright's greatest masterpieces both for its dynamism and for
different colors and atmospheres from the roof to different indoor space. In the space area its integration with the striking natural surroundings. Fallingwater has been described as an
with particular function, each bottle offers two kinds of lighting effects in its own angle, form architectural tour de force of Wright's organic philosophy.[23] Wright's passion for Japanese
and color. One is the light directly going through the bottle to floor and wall; and the other is architecture was strongly reflected in the design of Fallingwater, particularly in the importance
the blurred shadow reflected by colored walls. They alternate with a set of carefully designed of interpenetrating exterior and interior spaces and the strong emphasis placed on harmony
artificial light source, showing the dramatic strength of the lights in the space. between man and nature.

86 87
 The house is well-known for its connection
to the site: it is built on top of an active
waterfall which flows beneath the house.
The fireplace hearth in the living room is
composed of boulders found on the site and
upon which the house was built. Wright had
initially intended that the boulders would
be cut flush with the living room floor, but
they were left as they were, protruding from
the rest of the floor. The stone floors are
waxed, while the hearth is left plain, giving
the impression of dry rocks protruding from
a stream. The active stream, immediate
surroundings and cantilevered design of the
house are meant to be in unison, in line with
Wright's interest in making buildings that
were more "organic" and which thus seemed
to be more engaged with their surroundings.
The design incorporates broad expanses
of windows and the balconies are off main
rooms giving a sense of the closeness of
the surroundings. There is also an interior
staircase down from the living room
allowing direct access to the stream beneath
the house. On the hillside above the main
house is a garage, servants' quarters, and a
guest bedroom. This attached outbuilding
was built using the same quality of materials
and attention to detail as the main house.
There are many ways into and out of the
house.
88
Fallingwater became famous even before it
was finished and its fame increased decade
by decade. This is because the house in its
setting embodies a powerful ideal - that
people today can learn to live in harmony
with nature. As technology uses more and
more natural resources, as the world's
population grows even larger, harmony with
nature is necessary for the very existence of
mankind.
S i m u l t a n e o u s ly, h e re m i n d e d u s t h e
architectural space we depend on for
existence was not necessarily lifeless
box. Instead, it could be a perceivable life
body. In a house, we can see the changes
of four seasons through window, listening
to g u rgl i n g s o u n d o f wa te r a s m u s i c
background, and fall asleep with mixed smell
of forest earth and trees. And in hot summer,
we can enjoy the cool mountain spring.
Kijyo Rokkaku,Sense museum,2000 Fig.65
The design of the Kijyo Rokkaku is designed On August 4, 2000, the museum was born
to focus on the human experience and the in Iwadeyama in the northwestern part
feeling.His design is always trying to make of Miyagi prefecture, with the theme of
the building communicate with people in "sensation" that we have, such as visual,
all directions. His works are real humanized auditory, olfactory and tactile sensations.
architecture. That is "sense museum". The purpose of
this museum is to regain the "relaxation"
and "richness of the mind" that we live in
substance civilization by refining sensibility
through sensory experiences and improving
imagination. There are lots of exhibits that
can be conscious of the senses through the
experience of watching, listening, touching,
sniffing inside the hall, which consists of
two zones, the dialogue zone (body sense
space) and the monologue zone (meditation
space). From children to the elderly, every
generation can enjoy imagination while
enjoying through various experiences.
The sensory museum was built to surround
the square. From the plaza you can climb the
roof of the sensory museum and on the roof
there is an "object of the ear". Please listen
to the sound of nature by listening to your
ears.
89
 The roof was entirely a top light, the walls 3.4 Sensory disorder
and the floor mirrored and reflected the sky,
and directed a non-ordinary space. You can
experience the sense of floating as if walking Strictly speaking, sensory disorder is
in the sky and the transition of the sky as a not a common natural phenomenon. In
sense of time. natural world, normal information always “Dérèglement des sens”
exists contrapuntally. That is to say, the "Let the senses confused"
The appearance of the dome has a heart- sound made by a bird must match with its
shaped structure, and it is popular as a mouthing shape. A rose cannot release lily
scent. However, there are two conditions — Arthur Rimbaud
symbol of the sensory museum. The interior
of the dome is imaged in an infinitely wh i c h m a ke i n fo r m a t i o n d i s l o c a t i o n
Kijyo Rokkaku,Sense museum,2000 Fig.66 possible.
expanding space, and it is greeted by a
slightly drifting scent. The jet-black space
that was streamlined in the center has a
gentle indentation, it is possible to lie down
slowly, leave yourself to that dent, listen to
the music that flows quietly, fantastically You
can enjoy changing colors. Gra.30

The gently swaying water on the floor makes

the ripples appear on the walls and ceiling,
making you feel as if you are in the water.
With the effect of light and sound, a quiet
space is produced.
Kijyo Rokkaku,Sense museum,2000 Fig.67

Kijyo Rokkaku,Sense museum,2000 Fig.68

90 91
 The firs situation is special disease which makes human senses in disorder.

It has nothing to do with external information. It happens due to the confused spiritual world
affected by disease. The realm of the senses of patient is usually disordered, such as the artist,
Yayoi Kusama.

Yayoi Kusama possesses and presents polka Fig.69

dots in her way. It seems to her that polka Yayoi Kusama,
dots are both contents and forms. In the Infinity Mirrored Room – Filled with the Brilliance of Life, 2011
meantime, they are powerful art languages.
It is possible to say that polka dots are
trademarks of Yayoi Kusama’s works.
According to Yayoi Kusama, polka dots Yayoi Kusama controls and displays her
came into her life naturally: Yayoi Kusama vulnerability (neurasthenia, anxiety,
has been attacked by neurological visual depression and suicidal tendencies) well,
disorders since she was about 10 years old and demonstrates her determination and
and suffered badly from visual and auditory resolution to conquer diseases and become
hallucinations. The endless polka dots, a great artist. These various contradictions
stripes and colorful flowers confuse her and make her successful and powerful. Yayoi
make her feel dizzy, helpless and unsure of Kusama masters paintings, sculptures
where she is. and decorative arts with distinct personal
“Since I’m separated from the characteristics, applies polka dots to various
items and presents a powerful self to the
world by polka dots, I attempt to
world. Yayoi Kusama defines herself as a
draw these dots on paper.” mentally ill artist. Although she struggles
with hallucinations all her life, she makes
Yayoi Kusama elaborated her viewpoints outstanding achievements because of the
with readable languages: disease.
“A polka dot has the form of the
sun, which is a symbol of the
energy of the whole world and Fig.56
our living life. In the meantime, it
has the form of the moon, which is
associated with calm. Round, soft,
colorful, senseless and intangible,
polka dots become movements.
They are a way to infinity.”

Fig.70
Yayoi Kusama,the Obliteration Room, 2011

92 93
 The second is caused by the information source adjusted by person
deliberately or casually.

