ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Interior Space Perception by Predictability of Olfactory Preferences 1 Assistant
Professor at JNAFAU-SPA, Hyderabad and Research Scholar at Woxsen University -
School of Arts and Design, Hyderabad, India
1. INTRODUCTION Soon, two separate areas of research—increased
human body sensory sensitivity and material energy for building
applications—will collaborate closely. In his words, "sensorial membranes
that are linked with the new geometries of architecture formed of material
energy" is how human bodies should be viewed. The human body is unable to
perceive the information around it and respond to it. The human body serves as
a receiver of the many energies present in the environment, making them
useful. Only when one is cognizant of and present
with physicality and ephemerality in their work can they have an elevated level
of consciousness that leads to a multisensory experience. How then do architects analyze and map
the spatial features that these components produce? What are the impacting
factors on the design process and features? In addition to complementing the
choice of analogue methods and tools, computational design has grown to be
associated with numerous design tools that designers have employed over time.
From the conceptualization and design of complicated geometries to the
construction tools and techniques, the use of these new instruments has been
overpowering in achieving practically unachievable terrains for humans. When
compared to actual physical drawings and models, augmented reality (AR) and
virtual reality (VR) can be used as advanced tools for visualization, real-time
design decisions, and speeding up the process. Sachiko Kodama, however, asserts
that because digital computing is sequential, it is unable to replicate the
simultaneous, dynamic development of a human response through all the senses.
Therefore, her efforts investigate parallel computing that may have the ability
to mimic how people react to the natural world in 2011 (Brownell). As a result, the design of existing
architectural spaces takes into account the depths, forms, and functions of the
human body in terms of dimensions. According to Sean Lally, the creation of
building envelopes nowadays relies on vision and touch by establishing tactile
boundaries and visually perceptible edges that serve as an abstraction of the
human body. The gradient boundaries of material energy can be felt at different
ranges, intensities, and concentrations, therefore he sees the possibility of
improving human sensory perception. If the data obtained from the human body
is calibrated, it might be utilized to influence and alter the design of
buildings. A person's ability to perceive their environment may improve, for
example, if their sense of smell is sharpened. This will allow them to see
farther away items as well as those that are nearby. It's interesting to note
that chemosensory signalling that resembles smell happens outside of the
olfactory epithelium in human physiology. In other words, our bodies other than
our noses also allow us to smell. Olfactory chemicals are used by our internal
organs to process and respond to information about the internal environment.
Knowing that our skin and other organs have a sense of smell underscores the
significance of this sense and serves as a reminder of the possibility for
sensory-sensitive information that is responsive and environment-adaptive. 2. Overview Smells can alter the atmosphere of a space. A pleasant scent can make it inviting and friendly, but an unpleasant one can be unsettling. Smells have several effects on a space. Mood: Smells can affect your mood in a variety of ways. similar to how citrus may energize you while lavender can help you unwind. What You Think: Your perception of space might be affected by its smell. While a musty odour can make a space appear dirty, a pleasant, fresh scent might give the impression that the space is tidy and clean. Smells might bring up memories of former events. Like how the aroma of cookies could transport you back to your house and make you feel cosy and content. Health: Unpleasant odours might even make you feel ill, causing headaches or making it difficult to breathe. However, pleasant odours might improve your mood and make you feel better. To influence the smell of interior space, some options include using air fresheners, scented candles, diffusers, potpourri, or plants. It is important to choose scents that are appropriate for the space and not overwhelming. Additionally, regular cleaning and ventilation can help maintain a fresh and clean smell in the space. Gopal, & Cho (2020), pp.31-41. 3. Problem statement As opposed to other spatial perceptions,
why do architects prefer to design, map, and depict the visual? (2013)
Karandinou In addition to the visible, immaterial, and intangible aspects of
space, architecture also addresses the liminal qualities that exist between the
solid and the fluid as well as the ambiguous materiality of sound and smell.
