Positively Affect Multi-Sensory Engagement for the Spa User
The modern spa is considered a sensual and recuperative place, where the senses play a key role. Traditionally, the senses are engaged through products and services provided in the spa. The environmental space of the spa is frequently visually stunning, predominantly engaging the sense of sight, but what of the other senses?
It is suggested that sight, touch, hearing and smell are influenced by the architectural design of the structure and environment. This dissertation investigates whether architects consider the sensory aspects of their designs; which senses are considered important and if the designer’s individual values of sensory experience bear any relationship to sensory design. There is little existing data on sensory design application in the architecture of the spa. Through analysis of existing literature on general architectural perspectives on the senses; and through surveying practising designers and spa industry individuals, this study reveals that designers rarely consider sensory response in their concepts. The study looks at some of the causes and consequences of this. The study concludes that the consumer may ultimately steer designers, and the spa industry, towards a more considered and creative, response to the sensory impact of architecture in the spa space.
Introduction
The spa environment, in the past, has been more of an extension a hospital in its approach, quite clinical and regimented, and not always a pleasant or relaxing to the ‘user’ (Durie, 2006). Over time, there has been a shift towards therapies pertaining to holistic (mind-body-spirit) emotional and physical wellbeing.
The Senses
Suppose for a moment that sound, touch and odour were treated as the equals of sight, and emotion considered as important as cognition. What would our built environment be like if sensory response, sentiment, and memory were critical design factors, the equals of structure and program?
Design
Traditionally, form follows function – “discover the purpose and the form will be obvious.” But as noted in their book, “form translates an object’s function into the language of perceptual expression” … otherwise disorder is experienced, thus chosen elements may be perceived as inappropriate for the intended message.
Analysis
Conclusion
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