This method changes the array mode of information sources from bottom to top, which
eventually causes sensory disorder. For example, the pictures you see and the sounds you hear
do not match in the film.

Due to sensory illusions, extreme art theories and artistic methodologies, a number of works
that break the conventions of visual art have appeared. Human senses and thinking modes are
under the influence of the rapidly changing society. Technological development creates new
visual experiences, expands the senses and allows people to experience something new.
Put Your Head into Gallery by Tezi
Gabunia is an interactive art project, which
presents four different models of famous
galleries’ rooms. The project also involves
exhibitions of different artists in above-
mentioned space. Transportable feature of
the models makes these galleries accessible
for everyone.

Put Your Head into Gallery emphasizes

Take the Swimming Pool of Leandro
Erlich for example.
When you look down into a seemingly
familiar pool which is actually a shell
consisted of colors and lights, you will
d o u b t t h e s c e n e r y yo u s e e a n d yo u r
previous cognitions. Is the conclusion based
on previous experience and knowledge
absolutely right? Certainly not, say artists.
Leandro Erlich,Swimming Pool ,2004
Tezi Gabunia’s one of the main concepts
– falsification and Triggers a dialogue
with hiper realistic issues. The project
evolved in two stages. At the first event,
under a concept of falsification, Tezi
Gabunia presented his false exhibition at
Saatchi Gallery. The second stage involved
scaled copy of famous gallery rooms with
exhibitions of different artist: The Louvre
(Rubens), Tate Modern (Hirst), Gagosian
Gallery (Liechtenstein).
You think you’ve seen an exhibition? Or
you’ve become part of the art pieces?
Tezi Gabunia expects to rationalize the
“falsification” and introduces the view
of visitors. Besides, the normal sense of
measuring has been altered to contrast the
people with the exhibition, generating a
sense of conflicting.

Fig.72
Fig.71 Tezi Gabunia ,Put Your Head into Gallery,2016

94 95
 SENSORY

DESIGN

FORM

4
FIVE-SENSE DESIGN FORM
Refined from the study of five senses and Refined from the study of five senses
applicable to the exhibition design collection Applicable to the exhibition design collection

I was attempted to re-extract several forms in which five sense exist

independently and interact with each other, hoping that these forms could
be refined as a design form and applied to the exhibition design. Here, the
form is named “sensory design form”, which is also where the meaning of
five-sense study lies.
After analysis and refinement, I put forward the following five-sense design
forms.

96 97
 4.1 Sensory isolation Decision Corridors, Carsten Holler,2015,Pirelli HangarBicocca

Sensory isolation refers to a kind of ideal condition, which is to imagine that the human body
is in vacuum state in which five senses are isolated.
After installing “Doubt”, visitors face two choices, namely a bright shortcut and a unknown
corridor. Visitors who choose the corridor will walk into a set of winding dark metal pipe,
and need to walk in the dark for a long period before seeing spectacular light show. During
the long time when they grope in the corridor, they hesitate, fear, and calm down, and finally
must be full of longing and expectation once upon seeing light. When their redundant senses
are cleared, and they are located in splendid exhibition space again, their senses will open
instantly, and they watch the next exhibition with much more wonderful state of mind.

Carsten Holler,Decision Corridors, 2015, Fig.73

Gra.31
In 1954, psychologist Baxton et al. made the first sensory deprivation experiment in McGill
University, Canada.
Psychologists made volunteers in highly isolated state by cutting ways from which sense
organs get outside information.

In the beginning, those volunteers were able to sleep quietly or think something they did not
have time to think in daily time. Later, they started to lose sleep, became absent-minded, failed
to think coherently, and beat with two gloves for sensation-seeking.
What more terrible is, 50% of those volunteers had illusion, including visual, auditory and
tactile hallucinations. Visual hallucinations include flickering light, auditory ones were like
barking, typing sound, and dripping sound, and tactile ones include their foreheads and cheeks Fig.74
being pressed by cold steel plates, or their mattresses being gotten away by someone.In the
several days later, those volunteers became inattentive, thought illogically, and got poor results
in intelligence test. By analyzing brain wave, it was proved that those volunteers have serious
imbalance in all activities, and some of them even had illusion (daydream). This is the famous
“sensory deprivation experiment” in psychological circles.

This experiment proves that, colorful and various environmental stimuluses are essential
to the survival of mankind. After sensory deprivation, people may feel unbearable pain and
various mental functions will be damaged to different degrees.

However, the introduction of the concept of sensory isolation in exhibition design doesn’t aim
to make visitors accept no external stimuli, but make visitors vacuum up their distracting
thoughts through brief sensory blank, and reach the state of “emptying” in spirit, and then face
subsequent exhibition from new perspective and form obvious contrast through such behavior.

98 99
 4.2 Separate and emphasize a certain sensation Museum of Modern Art (MoMA), New York
opened its first complete Soundings art
exhibition Soundings:
A Contemporary Score in 2013. The
As mentioned in the third chapter, in general, the human senses rarely exist alone, but exist in exhibition contained almost all creation
the form of complex synesthesia and interact. Thus, the isolation and special processing for practice in the field of contemporary sound
one sense can make people produce different feeling. And the isolated senses will be more fully art so far: bell tone recorded by artist
stimulated in this case. Stephen Vitiello, works created by Tristan
Perich from New York with 1500 small Fig.75
speakers, as well as the symphony created by
the musicians imprisoned in Theresienstadt
camp in 1943 that was reorganized and
performed by Susan Philipsz from Glasgow.

Tristan Perich, A Contemporary Score, 2013 Fig.76

Ferruccio Laviani ,The garden of Wonders,2015 Fig.77

Perfume has been the highly sought-after
precious art of the sense of smell since the
ancient times. During the Milan design week,
the works of 10 designers were respectively
displayed in a golden house, and was placed
in the botanical garden of Milan Brera
Academy of Fine Arts. As the curator of the
project, famous designers and architect,
Ferruccio Laviani made visitors appreciate
the wonderful works of designers through
glass through 10 gold rooms scattered on
the green space in a similar form of museum
display. In fact, he chose gold because
gold was the symbol of luxury. He said,
“Every little room was as if an independent
world, and completely freely created and
interpreted by individual designer. It sounds
that aroma and art design is disconnected,
but actually they are not opposites: the
former is invisible, and the latter is stereo
and tangible, but it turns out they indeed
have a lot in common, and both collocation
can create a perfect combination.” Smell is
intangible thing in the world, but people also
pay more attention to it, and will understand
designers’ different interpretation of
fragrance if it is displayed as an independent
object.