The human touch and multisensorial connection are what make the experience more
intense. in 2011 (Brownell). ‘I like air structures because of the
major structural element you can breathe, and it smells of violets and you
can’t draw it. Cedric Price, 1984 4. Scope of the Study This research examines the role of
odours, or the intangible materiality of odours, in architectural and spatial
design. What would it imply if odour could be used as a design element in
architecture? What can smell accomplish to establish a space, though? How does
fragrance alter a room? These were the initial inquiries that served as the
basis for this study. With the help of clever ventilation
systems, architects and construction engineers are primarily focusing on
eliminating some disagreeable odours from the places they have created. Humans,
however, can identify millions of distinct odours just by using their nose's
smell receptors. So, it's an intriguing idea to incorporate smells into the
process of designing a space. Although fragrances themselves cannot be
represented visually and their ability to transport us to a different place and
time cannot be demonstrated, they are nonetheless essential components of a
setting that makes us feel at ease, at home, and at ease. Sometimes, the odours
in an environment are to blame for the opposite emotions—fear, rage, agitation,
and estrangement. When considering and creating spaces, these delicate and
rather complex concerns are rarely taken into account. An individual's needs for ambient and
comfortable temperatures within a space vary, just as their sensory perception
of smells does. Although each person subjectively interprets these and thus
responds differently, an individual instantaneously receives this information
of change in the environment when any of the three aspects of scent, namely
flow, intensity, or duration, are disturbed or augmented. The conventional wisdom holds that once a
pen meets paper, it is easier to work with something physical. This reasoning
also applies to scents. The depiction of odours is one part, and communicating
the sensory experience of smells is another. Given that linguistic descriptors
frequently rely on a material's visual qualities, smells are frequently
visualized. Katelyn Lucas develops detailed guidelines for remodelling existing
buildings that take odours into account in her studies. Her work includes the extensive
text of specifications describing the quality of air, wind direction, smells of
the plantations nearby, and the impact of heat from the sun or humidity on the
passing smells that one might breathe if one were standing in that particular
position, in addition to detailed construction and material
specifications. 5. Olfactory preferences Olfactory preferences, which refer to an individual's likes and dislikes concerning specific smells or aromas, are commonly employed as an independent variable in both psychological and sensory research. In the study of olfactory preferences, researchers frequently manipulate specific odour stimuli to gauge their impact on various dependent variables, such as mood, behaviour, and cognitive functions. There are notable connections between olfactory preferences, multisensory encounters, and cognitive memory: Multisensory Effects: Olfactory preferences are closely intertwined with other sensory modalities like touch, sight, and sound. Olfaction is not an isolated perception, and studies have demonstrated how odour preferences can influence various sensory experiences. For example, a pleasant smell can enhance the perception of taste, while an unpleasant odour can significantly detract from the dining experience. Investigating this interaction between the sense of smell and other senses can yield insights into how multisensory experiences shape human behaviour and perception. Cognitive Memory: Olfactory preferences are intricately linked to cognitive memory, particularly through the 'Proustian memory effect' or 'odour-evoked memories.' It is well-established that certain scents can trigger vivid and emotionally charged memories from the past. When individuals encounter a preferred odour, it can evoke associated memories, emotions, and even contextual details. Research in this area explores the relationships between olfactory preferences and various aspects of memory, including encoding, retrieval, and the emotional intensity of remembered experiences. This research illuminates the role of smell in memory storage and recall. Associative Learning and Conditioning: Olfactory preferences also have ties to associative learning and classical conditioning. For instance, researchers can investigate how exposure to specific odours in positive or negative contexts can lead to changes in a person's olfactory preferences over time. This type of research contributes to our understanding of how preferences evolve and how they influence decision-making and behaviour. Psychophysiological Responses: Olfactory preferences can trigger psychophysiological responses, such as alterations in heart rate, skin conductance, and brain activity. Examining these physiological responses provides valuable insights into the underlying mechanisms and their connections to cognitive processes. In addition, the study of olfactory preferences extends
beyond the realm of olfaction itself and serves as a valuable independent
variable in research. Smells can evoke synesthetic experiences, translating
into sensations expressed through textures and tactile perceptions. This experience would be very different from
describing a scent or odour linguistically through a simile or other literary
language that may be meant to evoke the senses. When a perfume is expressed
linguistically, its components are typically figuratively stated to elicit a
sensuous experience without actually smelling the perfume. However, if texture
were to be used to transmit perfume, the expression of the fragrance would link
to the constituent palette through, for instance, its sensory weight or volatility.
