Invisible Dimensions

Hyojin An

During my time, in the Interior Design course at Glasgow School of Art, this journey taught me that everyday spaces can hold hidden values when experienced through embodied senses, beyond sight. This exploration raised a thought provoking question in my mind; What is the significance of engaging with space using intagible senses when we can still live with privileged visual sense? Most lives can somehow go on with unbalanced sensory experiences, can’t they? Why do we as humans feel the need to activate all our senses? This almost sounds a bit metaphysical. Our bodies are equipped with senses suggesting a deeper significance lies beneath their existence. I have noticed that exhibitions presented in an experimental manner often attract visitors who engage deeply and depart with lasting impressions. I found that such exhibitions prompt us to employ our senses to comprehend their essence captivating us at a fundamental level, as naturally curious human beings. Through this endeavor focusing on these ‘invisible dimensions’ my goal is to delve into how spaces can possess depth and personality beyond visual elements, exploring how the fusion of multiple senses can provoke emotions enhance the bond between everyday spaces and their inhabitants and ultimately elevate our overall perception.

Ancient philosophers from Aristotle, Plato, and to René Descartes supported the view that ‘vision is the most noble sense among the human body’s senses. Aristotle believed that sight reveals many differences between things (2024), Plato considered it the sense given by God to observe the heavens and gain philosophical knowledge (2008), and Descartes emphasized its importance in understanding the physical world (René D., 2001). However, today, we often neglect these profound philosophical values behind what we see. As Pallasmaa argued, our embodied senses are suppressed by sight, and the sharpness of our vision limits our creativity and the endless possibilities of pure imagination (Pallasmaa, 2012, p. 17).

Experiencing a space through our senses allows us to truly connect with its authenticity and grasp its essence, understand our existence in relation to it. This deep connection enhances the significance of the space, making our interactions with it more meaningful. As Pallasmaa (2009, p. 147) illustrates that architecture provides our most important existential icons through which we can understand both our culture and ourselves, promoting investigations carried out with perceptive senses and a receptive and empathetic heart.

Perception is the interpretation of combined data from the chain of events triggered by each of our senses, which are encoded within our body. While space may appear unified to our introspection, it actually involves multiple representations linked to different sensory processes, each creating distinct spatial maps in the brain. To have an experience is to be confronted with a possible way the world is, and because of this, the experiences themselves, while not judgments, are inherently thoughtful. Ultimately, perception is a way of thinking about the world that involves a combined sensory experience of the entire body, rather than relying solely on visual input. These studies highlight that perception isn’t solely about what we see; it forms through our bodily sensory contact, allowing individuals to engage deeply with their experiences.

What is Invisible Dimension?

What senses, other than sight, can enhance our experience of a space? Inspired by Jasper Morrison and Naoto Fukasawa’s concept of ‘Super Normal(2007)’, which highlights the subtle yet profound qualities of ordinary objects integrated into everyday life, creating an atmosphere that we feel but find difficult to see, I envision adding transcendent value to our sensory experiences within everyday interior elements. This approach aims to make mundane activities more meaningful and playful for many people. I have been thinking about elements that, although invisible, reactivate our senses and foster a deeper, more human connection with our surroundings – what I call the ‘invisible dimension’.

Experiment on Tactility

In this experiment, I revisited the shape of Gropius’s iconic 1922 door handle, one of the most influential modernist designs in history (Cohen, 2023) and modified it to visually resemble metal but feel unexpectedly soft and tender when grasped.

Experiment on Acoustic Sense

In the process of the staircase experiment, half of the structure was designed in different sizes with steel panel alongside concrete to produce a different sound when tapped with a stick, inspired by the tool used by elders and visually impaired individuals. This approach transforms the simple act of using stairs as an opportunity for sensory engagement, an interactive and playful experience for users.

Experiment on Shadows and Light

I pondered the shape of the window and how it affects the silhouette of shadows. I designed a space inspired by my memories of home in the late afternoon. In this endeavor, my goal was to create an ambiance where individuals could dwell as emphasized by Heidegger— creating a space where one can meaningfully exist and connect with the world (Heidegger, 1971). By moving a lighting lamp, and peering through the T-shaped window the blank white wall revealed shadowy glimpses offering a pure encounter, with space perceived on a deeply sensory level.

As a designer dedicated to exploring spatial practices, I remain deeply committed to understanding the vital role of sensory perception and its profound benefits for human-centered design. By consciously integrating sensory experiences into various projects, I aim to take another step deeper into the design world, enhancing the way spaces are conceived and interacted with. I believe that starting with small, deliberate efforts to move away from consumerist and superficial—vision-centered— approaches in the early stages of design will be crucial. By thoughtfully considering and incorporating the invisible dimensions of sensory experience, these cumulative practices could pave the way for a new, more meaningful future in design. My aspiration is that these efforts will not only enrich our current understanding of space but also set the stage for innovations that foster a deeper connection between us and the environments we inhabit