Gra.32

100 101
 4.3 Separate and weaken a certain sensation Dans-le-noir,London Blind Light, Antony Gormley, 2007

In the general sense, our sense of taste
Just like people’s sense of hearing and smell may be fully stimulated when they lose their is related to visual sense to some degree.
visual sense. If some of our sensory feelings are deliberately weakened or removed, the rest Thus, it is reasonable that people tend to
other sensory feelings could be stimulated to react in a completely unusual way. have good impression on a plate of dish
that looks beautiful and attractive that “it
looks delicious”. However, if we can't see,
but only try to use the nose and tongue as
information receivers and feel the food with
your heart., enjoy the simple process of
eating; it is also the idea that dark restaurant
wants to express.
Architecture is supposed to be the location
of security and certainty about where you
are. It is supposed to protect you from the
weather, from darkness, from uncertainty.
Blind Light undermines all of that. You enter
this interior space that is the equivalent of
being on top of a mountain or at the bottom
of the sea. It is very important that inside
it you find the outside. Also you become
the immersed figure in an endless ground,
literally the subject of the work.

In the white, heavy fog, your eyesight is

shaded but your body remains completely
free. You could smell the humid air and your
Fig.78 Dans-le-noir,London
body could dance without limits. You hand
could grope for the boundary. Therefore,
you’ve participated in the completion of this
art piece.

Antony Gormley,Blind Light, 2007 Fig.79

In the general idea of exhibition design, planners and designers all expect to deliver the
exhibition message as much as possible within the limited space, so they would certainly
wish to activate visitors’ sensory feelings as far as possible. Few are willing to sacrifice some
sensorial feelings to accomplish others. Especially, when the vision plays the leading role in
receiving information, usually appearing to be indispensable in the exhibition. But the effect
could be unexpected and surprising if the exhibition is presented in a reverse way.

Unfortunately, I haven’t found a good case where the exhibition is organized in this manner.
But it is exactly what we could try in the future.
Gra.33

102 103
 4.4 Comprehensive use of sensory synesthesia
It has been mentioned that there are multiple forms of sensory synesthesia. Naturally, the
ways of applying them in the exhibition are also of great diversity. No matter the sensory
transformation synesthesia, sensory respective synesthesia or sensory complete synesthesia,
these are all interactions of several senses and co-influence the forming of visitors’ sensory
feeling and experience.
So to speak, the sensory synesthesia is most commonly applied in the exhibition design, not
just because of its diverse forms, but also the smart combination of sensory feelings, which
could easily reach an extraordinary presentation effect.
Gra.34
104
For example ,Onde Pixel ,Miguel Chevalier , Unicredit Pavilion, Milano 2016.
Among the works presented at the unicredit pavilion, the star is ‘onde pixel’
— a huge carpet of light spanning 20 square meters that fills the floor. the interactive
installation comprises an ever-changing sequence of multicolored graphic scenes and symbolic
motifs sourced from the digital universe. for this site-specific work, chevalier has created new
patterns inspired by abstract and kinetic artworks from unicredit’s collection — including
works by enrico castellani and victor vasarely. these graphic scenes, composed of thousands
shapes, create wave-like effects that undulate on the floor, as music by composer jacopo baboni
schilingi plays in the surrounding atmosphere.
Sensors allow the work to react to the motion of visitors. movements amplify the distortions
of virtual scenes beneath viewers’ feet and influence the generative music. patterns blend
together to create surprising new graphics, while trompe l’oeil effects create the sensation of a
moving floor.
Fig.80 Miguel Chevalier,Onde Pixel , Milan, 2016
105
 Norwegian artist Stahl Stenslie,focuses on experimental media arts and interactive experience
in creation, and challenges the ways that people normally view/perceive the world, and
arouses the hidden inner consciousness. The physical and mental perception through the
combination of tactile impression and sound is an important way of experiencing Stenslie’s
works. One of his art project The Ichihara Touch Tales, 2014 tells the participants about
the stories and myths of Ichihara, near Tokyo Bay, Japan, which includes city, countryside and
industrial zone, and presents a multivariate Japanese society.

Studio Formafantasma and Michelin Star winning chef Yoji Tokuyoshi, Fig.82
Lexus – An Encounter with Anticipation,2016

Lexus – An Encounter with Anticipation,Zone Tortona Milan,2016

Alongside installations Trimarchi and Farresin created by studio Formafantasma , the

Stahl Stenslie,The Ichihara Touch Tales, 2014
exhibition also wished to translate the technological and stylistic spirit Lexus in two unique
dishes inspired by the purity of water (Transparent) and the art of hospitality Japanese
(Buoyancy).
Water possesses great energy and the LF-FC anticipates a society that uses hydrogen as an
energy source and produces clean water as its only emission.So Chef Yoji Tokuyoshi uses water
to create a culinary treat with a Japanese way.
The exhibition is specially designed, incorporating the understanding of food into the concept
of exhibition. Along the visiting, visitors could observe the presentation of food, taste the food
and understand the core message of the exhibition through the understanding of food, to
Fig.81 complete a special and rich all-sensory experience, which could not only assist the exhibition
touring but also deepens visitors’ impression on the exhibition.

Fig.83

Such experience and rich ecological resources of Ichihara are copied by the artist’s works
and then presented to audiences. The main body is a tactile sensing table with the shape of
Ichihara terrain. Each piece of touch zone corresponds to one Japanese myth story, or a story
about daily life of local residents, or the legend of Scandinavian style, or the mixture of these
stories. Through the touch zone, participants can create sound hovering in the area, and have
somatosensory tour of Ichihara.

106 107
 4.5 Sensory reorganization
The matched sensory information is the most original and natural status. Most traditional
arts are intended for reflecting the truth, so the sensory match is the most basic requirement.
However, picky modern visitors often bear the curiosity, discontent and pursuit of excitement.
They would hold on to the “mistakes” that are expected bring more extraordinary experience.
Gra.35
In recent years, optical illusion galleries have sprung up in Asian countries like Japan, South
Korea and China. Items in the galleries are deliberately dislocated and restructured, thereby
presenting incredible illusions and guiding the audience to experience the mysteries through
participating.
Both persons are in the same room. However, why does one look bigger than the other? Why
the man in the mirror is not me? Why the picture is mist-shrouded when the man in the
painting is bathing? Why does the milk seem to be spilling out of the painting?
Senses are indescribably wonderful. Sometimes, it is possible to open a door of imagination by
breaking the conventions. Fig.86

Fig.84

Fig.87

Fig.85 Optical illusion galleries, South Korea

This is part of the information delivered by
sensory reorganization, namely, abandoning
the rooted ideas and proactively creating
“illusions” and “conflicts”. But the illusion
art gallery major focuses on the study and
practice of visual illusions without much
involvement of other senses. So visitors are
not fully motivated to engage. Besides, the
content exhibited in the illusion art gallery is
the illusion art itself, which is technically not
a design approach.

108 109
 The refined design forms based on human senses might not be limited the above five types, but
they all share some common features.