The worth of scent in civilization is related to cultural perception, which is
different from verbal and non-verbal expressions of smell. Lee (2020) 6. Space, architecture, smell, and body Smells, which are the fleeting and
intangible components of an environment, connect to a person in a very specific
way that the area's form, shape, and colour fail to do. Toshiko Mori
investigates how sound and smell function, inform, and alter; their impact may
be felt even in the absence of a typical material artefact, making them some of
the most effective 'materials' for designers to use. Kapur (n.d.), 16. 6.1. Space and smell In the past, Western society has
prioritized sight over other senses and is frequently reticent to take into
account other factors that are nonetheless essential to the experience of
architecture, design, and habitation. Olfaction would appear to be largely
unrelated to the creation of spaces, but a careful examination of cognitive,
perceptual, cultural, social, planning, and anthropological phenomena would
suggest that smells are not only deeply ingrained elements of places but also
occasionally crucial to their definition. Additionally, works by architects and
other professionals have addressed scents about spirituality, the sanctity of
religion, and the design of places of worship. The employment of smells or
synthetic odours in public places is nothing new. The retail and consumer
industries have developed olfactory environments that offer potential customers
and buyers a distinctive shopping experience and influence them to make
purchases they might not have otherwise made. In addition, there is a practice
of constructing customized "olfactory landscapes" and a tendency of
deodorizing venues to give visitors a sense of neutrality. A space can be
nothingness, much like in relationships: Space can be felt when nothing is
present. Our movement or pattern of stillness within a limited place is
affected by the presence of things or nothing. The spatial ideas of depth,
distance, openings, and closing assist in composing space metaphorically, but
they also do so subconsciously and through prior experiences, where scents in a
location may establish boundaries or make it easier for people to interact
within that area. Within a setting that is always modifying and changing, the
odours and the interactions between people serve as envelopes and containers. A
space must interact in a way that is damaging to the temporality of these
changes to be adaptive. When it comes to interior design, it's
important to consider the overall sensory experience of a space, including the
scent. A well-designed space should not only look good but also feel good and
smell good. It's important to choose scents that complement the other elements
of the design and create the desired atmosphere. 6.2. Smell and structure The artist Ernesto Neto has dedicated three decades to crafting temporary sculptures and installations that echo the grandeur of nature. His primary medium involves intricately woven polyamide yarns, using techniques such as knitting and crocheting, resulting in an array of textures, patterns, and colours. These textile structures serve as vessels, filled with an eclectic mix of materials like spices, sand, and Styrofoam, creating immersive experiences that engage our senses of touch, sight, and scent. Neto's artistic endeavours often delve into the interplay between olfaction and spatial perception, prompting viewers to contemplate how the human body navigates these labyrinthine installations and the ways in which it stands, walks, climbs, or maintains balance within them. This unique approach to architectural space challenges traditional boundaries. Similarly, architects have seldom explored spaces through our sensory faculties. Architect Kengo Kuma, with a special focus on scent, conceived the "Scent" pavilion as part of the Sensing Spaces exhibition at the Royal Academy of Arts in London. The pavilion aims to heighten the awareness of smell, movement, and orientation in architectural design. Architect Makato Yokomizo and olfactory artist Maki Ueda collaborated on the creation of 'Invisible White,' a pavilion deliberately enveloped in darkness. This absence of light compels visitors to rely on their non-visual senses—touch, smell, and hearing—as navigational aids within the dimly lit environment. To guide visitors through this sensory journey, three distinct scents were employed. Maki Ueda's 'Olfactory Labyrinth Vol.1' takes a similar approach, employing three distinct fragrances stored in small bottles, suspended from the ceiling with wicking thread. Visitors engage in an interactive experience by moving between these bottles and selecting their preferred aroma among the trio. In 'Urban Smellscapes,' architects use scents as a tool to map cities for urban design and planning. By exploring the role of smells and odours in urban development and their influence on design choices, this project opens new possibilities for incorporating scent as a material in architectural practice. It underscores the importance of considering how a building's design and construction materials can profoundly impact the olfactory character of a space, going beyond the conventional focus on ventilation systems. Smells can be efficiently blended with other sensory elements to produce multi-sensory settings, which can establish more specialized atmospheres. Henshaw's perspective has been about maintaining and enjoying scents, which are a part of any urban landscape or "smells-cape," as opposed to separating, deodorizing, masking, scenting, and making spaces sterile and neutral. 6.3. Smell and Urbanscapes A technique for scent mapping actual
physical areas into a computerized smell-mapping system has been developed with
the help of smell escapes and smell mapping. A smell vocabulary and a fragrance
dictionary for Urbanscapes were developed by combining social media data,
including photographs of specific locations from Flickr and Instagram and
geo-referenced tweets from Twitter. Most crucially, these toolkits enable
designers and city planners to consider scents in addition to lights and noises
when planning urban environments, bringing the concept of "how we smell
the cities" closer to people Quercia et al. (2015). It can be difficult to mask the odours in the area around it.
