Synesthetic Design: Handbook for a Multi-Sensory Approach

✍ Scribed by Michael Haverkamp

• Publisher: Birkhäuser
• Year: 2012
• Tongue: English
• Leaves: 472
• Category: Library

✦ Synopsis

Ahandbook for advanced design

Synesthetic design strives to develop products that systematically incorporate all five senses. In future, the current wealth of medical technical insights in psychology, physiology, motor functions, and neurology and the development of innovative materials with astonishing new properties will open up almost unlimited opportunities for the designer’s creativity. Haverkamp brings together for the first time precisely those aspects of this fundamental knowledge that are specifically relevant for designers. The result is a book that offers designers of all schools a clear and well-organized practical handbook and a solid foundation for their own designs.

• Everything designers need to know to design multi-sensory products
• With 91 sound files on the accompanying CD
• Synesthetic design is the most innovative current form of design

✦ Table of Contents

FOREWORD
1 Task AND FUNDAMENTALS
1.1. What is synesthetic product design?
1.2 PRODUCT DEVELOPMENT AS THE DESIGN FOR ALL SENSES
1.2.1 HUMAN-MACHINE COMMUNICATION
1.2.2 FUNCTIONAL DESIGN
1.2.3 PRODUCT PLACEMENT AND BRAND IDENTITY
1.2.4 THE SIGNIFICANCE OF MULTISENSORY ENVIRONMENTS
1.3 FUNDAMENTALS OF PERCEPTION
1.3.1 THE SENSES OF DISTANCE: SEEING AND HEARING
1.3.2 PHYSICAL SENSES OF PROXIMITY
1.3.3 CHEMICAL SENSES
1.3.4 PERCEPTUAL OBJECTS
1.3.5 SUBJECTIVE OR OBJECTIVE?
1.3.6 QUALIA
1.3.7 GROUPING
1.3.8 GESTALT PRINCIPLES
1.3.9 FOREGROUND AND BACKGROUND
2 Strategies of perception and design
2.1 CONNECTION OF MODALITIES WITHIN THE PERCEPTUAL SYSTEM
2.1.1 OVERVIEW
2.1.2 RULES OF CONNECTION
2.1.3 ELEMENTARY CONNECTIONS
2.2 FINDING SIMILARITIES -CROSS-MODAL ANALOGIES
2.2.1 ANALOGY RELATIONSHIPS
2.2.2 TEMPORAL ANALOGY
2.2.3 INTERSENSORY ATTRIBUTES
2.2.4 ANALOGY OF MOTION AND KINETIC DESIGN
2.2.5 SPATIAL ANALOGIES AND SOUNDSCAPES
2.2.6 FUNCTIONAL ANALOGY
2.2.7 TACTILE DESIGN
2.3 RECOGNIZING FAMILIAR FEATURES -ICONIC CONNECTION
2.3.1 ASSOCIATIVE CONNECTIONS
2.3.2 ONOMATOPOEIA
2.3.3 PICTOGRAM AND AUDITORY ICON
2.3.4 ASSOCIATIONS TO SMELL AND TASTE
2.3.5 THE CONTEXT
2.4 UNDERSTANDING THE MEANING - SYMBOLS AND METAPHORS
2.4.1 SYMBOLIC CONNECTIONS
2.4.2 COLOR SYMBOLISM
2.4.3 SYNESTHETIC METAPHORS
2.4.4 SYMBOLISM IN BRAND DESIGN
2.4.5 MUSICAL SYMBOLISM
2.5 EXPLORING INDIVIDUAL PERCEPTION - GENUINE SYNESTHESIA
2.5.1 GENUINE SYNESTHESIA
2.5.2 HEARING COLORS -SEEING ACOUSTIC TONES
2.5.3 SMELL, TASTE, AND EVERYTHING ELSE
2.5.4 SUBJECTIVE COLOR-FORM RELATIONS
2.5.5 MOVEMENT OF SYNESTHETIC IMAGES
2.5.6 VISUALIZATION OF MEANING
2.5.7 WHY SYNESTHESIA? FUNCTION AND SIGNIFICANCE
2.6 CONSCIOUSLY CONSTRUCTING -MATHEMATICAL AND PHYSICAL CONNECTIONS
2.6.1 ALGORITHMS AND CONCEPTS
2.6.2 OBJECTIVE COLOR-SOUND RELATIONS
3 HOLISTIC DESIGN
3.1 Cumulation of the sensory contributions
3.1.1 Segregation or integration
3.1.2 Perceptual conflicts
3.2 The choice of customer-effective strategies
3.2.1 Assistance in decision-making
3.2.2 Examples of application
3.2.3 Human-computer interaction
3.3 ELEMENTARY FORMS
3.3.1 BASIC FORMS OF PERCEPTION
3.3.2 ELEMENTARY DESIGN
3.4. VISUALIZATION OF NOISE AND MUSIC
3.4.1 ARTISTIC AND TECHNICAL VISUALIZATION
3.4.2 MUSICAL NOTATION, GRAPHICS, AND FILM
3.5 Perception and emotion
3.6 FUTURE PERSPECTIVES OF SYNESTHETIC DESIGN
3.6.1 DESIGN WITH ALL SENSES -FOR ALL SENSES
3.6.2 ROBUSTNESS
3.6.3 SUSTAINABILITY
APPENDIX
References
INDEX
PICTURE CREDITS
SOUNDS