A more accurate explanation for the sensory

reorganization I mentioned is to create “a sense
(1)The sensory design shall follow
of conflicting” through deliberately disorganizing
and reorganizing the sensory information, the people-oriented principle and
realizing the purpose of triggering the reflection fully consider the physical and
of visitors. mental acceptance and applicability
of visitors.

The sensory disorganization could be spatial or temporal.

In terms of space, the presentation form
could be the switch of sensory information
between two spaces. For example, the sound
of flame is heard in a room with drops or
vice versa.
In terms of time , the presentation form
could be mismatched sensory information
with the speed. For example, the sound in a
video is slower or faster than the motion in
the picture. It could be also the mismatch of
sequence. For example, the sound is inverse
to the motion in picture.
(2)The presentation process shall not
distract the major attention on the
theme, deliberately emphasizing the
sensory interaction but ignoring the
exhibition content. Sensory design
is only an auxiliary method whose
function is to help visitors more
effective recognize and remember the
exhibition.

(3)Several forms of sensory designs

could be reasonably combined to
offer a better presentation effect.

Gra.36

110 111
 Applied in the spatial arrangement

If each sensory design form mentioned above could be applied to a space, then I could make an
assumption here that we could obtain a series of combo space if the space where each sensory
design from applies is arranged according to certain rules.

In this combo space, each part is connected in order, which forms a system to some extent,
exactly the so-called “sensory design system”.

The sensory design forms and combination of forms are called “the reorganization of sensory
design forms”.

112 113
 “The reorganization of sensory design forms” are mainly
presented in following aspects:
In the spaces using the same sensory design form:
(1) Repeated of single form, emphasize this kind of form .
(2) Transitioning from the space with weaker presentation form to the
space with stronger presentation form. Such a continual feeling between
spaces could better exercise the function of sensory design methods.
For example, Simultaneous application of the second form of separation
and emphasis of a certain sensation. The emphasis could be placed in
the first space and repeated in the next space with more power. Such
an ascending could aggrandize the function of emphasis. Likewise,
transitioning from strong to weak could also obtain the same effect.

Gra.37 Gra.38

114 115
 (3) The rise and fall in the presentation, namely, the alternation of the
space with strong and weak presentations. In doing so, a clear contrast
could be constructed between spaces to offer more tensions. For
example, the application of the third form of separation and weakening
of a certain sensation. The visitors could feel the ups and downs
emotionally if certain sensation is weakened in the first space, further
weakened in the next space, and then returned to a certain amount of
weakening in the third space.

Gra.39

Gra.40

(4) The same sensory design form with shifts between different
presentation forms. Such a participation process could be more
diversified. For example, in the application of the forth form of
comprehensive use of sensory synesthesia, the vision and hearing could
be synesthetic in the first step, followed with the addition of smell,
touching and taste in the next space to generate complete sensory
synesthesia. Then the third space goes back to the synesthesia of vision
and hearing. During this process, the experience intensity of visitors has
changed, which is beneficial to underlining the highlights.

116 117
 In the spaces using different sensory design forms

(1) Growing out of nothing. The process from the first form of sensory
isolation transitioning to any other form is all growing out of nothing.
Such an arrangement could bring new stimulations to visitors after
emptying previous sensory feelings, which could better highlight the
presentation of following forms. For example, a surprising effect could
be created from the space applied with the first form of sensory isolation
to the space applied with the fifth form of sensory reorganization.

Gra.41

Gra.42

(2) Shift between different sensory design form, which significantly

enriches the experiences. For example, the space applied with the
second form of separation and emphasis of a certain sensation shifting
to the space applied with the third form of separation and weakening of
a certain sensation could generate a strong contrast.

118 119
 Through the above reorganization forms, the shift from the isolated design from to the spatial
combo form is completed.

Generally, human sensory system is passive receivers. It passively receives the information
from surrounding environment and interacts to generate perception and form the experience
based on the humane experience, further influencing human perception and feeling.

But through the above study and speculation, it could be found that if we think in a reverse
manner and induce some design forms based on the human sensations, a certain spatial
organization forms could be obtained through the reorganization of these design forms. In
other word, we could induce the corresponding environment through the sensory studies.
Therefore, environmental space, human sensation and experience have formed a perfect
circulation.

Unfortunately, I could not find the perfect evidence in the exiting exhibition design works to
support this idea.

Gra.43

(3) Repeat of certain form combo. For example, the combination of the
second form and the third form in the last item could be repeated to
leave a massive impact on the sensation of visitors.

120 121
 1.According to the previous experience, for the immersive
exhibition design, visitors are usually assigned to the space
arranged in advance. The experience and recognition for
the exhibited pieces are generated through the co-effect of
some design methods triggering the sensory system. But on
the contrary, is it possible for us to start with the sensory
experience of visitors and use the idea of sensory design to
guide the spatial organization and arrangement, to plan PART 2
an experiential exhibition based on human senses from
bottom to the top?

2.Could it be somehow valuable to reorganize the sensory

design forms to guide the spatial combo forms and orders?

3.Could the sensory design system be a useful guideline in

the exhibition design?

I started my graduation project along with these three questions.