Smells are odd in that they are invisible, ethereal, and can be both dynamic
and static depending on the source, dissemination, and presentation of the
smell. We examine the materiality of smell and the environmental factors that
influence it to be able to be used as a design material when creating
environments. A smell's intensity can fluctuate greatly, especially with the
passage of time and the length of time it is present. The intensity of a smell
also fluctuates according to how far it is from its source, which will
gradually wither away as time and distance pass. There are, however, potential
means of altering the strength of odours. Smells can be carried for varying
lengths of time, distances, and intensities as air conveys them by changing the
speed, direction, and force of airflow. The humidity or moisture content of the
air is another crucial component of our environment that can affect how a
person perceives smells. The way odours travel depends nearly immediately on
the temperature. Compared to colder temperatures, warmer temperatures make
scents more detectable and, hence, more easily traceable. Quercia et al. (2015) How many scents are employed as a
material for creation by utilizing the airborne smell molecules, which are
fluid in nature and easily deviated from their direction of movement? Figure
1
Figure
2
Smells can be disclosed over time and
reflect the space an object has occupied by reflecting on the concepts of time
and space. How to value an object's odours becomes a concern when the smells
are distracting to the environment and don't accurately describe the substance.
If the aromas of a place or an object were to be revealed all at once, it would
be a rather quick and uninspiring way to present and have every essence of the
object at first sight, touch, or smell. Nature alerts us to yet another phenomenon,
though. We grow to love nature more and more
every time we visit our favourite area while strolling through it and soaking
in its natural scents. One can never be satisfied or bored while breathing in
the clean, natural air, which increases our desire to return to these locations
and further explore the depth of nature. Understanding how fragrances are
designed through their objects may need taking a closer look at how odours are
contained and disclosed in nature and its works of art. Seasonal fluctuations,
including variations in temperature and humidity, can either enclose or reveal
scents in a space. Kapur (n.d.), 20-22. 7. Smell, Recall, and Feeling Perhaps more than any other sense, the
ability to smell has a strong connection to memory. Consider some of the meals
you frequently ate as a kid. If your mother frequently made a lot of bread,
seeing a bakery can make you remember spending afternoons in the kitchen of
your childhood home, bringing back pleasant, cosy memories. On the other hand,
you might detest broccoli right now since the fragrance makes you think of all
the willpower struggles that took place at the dinner table. This is why many bakeries are set up like
retail stores, with bread lining the walls and propped up on tables, as any
bakery owner worth their salt is aware. The loaves will lure you not just with
their lovely, browned surfaces but also with their perfume. For that cosy feel,
several bakeries would even leave burlap flour bags lying around. The aroma of
baking bread is, of course, what sets a bakery apart from a simple bread shop.
Other smells cause similar reactions in the majority of people. For instance,
lavender soothes the mind. Stress, anxiety, and depression are all decreased by
vanilla and chamomile. Alertness is increased by peppermint and citrus.
Additionally, certain fragrances have the power to alter how someone perceives
a space. A space feels bigger and airy when it is scented with things like
apples and cucumbers. On the other side, barbecue smoke causes a room to feel
oppressive and small. Even while purchasing odours for restaurants may seem
absurd, the appropriate aromas can boost food sales by up to 300%. Scents
enhanced impulse purchases by 6%, buying intention by 14.8%, and the length of
a customer's stay by 15.9%, according to research from the University of
Paderborn. Yu (2017) 8. Smell and Colour The connection between the senses of
smell and colour is intricate, as both are processed by the brain using the
same sensory organs. While researchers continue to explore the precise nature
of this relationship, studies have revealed noteworthy associations between
these two sensory realms. Research suggests that people often associate
specific colours with particular smells. For example, the colour green tends to
evoke thoughts of fresh, herbal aromas, while yellow is frequently linked to
citrusy or fruity scents. Similarly, the colour red often brings to mind warm
and spicy fragrances, and blue is often associated with the perception of
clean, aquatic scents. Additionally, the colour of an object can
sometimes influence how we perceive the strength and character of a scent. A
visually appealing, brightly coloured food or beverage may lead us to perceive
its scent as more robust and pleasant compared to a similar item with less
visual appeal. It's important to recognize that the relationship between smell
and colour is not consistent and can be influenced by individual variations in
perception and cultural associations. Consequently, this connection between these
two senses is multifaceted and can exhibit considerable diversity based on
individual differences and the specific circumstances in which these sensory
experiences occur. 9. Smell and Gender Studies have indicated that gender can
have an impact on individuals' scent preferences. Research has shown that women
typically possess a heightened sense of smell compared to men, often displaying
greater proficiency in recognizing and distinguishing between various scents.