122 123
 Exhibition Theme
Nature(Metal Wood Water Fire and Soil) and
Human
Main Content
Planning an experiential experience through
flexibly applying the research on five-sense
design to the exhibition theme--nature and
human.
T h e r e a s i n w hy I c h o s e
"Nature and Human" to be
the exhibition theme ?
As five senses are the basis for humans to
receive and absorb outside information,
and then who is the information sender?
Undoubtedly, nature we live in has always
been the largest information sender around
us, which provides us with the basic
materials and energies.
A c t u a l ly o u r a n c e s t o r s h ave a c l o s e
relationship with nature in ancient times.
They live in the forest , caves or near
riverside, they are completely exposed to the
sun and rain, they fall asleep accompanied
by the sound of the wind and leaves, they
bake food with fire, and they totally put their
own body and fate to nature.
While modern people living in the concrete
city are surrounded by various electronic
products. They get rid of the fate dominated
by nature and create different materials
that have never appeared before with their
own wisdom and hands. However, humans
still yearn for nature very much facing this
bewildering world.
If there is a thing that has started from
the origin of humans, accompanied their
development and the evolution of five
senses, it must be nature.
124
W hy I c h o s e M e t a l Wo o d
Wa t e r F i r e a n d S o i l t o
represent nature?
The discussion on 5 elements in the Six
Classics is firstly seen in ‘The book Of
History’.
The five elements of Metal Wood Water Fire
and Earth are the basis for the Chinese to
understand the world since ancient times.
Just like four-element theory proposed
by the Greek philosopher Plato in 360 BC
believed that the world is composed by
fire, water, ground and gas, China also has a
complete view of matter to understand the
world, that is five-element.
They are:WOOD FIRE EARTH METAL WATER
WOOD (Chinese: 木 , pinyin: mù)
Wood is the most human of the elements. It
is the element of spring; the creative urge
to achieve - which can turn to anger when
frustrated. It is associated with the capacity
to look forward, plan and make decisions,
hence growth and expansion.
Wood energy is rising, expanding, and is
the force of growth and flexibility, hence the
colour associated with Wood is green and a
rectangled shape.
This element represents all the activities
of the body that are self regulating and/
or function without conscious thought; i.e.
digestion, respiration, heart beat and basic
metabolism.
The liver (converting food into fuel which
is then supplied to the muscles, tendons
and ligaments) is associated to the Wood
element as well as the gallbladder.
Wood represents as well the direction East,
the planet Jupiter and is symbolized by an
Azure Dragon.
Wood ‘governs’ the Chinese Zodiac signs
Tiger, Rabbit and Dragon.
FIRE (Chinese: 火 , pinyin: huǒ)
Fire is the element of heat, summer and
enthusiasm; nature at its peak of growth,
and warmth in human relationships.
Represented by the colour red and a pointed,
triangled shape, Fire’s motion is upward,
hence is associated with dynamic, energetic,
passionate, enterprising energies.
Fire is the symbolic of combustion and
this represents the functions of the body
that have reached the fleeting moment of
maximum activity; indicating that decline is
then inevitable.
The element is associated with the heart,
the circulation system and is related to the
tongue.
F i re re p re s e n t s t h e d i re c t i o n S o u t h ,
the planet Mars and is symbolized by a
Vermilion Bird/ (Red) Pheasant.
Fire ‘governs’ the Chinese Zodiac signs
Snake, Horse and Sheep.
EARTH (Chinese: 土 , pinyin: tǔ)
Earth is the element of harvest time,
abundance, nourishment, fertility, and the
mother to child relationship. This element
is also regarded as central to balance and
the place where energy becomes downward
in movement, a change of seasons. It is
the symbol of stability and being properly
anchored.
Represented by the colour yellow and a
square shape, Earth’s motion is patient,
reliable, logical, governed by service and
duty to others, militaristic, stubborn, very
energetic.
Earth is associated with the digestive
system, stomach (middle of the body), the
spleen and is related to the sense of taste.
Earth represents the direction Centre
(Yellow Earth, China - Middle Land), the
planet is Saturn, and is symbolized by the
Yellow Dragon.
Earth ‘governs’ the Chinese Zodiac signs
Dragon, Rat, and Ox. Earth is the central
balance of the elements and can lend
qualities to all 12 animals as well.
METAL (Chinese: 金 , pinyin: jīn)
This category includes the Western idea
of the air element. It is the force of gravity,
the minerals within the earth, the patterns
of the heavenly bodies and the powers of
electrical conductivity and magnetism. Metal
has structure, but it can also accept a new
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 form when molten.
Metal energy is consolidating and with
inward movement, like a flower closing its
petals.
Represented by the colour white and round
The relationship between
shapes, Metal’s motion is determined,
forceful, strong, unyielding, self- reliant,
reserved and sophisticated.
The symbol of metal is one of a cutting and
reforming action, but it is also regarded as
a solidifying process, hence it is associated
with Autumn.
Metal is associated with the lungs,
respiratory system and is related to the
nose.
Metal represents the direction West, the
planet is Venus, and is symbolized by the
White Tiger.
Metal ‘governs’ the Chinese Zodiac signs
Monkey, Rooster and Dog.
WATER (Chinese: 水 , pinyin: shuǐ)
Water is the source of life on this planet.
Water has the capacity to flow, infinitely
yielding yet infinitely powerful, silent and
still, awaiting, flexible, ever changing, a
stored potential and often dangerous (flood’s
devastation) with the capacity also to
nourish and cleanse.
Likewise it is the fluid (the main component
of the body) which nourishes and maintains
the health of every cell. Water corresponds
to the skeletal and excretory system as well
as to the vital fluids, i.e. blood, lymph, mucus,
semen and fat and is related to the lung.
The kidney is especially linked to this
element.
Represented by the colour black/ blue
and a wave like shape, Water’s motion
is downward, fluid, secretive, intuitive,
compassionate, sensitive, gentle and
creative.
Water is the ultimate yin; quiet, cold;
representing the resting time of winter.
In human psychology the element governs
the balance between fear or being exploited
and the desire to dominate.
Water represents the direction North, the
planet is Mercury, and is symbolized by the
Black Tortoise. Water ‘governs’ the Chinese
Zodiac signs Pig, Rat and Ox.
126
The phenomena of the nature is summed
up by the changes of five elements- wood,
fire, earthl,metal and water, which not only
influences human’s fate, but also makes all
Five elements and Five sense things in the universe in perpetual cycle. It
emphasizes the conception of the whole and
describes the things’ structural relations and
forms of movement.
The five elements of Metal Wood Water Fire
and Earth are the basis for the Chinese to
understand the world since ancient times.
Just like four-element theory proposed
by the Greek philosopher Plato in 360 BC
believed that the world is composed by
fire, water, ground and gas, China also has a
complete view of matter to understand the
world, that is five-element.
The five-element theory is a kind of world
view and methodology of understanding the
world, explaining the world and exploring
the laws of the universe according to
the characteristics of Metal Wood Water
Fire and Earthl and the laws of mutual
generation and restriction.The five-element
not only has a profound impact on the
Chinese culture, but plays a decisive role in
Chinese philosophy, Chinese medicine and
divination.
The five-element doctrine believes the world
is material, the universe is composed by
wood, fire, ground, gold and water and all
things in the universe are based on mutual
com-mix of five basic materials.
Any one or two elements in the five elements
are not performed independently, which
all have four relationships- same with me,
generate me, I generate, overwhelm me and
I overwhelm.
•Restriction among five elements: Metal
can cut wood, wood can extract nutrition
from earth, earth can cover water, water can
extinguish fire and fire can control metal.
•Generation among five elements: Metal is
produced beside water, water can produce
wood, wood can make fire, fire can turn
wood into earth and earth can cover metal.
Gra.44
127
 Which could be understand as:
Wood extract nutrition from earth: trees are
grown in earth.
Wood generates fire: fire needs wood to
keep burning.
Fire can overwhelm metal: any metal can be
melt in fire.
Fire generates soil: soil needs sun to shine.
Earth can overwhelm water: earth can cover
water.
Earth can generate metal: all minerals are
formed in earth.
Metal can overwhelm wood: metal can cut
down trees.
Metal can generate water: good spring is
generated in the place, which has minerals.
Water can overwhelm fire: water can
extinguish fire.
Water can generate wood: wood needs rain
to grow.
Everything in the universe can be classified
according to the feature of five elements. All
things after being classified can conduct the
interaction and connection of ‘generation,
overwhelming, restriction and ’ according
to the rules of ‘mutual generation’ and
‘mutual restriction’ among the 5 elements.
The world is changing according to the
‘generation, overwhelming, restriction and
turning ’ of the 5 elements. If all things
in the universe did not have generation,
there would be no occurance and growth.
If there is no restriction, the things would
be growing without restriction and become
disasters, then they could not maintain the
coordinated relations. Therefore, there must
be generation and restriction. And they can
oppose each other and yet also complement
each other, which can maintain and promote
the balance, coordination, development and
changes of things.
The coordination and balance of the five
elements is relative, because of thr process of
mutual generation and mutual restriction. In
the process, time will appear the phenomena
of a certain excessiveness or much
subtleness and itself will appear another
adjustment of generation, overwhelming,
restriction and turning. In this way, with the
128
appearance of another time of coordinated
balance, the movement, which seeks balance
in imbalance and the balance has been
substituted by new balance, pushes the
changes and development of all things.
As to the basic concept of 5 elements, in
the Book of Changes, it uses the method
of analogy to understand all things in the
world. The symbol types of five elements
is the basic natural disposition . The
compositions of 5 elements are numerous
and changeable, which are the 5 basic
elements in the universal objective matter
world. Then the relations between 5
elements and the nature are naturally
inseparable.
Nature is a very large topic and it is also
difficult to grasp its composition changes.
But the reliance on five elements can help
us open a window to further explore the
relationship between nature and human.
How does the theme combine
with five senses of humans?
The exhibition will be designed from two
dimensions. The first dimension is to create
an experiential exhibition environment, get
visitors immersed in and spontaneously
develop different senses to feel the exhibits
and exhibition atmosphere from the matter
(nature) perspective and through designing
the exhibits and the exhibition mode.
T h e s e c o n d d i m e n s i o n i s to d eve l o p
different stimulus of nature to human
senses, guide humans to actively think about
the relationship between human senses
and nature, the ways to explore nature
and further produce information feedback
mainly from the human perspective and
through controlling senses of human.
How does the exhibition
combine with the former
research “The sensory design
forms” and “The reorganization
of sensory design forms” of the
research（part 1）?
G e n e r a l l y, t h e p r i m a r y t a s k o f t h e
experiential exhibition is to open human
senses and further realize coordination
operation as far as possible through various
ways,and this will be the focus of my design.
Different display modes, materials, lighting
and other effects can create different
a t m o s p h e re s , f u r t h e r m a x i m a l ly g e t
visitors immersed into the exhibition and
understand the characteristics of exhibits
through food and fragrance and other
added measures.As revealed in the previous
research of several sensory forms, human
senses are not independent and opening five
senses as far as possible only aims to utilize
sensuality synaesthesia and create the
unique experiential atmosphere.
However, the exploration of this exhibition
on five senses is not limited to these as
relying on enlarging human senses is not
the only way to achieve the best results.
The combination with other sensory
design forms, such as sensory isolation,
strengthening or weakening of specific
senses, as well as sensory information
d i s l o c a t i o n , c a n g ive v i s i t o r s a n e w
perspective to understand the exhibition
contents, better explore the perception of
senses on the outside world and thus start
new experience.
On this basis, I try to apply the research
results to the space organization.Firstly, the
independent space on microscopic scale
is a unit.Then focuses on the relationship
between spaces,the role of each space in
the overall space should be controlled
on macroscopic scale, thus making each
independent small space connect with
the surrounding space, form the overall
visit pace, visitors feel the changes in
sensory density and experience mode and
comprehensively develop their own senses
on the exploration and understanding of
exhibition contents.
Why is this exhibition spacial
and extraordinary?
Different from the past thing-centered or
people-focused exhibition design mode, this
exhibition directly takes human senses as
the first consideration factor in the design.
Therefore, five senses are not simply added
in the exhibition presentation and contents
in the design process, but are integrated into
the sensory design thinking to control their
way of participation comprehensively from
the beginning of the overall space concept.
And they are gradually implemented in each
specific space after the overall layout.
In short, it is actually a thorough five-sense
experiential exhibition from top to bottom.
129
 Location

PAC — Padiglione d'Arte Contemporanea Milano

In 1947 the Municipality of Milan, pressed by the need to find a new exhibition space for
contemporary art, focused its attention on the site of Villa Belgioiosa, destroyed by bombing
in 1943. It was decided to use the Villa as a site for the Modern Art Gallery, and to build a
brand new space exclusively devoted to contemporary art. The design by the architect Ignazio
Gardella was preliminarily selected in March 1948, and the Pavilion was inaugurated in 1954.
In 1979, PAC reopened after a long period of closure for renovations.

In 1993 a bomb destroyed the building in a time when Italy was heavily committed in its fight
against the Mafia. Gardella subsequently rebuilt the exhibiting space according to the original
design, though with key technical improvements. In 1996 PAC resumed its normal activity with
an exhibition dedicated to Leo Castelli.

Over the past thirty years PAC have organised solo presentations of artists such as Laurie
Anderson, Christian Boltanski, Chen Zhen, Lucio Fontana, Franko B, Regina José Galindo, Jannis
Kounellis, Richard Long, Robert Motherwell, Pino Pascali, Cindy Sherman, Yinka Shonibare,
Tony Oursler, Jeff Wall and Zhang Huan.

In 1994 Maurizio Cattelan presented at the Laure Genillard Gallery in London a sculpture
called Lullaby consisting of a blue bag containing debris he collected from PAC after the
bombing. The piece is currently part of the collection of Fondazione Sandretto Re Rebaudengo
in Turin.

130 131
 History of PAC

1921 1943 1947 1948

The former stables of Villa Reale Destroyed by bombing in the second The architect Ignazio Gardella was prelimi-
World War narily selected to design for renovations

1954 1979 1993 1996 2003

The Pavilion opened in 1954 as a location After a long period of closure to the public PAC is rebuilt by Ignazio Gardella accord- PAC contributes to the foundation of
for the XX century collections for renovations, PAC reopens for contem- ing to the original project AMACI, the Association of Italian Contem-
porary art porary Art Museums

132 133
 Exhibitions in PAC
After 2007

From culture hip hop generation Vanessa Beecroft Armando Testa Franko B
'pop up' VB65 The design ideas I Still Love
Street Art, Sweet Art 17 March 2009 - April 5, 2009 April 13, 2010 - June 13, 2010 October 9, 2010 - November 28,
March 8, 2007 - April 25, 2007 2010

Omaggio a Pierre Restany Yayoi Kusama Zhang Huan Tony Ousler

new Realism I want to live forever Ashman Open Obscura
7 November 2008 - 01 February November 28, 2009 - February 14, July 7, 2010 - September 12, 2010 19 March 2011 - 12 June 2011
2009 2010

Silvio Wolf Marina Abramovic Alberto Garutti RISE AND FALL OF APART-
On the threshold The Abramovic Method Caption HEID
07 October 2011 - November 6, March 21 2012 - June 10, 2012 November 17, 2012 - February 3, Photography and the Bureaucracy
2011 2013 of Everyday Life
09 Luglio 2013 - 15 Settembre 2013