Moreover, gender-related differences may extend to scent preferences, with
cultural and biological factors contributing to the variations observed. For instance, some studies suggest that
women may gravitate towards floral or fruity fragrances, while men might lean
towards earthy or spicy scents. It's crucial to emphasize that these
preferences are not universally applicable and can significantly differ from
one individual to another. Cultural influences are also noteworthy in this
context, as specific scents may be more closely associated with particular
genders in diverse cultural settings. While gender can indeed play a role in
shaping scent preferences, it's essential to recognize the significance of
individual distinctions and the impact of cultural factors on these
preferences. 10. Smell and Culture The sense of smell is intricately intertwined with culture, serving as a vital element in our perception of the world and forming deep connections with our emotions, memories, and social interactions. Diverse cultures exhibit distinct perspectives on smell, evident in their language, traditions, and customs. Notably, some cultures regard specific odours as pleasant, while others may find these same scents offensive or repulsive. Furthermore, smell is intimately connected with culinary culture. Certain aromas are closely linked to particular foods or cuisines, evoking strong cultural associations and memories. In some cultures, the skilful use of spices and herbs is deemed fundamental to cooking, with the scents of these ingredients integral to the culinary experience. Additionally, the historical use of perfumes, incense, and scented products is prevalent in many cultures, often intertwined with religious or spiritual practices. The choice of particular fragrances can convey specific meanings or be employed to establish a particular ambience or mood. In numerous non-Western civilizations, smell has traditionally held a preeminent position among the senses. For instance, the Ongee people of the Andaman Islands base their calendar on the scents of blooming flowers throughout the year, naming each season after a distinct fragrance. Smell plays a role in defining personal identity, with individuals signifying themselves by rubbing the tip of their nose, simultaneously conveying 'me' and 'my odour.' Greetings centre around the inquiry, 'Konyune onorange-tanka?' which translates to 'How is your nose?' Responding with feeling 'heavy with odour' prompts the greeter to take a deep breath to dispel some of the excess aromas. It's even acceptable to share extra fragrance with someone lacking 'odour energy.' Both the Senegalese Serer Ndut and the Brazilian Bororo cultures relate human identity to scent. The Bororo equate an individual's life force with their body odour and their soul with their breath's scent. For the Ndut, two distinct scent-defined forces animate each person—one physical, tied to body and breath odour, and the other spiritual, believed to persist after death, enabling a descendant to experience it. Identifying which ancestor has taken the form of a child is determined by the similarity of the child's aroma to the deceased. In India, smelling someone's head was a customary affectionate greeting, akin to a Western hug or kiss. An ancient Hindu text asserts, 'I will smell thee on the head,' as the ultimate expression of deep love. Comparable customs are observed in Arab nations, where speaking to someone while gently exhaling toward them symbolizes friendship and kindness. Conversely, withholding one's breath from someone signifies a dishonourable avoidance of engagement. In cultures valuing the sense of smell and viewing odour as the essence of individual identity, interpersonal 'exchanges' or 'mixing' of odours are often strictly restricted. These olfactory regulations have significant social implications, including prohibitions on sexual activity between relatives. For instance, the Amazonian Desana tribe believes that all its members share the same odour. Consequently, spouses must be chosen from different tribal groups, as marriage is only permitted between individuals with distinct odours. This principle is evident in ritualistic exchanges involving objects with differing odours, such as one group gifting beef and receiving fish in return. Certain ceremonies even involve the exchange of ants with distinct scents. The relationship between smell and culture is intricate and multifaceted, shaping our experiences and perceptions of the world around us in profound ways. Social Issues Research Center. (n.d.) 11. Methodology for research Based on all the literature study of the data based on the various connections and smell. A pilot research was initiated to take the line of study ahead. Following was the methodology used Figure 3