25 years of animation Elad Lassry Jeff Wall

Pixar Towards a new image Actuality
23 November 2011 - 14 February July 6, 2012 - September 16, 2012 March 19, 2013 - June 9, 2013
2012

Adrian Paci
Lives in Transit
October 5, 2013 - January 6, 2014

134 135
 Regina José Galindo Interference between art and The act of painting in contempo- RI-CLICK, MILAN MELTING
I'M ALIVE cinema rary China POT
March 25, 2014 - June 8, 2014 GLITCH JING SHEN January 15, 2016 - January 27, 2016
October 11, 2014 - January 6, 2015 July 10, 2015 - September 6, 2015

Jean-Paul Goude
SO FAR SO GOUDE
April 16, 2016 - June 19, 2016

ALMOST PERFECT CRIME Photographers homeless

July 11, 2014 - September 7, 2014 RI-CLICK
February 4, 2015 - February 15,
2015

radical art and architecture

SUPER SUPERSTUDIO
October 11, 2015 - January 6, 2016

CUBA. Tattooing history Santiago Sierra. mea Culpa IO, LUCA drops
July 5, 2016 - September 12, 2016 March 29, 2017 - June 4, 2017 October 3, 2017 - December 3,
2017

Gregotti Associati. An integral

project (1953-2017)
December 19, 2017 - February 11,
2018

ARMIN LINKE.L'apparenza of AFRICA. Telling a world

what you do not see June 27, 2017 - September 11, 2017
October 16, 2016 - January 8, 2017

136 137
 Cultural and historical buildings around PAC

138 139
 Two important parks around PAC

Giardini Pubblici Indro Montanelli

Giardini Pubblici Indro Montanelli , formerly known as Giardini Pubblici and Giardini di Porta
Venezia are a major and historic city park in Milan, Italy, located in the Porta Venezia district,
north-east of the city center. Established in 1784, they are the oldest city park in Milan. After
their establishment, the Gardens have been repeatedly enlarged and enriched with notable
buildings, most notably the Natural History Museum (1888–1893) and the Planetarium (1930).

Giardino della Villa Belgiojoso Bonaparte

The garden of the villa Belgiojoso Bonaparte also called the Villa Comunale garden or the
garden of the Villa Reale ,is a historic park in Milan.Located in via Palestro in front of the Public
Gardens Indro Montanelli to complete the neoclassical residence (Villa Reale), there exists a
curious rule: adults can enter only if accompanied by children.

140 141
 Visitor category analysis

VISITORS EXHIBITS ACTIVITIES

INDIVIDUAL GROUP PERFORMANCE CONFERENCE

or

EXHIBITS
PEOPLE BEHAVIOR
EXPERIENCE

142 143
 Visit time analysis
OPENING HOURS

ADMISSION QUEUE TICKETS-PURCHASING

24:00
23:00
22:00
21:00
20:00
19:00 VISITING
18:00
17:00 BOOKSTORE
16:00
15:00
14:00
13:00
12:00
11:00
10:00
9:00
8:00
7:00 VIDEO-PLAYING
6:00 MEDITATION
5:00
4:00
3:00
2:00
1:00
0:00
MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY

TOILET
15:00
INTERACTIVE EXPERIENCE
REST

4hours
VISITING

2hours

9:00 21:00
60mins

45mins VIDEO-PLAYING

INTERACTIVE EXPERIENCE

30mins
MEDITATION

ADMISSION QUEUE
15mins

REST BOOKSTORE

0mins
TICKETS-PURCHASING TOILET

3:00

144 145
 Traffic route analysis Environmental function partition

146 147
 Environmental function Reconstruction of the surrounding environment
stratification analysis

148 149
 Site analysis

Public Gardens
Indro Montanelli
green land Villa Reale Garden
stone road
concrete road

motorway
walkway
wa
way main entrance
main entrance emergence exit
balcony entrance

150 151
 Sections

152 153
 Exterior environment rendering

154 155
 Analysis of building structure Exhibition area

exhibition area

exhibition area

156 157
 Plan Plan
First floor Second floor

158 159
 Moving line Functional area division

Moving line of First floor Moving line of Second floor

Theme exhibition

General exhibition

Experience space

Green area

Service Area

Audio Space

Bookshop
Interactive Space

Courtyard

160 161
 Sensory density analysis Analysis of Five - sense Distribution

Sensory Density

Strong

Tactile Smell Vision Hearing Taste

Moderate

Slight

Minimum

162 163
 Visit time line

164 165
 Detail-SPACE 1
Interactive pipe
T h e I n t e ra c t ive t u b e s
connecting the first and
second floor. Second floor
Visitors can watch, listen,
smell, touch and feel the
vibration through these
tubes.
Interact with the person
on other side.

First floor

PVC foam plastic pipe Mirror

166 167
 View from the first floor
View from the second floor

168 169
 Detail-SPACE 2
Theme wall

Once visitors step into the

exhibition hall,you can see
the theme wall.
Which show the theme of
this exhibition：

NATURA E UMANITA
Natural and Human Translucent acrylic plate

First floor

LED light

PVC foam plastic Laser engraving

170 171
 LEGNO

WOOD

ACQUA

WATER

METALLO

METAL

FUOCO

FIRE

TERRA

EARTH

172 173
 Detail-SPACE 3
Corridor to purify the mind
The corridor has two
sides, one side bright and
the other is dark.
The material is sound-
absorbing.Therefore,
the maximum reduction
emotional impact on
people.
Purify the mind.

First floor

Sound-absorbing Aluminum plate Translucent acrylic plate

Plasterboard

174 175
 Detail-SPACE 4
Transition space
1.As much as possible to reduce the
visitors' sensory stimulation, clear
up the influences caused by last
space, so as to better invest into the
experience of the next space. water cinnamon

2.Give the props that next space

may be used , such as food. LED light

Food supply of
Five elements
food cooked with earth

Plasterboard
chili Iron drinking

First floor

Transition space

176 177
 Detail-SPACE 5
Earth
A variety of soils from all
over the world are placed
in a transparent acrylic
box to form a maze.
People walk between the
maze, while recognizing
the different soil, while
feeling heavy feeling the Glass box Earth
soil brought.

First floor

Philips myLiving Runner LED

Spot Aluminium 53090/48/P0
Power consumption: 35w -
Light development: 45w.
Body width: 9cm.
Body length: 11cm.
Projection from ceiling: 10,7cm.
Net weight: 0,420kg. Stratigraphy LED light

178 179
180 181
 Detail-SPACE 6
Metal
The center of the
exhibition hall has a large
metal frame.There are
different metals embedded
in the frame.
Visitors can go cross
the frame and immerse
themselves in the Metal Iron sticks Gold
world.

First floor

Brass

Aluminum

SONY HT-CT800 2.1 Philips myLiving Runner LED Spot

Wireless Sound Bar Aluminium 53090/48/P0
4K pass-through Power consumption: 35w - Light
Wireless subwoofer development: 45w. Rust
Part of the Sony Smart Sound system Body width: 9cm.
Bluetooth with NFC Body length: 11cm.
Digital connection: optical & HDMI Projection from ceiling: 10,7cm. Reflective metal
Net weight: 0,420kg.

182 183
184 185
 Detail-SPACE 7
Water
The exhibition hall is
divided into three main
parts according to the
three states of water:
Mist, Water, Ice.
Here,visitors can bury
themselves into the mist,
step into the water, or
touch the ice.

Spray machine
First floor

Ice Water Mist

VR Game in water
Samsung Gear VR Virtual
Reality Headset

White yarn

Ice Water

Philips myLiving Runner LED Spot SONY HT-CT800 2.1

Aluminium 53090/48/P0 Wireless Sound Bar
Power consumption: 35w - Light 4K pass-through
development: 45w. Wireless subwoofer
Body width: 9cm. Part of the Sony Smart Sound system
Body length: 11cm. Bluetooth with NFC
Projection from ceiling: 10,7cm. Digital connection: optical & HDMI
Net weight: 0,420kg.

186 187
188 189
 Detail-SPACE 8
Wood
Wood theme exhibition
hall create a feeling like
walking in the jungle,
giving a quiet feeling.
Near the wall there are
arrangement of the wood
sections, so that visitors
can watch, touch, smell to Lamp post Wood board
understand the different
varieties of wood from
around the world.

First floor

Wood Sand mixed glue

Philips myLiving Runner LED Spot SONY HT-CT800 2.1

Aluminium 53090/48/P0 Wireless Sound Bar
Power consumption: 35w - Light 4K pass-through
development: 45w. Wireless subwoofer
Body width: 9cm. Part of the Sony Smart Sound system
Body length: 11cm. Bluetooth with NFC
Projection from ceiling: 10,7cm. Digital connection: optical & HDMI
Net weight: 0,420kg. The picture of tree shade Tree

190 191
192 193
 Detail-SPACE 9
Fire
Fire theme exhibition hall
is in a dark environment,
through a special
exhibition stand,the
color of the flame, as well
as the temperature, so
that visitors seem to be
immersed in the flame.
Feel the brightness and
temperature of the flame.

First floor

Video Video
Fire inventions nd development Burning planet

Steel rope

Philips myLiving Runner LED Spot SONY HT-CT800 2.1

Aluminium 53090/48/P0 Wireless Sound Bar
Power consumption: 35w - Light 4K pass-through
development: 45w. Wireless subwoofer
Body width: 9cm. Part of the Sony Smart Sound system
Body length: 11cm. Bluetooth with NFC
Projection from ceiling: 10,7cm. Digital connection: optical & HDMI
Net weight: 0,420kg.

194 195
196 197
 Detail-SPACE 10
Corridor

A series of photos are

printed on a transparent
acrylic board, visitors can
enjoy these photos all the
way in the corridor.

Water Wood Metal

First floor

Earth Fire

Acrylic board Photo printing

198 199
 Detail-SPACE 11
Introduction hall
-The relationship between the five elements

This is an exhibition hall

to introduce the theme of
the exhibition.
Especially focus on the
relationship between the
five elements, and the
re l a t i o n s h i p b e t we e n
them and the five senses.
Use an interactive device
to allow visitors to
personally participate in
the understanding of the
relationship between the
relationship chart.

First floor

The relationship between the five elements

Scrub acrylic plate

Iron sticks

200 201
202 203
 Detail-SPACE 12
Natural hall

In this open space, make

full use of the glass
wall.Adding soil and
vegetation in the room to
introduct the nature into
the exhibition hall.
On the other side, use the
reflection of the reflective
metal to introduct the
outdoor landscape into
the room.
In the exhibition hall, five
works of five artists were
A-A
exhibited.The theme are
still five elements. B-B

First floor

Reflective metal Grassland

A-A

B-B

204 205
 Robert Smithson
Eight-Part-Piece
1969
10*1.6 m

Guoqiang cai
Firework
2014
2*10 m

Anish kapoor
Descension
San-gimignano
Firework
2015
5*5 m

Anish kapoor
Descension
San-gimignano
Firework
2015
5*5 m

Richard Serra
Rounds: Equal Weight,
Unequal Measure
2016
209 × 529.7 × 225 cm

206 207
 Detail-SPACE 13
Video room

In the video room,there

are three types of boxes in
which visitors can watch
or experience different
videos about nature in
different ways.
Here, I try to switch the
p e r s p e c t ive i n w h i c h
the visitors experience
the exhibition.Let
them become aware
of the importance of
their own five senses.
Visitors consciously use
their own five sense to
watch the content, try Second floor
to u s e d i f fe re n t ways Acer P1500 3D Ready Professional
to experience things in and Education Projector
Brightness of 3000 Lumens
nature, so as to better
Native (1920 x 1080) Resolution
develop their own senses, 10,000:1 Contrast Ratio
and better understanding DLP 3D Ready
of the theme.

Reflective metal

PVC foam plastic

208 209
 Water sonic-Water vibrating device

2 Floor-viewing

Separate visual and auditory UCLA's Augmented Reality Sandbox

3 Room-viewing

1 Hanging-viewing

210 211
 Detail-SPACE 14
Audio room
In the audio room,I try to
isolate the single sense-
hearing.
Here, there is only a beam
of light, sound, and the
visitors themselves.
Just close the eyes and
listen to the sound from
nature.

Philips myLiving Runner LED Oupshi Power amplifier ceiling

Spot Aluminium 53090/48/P0 speaker
Power consumption: 35w - Light Model CL657
development: 45w. Input 70/100V
Second floor Body width: 9cm. Power 1.5-10W
Body length: 11cm. Max. SPL 96±2dB
Projection from ceiling: 10,7cm. Frequency response 300Hz-14KHz
Net weight: 0,420kg. Sensitivity 91±2dB
Speaker unit 4.5 Inch
Dimension 75*180mm
Net weight 0.8Kg

212 213
 Detail-SPACE 15
Book shop

Bookstore has a relaxed

atmosphere.Let the
plants surround the book.
Visitors can sit here and
read freely.

Second floor

Iron sticks Wood board

214 215
 Detail-SPACE 16
Courtyard

The abandoned rooftop

was reused.
Here, the wall is vertical
green, the floor using
reflective material, so that
the blue sky is relected on
the ground, feel like stay
in the water.
Visitors are free to rest,
sunbathing and thinking.

Second floor

Reflective metal Wood Furniture by Greg Klassen Vertical greening

216 217
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