The exploratory research carried out had 2 parts - a market survey and a user survey. In the market survey - home decor and home fragrance brands were approached to find out the most-selling fragrances in the residence category. Few brands had their own named fragrances like Nature Dive, or Fruity Floral etc. The ingredients of these fragrances were studied to know the composition and the higher percentage of fragrance used was taken up as the raw smell for user survey. Based on this approach from four home fragrance brands - the sample fragrances were selected. The samples were - Jasmine, Rose, frankincense, sandalwood, and tea tree. The second part of the survey was a user survey. 12. A Recce as a Base for Olfactory Predictability Index The study was carried out on a test group of 100 plus members for a specific interior space - residences. Residences render the character of a family and their lifestyle and broadly they share similar likes and dislikes. Residences also work around peace and calm along with the day-to-day routine worked out. A place that people call home, is often an extension of their own identity and character that’s translated into a space. This deep association with a space and its user is at its highest within a home and its owner. Hence the pilot study of the impact of smell and its user would be best in homes since it would be very dear to its users. It’s also the space where users would be more vigilant and open to change, and add-ons based on the study outcomes. A questionnaire enquiring about basic information along
with test aromas was showcased. The residential interior function was allocated
five test smells that were gathered from preliminary data based on sales of
specific smells in the interior functions chosen for residence space. The smell
filter paper samples were colour-coded, and the name of the aroma wasn’t
mentioned as this could impact the smell preference of the candidate. First and
Second preference was taken from each person. Figure 4
13.1. Study on Aroma Preference in Residential
Spaces Figure 5
Figure 6
Figure 7
Figure
8
Figure
9
Figure
10
This study reveals that the most liked
colour preference between men and women is blue for personal space and commonly
the smell preference is also Jasmine followed closely by Rose aroma. The next
colour preference among women is red and in this section of the study
candidates inversely prefer Rose first and then Jasmine aromas for residential
interior space. 13. Scope for Future Study The experimental study could be extended
to various functions in interior spaces like offices or malls. People spend a
major part of their productive time and day at an office and hence the
environment needs to support their outcome and comfort levels. Productivity is
dependent on the stimulus of a multi-sensory interior space, of which olfactory
sense is a strong part. At a mall, there are various sections of people from
visitors to workers, young to old, male, and female etc. A common aroma or
smell to be established in this mixed set of people would be a challenge and
can be checked with various case studies and a similar experimental study too.
The findings of this study could help interior designers understand the
Olfactory inclination of people in different spaces depending on the functions
associated with it. A key element within the multi-sensory umbrella has the
potential to be used within interior design to uplift the quality and ambience
of interior spaces. 14. Conclusion A detailed study was carried out based on
available data on smell and its correlation with multiple factors that affect
the architecture and interior space. This space that surrounds us
subconsciously has an impact on the user and his reactions to the space. From
memory to productivity, comfort to usability, the Olfactory sense is an
integral element within the multi-sensory plethora. An arena that could work
upon with much more due and importance for its unique and high-valued quality
it renders to the quality of an interior space. A pilot study was carried out
on a small number of test groups for residential spaces to understand if colour
and smell preferences could be connected and common ground be established. An
analysis of the sample number group showcased preliminary findings that the
smell preferences for the interior space were common between males and females.
Colour preferences for personal space are bought in the element of how the
person would co-relate a selected colour within an interior space. Also, the
correlation of people’s colour vs. smell preference could be established with
uniformity in their selection among mass numbers. CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS None. REFERENCES Gopal, S., & Cho, Y. (2020, August). A Research on Spatial Perception Fo-cused on Olfactory Stimulant. Proceedings of the 8th International Conference on Kansei Engineering and Emotion Research, 31-41. https://doi.org/10.1007/978-981-15-7801-4_4. Kapur, J. (n.d.). Smells : Olfactive Dimension in Designing Textile Archi-Tecture. Lee, C. (2020). Olfactory Sense as an Object of Design Practice : Designing for an Emotional Experience in the Smart Technology Sector. The Design Journal, 23(3), 463-474. https://doi.org/10.1080/14606925.2020.1745568. McLean, K., Medway, D., Perkins, C., & Warnaby, G. (2018). Designing with Smell Practices, Techniques and Challenges (Victoria Henshaw, Ed.). Routledge Home. Quercia, D., Schifanella, R., Aiello, L. M., & McLean, K. (2015). Smelly Maps: The Digital Life of Urban Smellscapes. https://doi.org/10.48550/arXiv.1505.06851. Social Issues Research Center. (n.d.). The Smell Report an Overview of Facts and Findings. Yu, H. (2017, August 3). The Psychology of Restaurant Interior Design, Part 2 : Scent. Fohlio. Retrieved From 2023, May 11.
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