Territories of Olfaction
Medical / Pharmacy and Death:
odors return to earth (decompose & gases escape)
odors return to earth (decompose & gases escape)
human excrement
ritual incense / perfumes
embalming, entombment cremation
embalm-fragrances
embalm-fragrances
balsams (myrrh, storax)
spices wrapped around body
spices wrapped around body
medical – disinfectants
herbs to treat sick & dying
vapors (essence)
scents & cosmetics
vapors (essence)
scents & cosmetics
desire, pleasure, seduction, memory
blood – violence / death
sacrifices Aztec cities
smell of death
smell of death
birth – deodorized feminine products (menstruation)
incense = divine spirits
sulfur = evil spirits
incense = divine spirits
sulfur = evil spirits
rotten eggs
volcano & lava
fire & burning
volcano & lava
fire & burning
animals – find food or attract mates
emotional force & attraction
1)PROJECT: l’Ossuaire Municipal, Catacombs of Paris
The catacombs of Paris, which originally began as stone mines 20 meters below the streets of Paris, were re-purposed during the 18th century as burial grounds to house the bones of around six million people. The construction began shortly after an incident on May 30, 1780 when a wall collapsed between a Parisian restaurant and a cemetery exposing the overcrowded human remains condition present in all of the Parisian cemeteries. These were victims of the black plague, war, starvation and other illnesses whose bodies were piled on top of each other in mass graves. The cadavers of dead bodies posed a health risk and concern for the citizens of Paris. Between 1785 and 1814 all of the bones from the cemeteries and were relocated into the tunnels of the mines. The serpentine tunnels pose a connection with the serpent luring Adam and Eve in the Bible to eat the forbidden fruit; and evil spirit of the devil. While the visual components contain bones and earth underground. Decomposition of the bodies has already occurred so the stench of the release of chemicals (a smell similar to ammonia) is not present in the catacombs. However, after the tunnels were first filled with the cadavers, air flow was lacking. So, wells were drilled to the surface to refresh the underground air. At first, smoke rose up through the wells releasing the odorous decomposing gases into the public air. Now these gases are no longer inside the tunnels, but the odor of death still lingers inside the walls through the cold air, ground water, burning fire torch, dirt, soil, stone and bones. The mines themselves are quite cold giving a chill to the bone as one walks through the unknown remnants of lives past in the jumbled mix of inhabitants.
The catacombs of Paris, which originally began as stone mines 20 meters below the streets of Paris, were re-purposed during the 18th century as burial grounds to house the bones of around six million people. The construction began shortly after an incident on May 30, 1780 when a wall collapsed between a Parisian restaurant and a cemetery exposing the overcrowded human remains condition present in all of the Parisian cemeteries. These were victims of the black plague, war, starvation and other illnesses whose bodies were piled on top of each other in mass graves. The cadavers of dead bodies posed a health risk and concern for the citizens of Paris. Between 1785 and 1814 all of the bones from the cemeteries and were relocated into the tunnels of the mines. The serpentine tunnels pose a connection with the serpent luring Adam and Eve in the Bible to eat the forbidden fruit; and evil spirit of the devil. While the visual components contain bones and earth underground. Decomposition of the bodies has already occurred so the stench of the release of chemicals (a smell similar to ammonia) is not present in the catacombs. However, after the tunnels were first filled with the cadavers, air flow was lacking. So, wells were drilled to the surface to refresh the underground air. At first, smoke rose up through the wells releasing the odorous decomposing gases into the public air. Now these gases are no longer inside the tunnels, but the odor of death still lingers inside the walls through the cold air, ground water, burning fire torch, dirt, soil, stone and bones. The mines themselves are quite cold giving a chill to the bone as one walks through the unknown remnants of lives past in the jumbled mix of inhabitants.
http://prestonparish.wordpress.com/2010/02/14/paris-day-3-enter-the-catacombs/
http://magazine.istopover.com/2011/01/13/visit-the-catacombs-of-paris/
http://www.carrieres.explographies.com/indexus.htm
2)PROJECT: Buron Odore del Cristo, Philippe Rahm
Swiss Architect Philippe Rahm and J.G. Décosterd explore the symbolic and spirituality of odor, Buron Odore del Cristo (The Sweet Odor of Christ) which was created for the exhibition “Dal Paradiso a ofll’Inferno” (“From Heaven to Hell”) in 2004. In this project space disappears and becomes a spiritual place with no boundaries or walls. Instead of using light to symbolically represent the divine, Rahm uses air. The place is a bodily exchange with Christ. An artificial mushroom was hung upside-down attached to the ceiling dropping all the way to the floor releasing these scents into the air for anyone who entered the tomb. For the Catholic Church, its followers take in the Body of Christ through a wafer and the scent associated with the wafer is a stale piece of bread and the Blood of Christ as a cup of wine. Buron Odore del Cristo replaces this association with emanating smells of incense, myrrh and cinnamon; holy odors that are used inside the Church. This approach is to not take the body of Christ into oneself but to go inside Christ and be one with Him; smell him as if He were there. The scents were derived from narrative texts which described the smell of Christ. With the help of perfumers Christopher Sheldrake and Christine Nagel, the odor of Christ was developed and placed inside of a tomb.
Swiss Architect Philippe Rahm and J.G. Décosterd explore the symbolic and spirituality of odor, Buron Odore del Cristo (The Sweet Odor of Christ) which was created for the exhibition “Dal Paradiso a ofll’Inferno” (“From Heaven to Hell”) in 2004. In this project space disappears and becomes a spiritual place with no boundaries or walls. Instead of using light to symbolically represent the divine, Rahm uses air. The place is a bodily exchange with Christ. An artificial mushroom was hung upside-down attached to the ceiling dropping all the way to the floor releasing these scents into the air for anyone who entered the tomb. For the Catholic Church, its followers take in the Body of Christ through a wafer and the scent associated with the wafer is a stale piece of bread and the Blood of Christ as a cup of wine. Buron Odore del Cristo replaces this association with emanating smells of incense, myrrh and cinnamon; holy odors that are used inside the Church. This approach is to not take the body of Christ into oneself but to go inside Christ and be one with Him; smell him as if He were there. The scents were derived from narrative texts which described the smell of Christ. With the help of perfumers Christopher Sheldrake and Christine Nagel, the odor of Christ was developed and placed inside of a tomb.
3)PROJECT: FlatWorld, ICT
FlatWorld is a completely digital environment with three-dimensional models humans to interact with. The project began in 2009 and is currently being used as a training environment for soldiers. The participants can walk or run through a space where the walls consist of rear-projection flat panel screens which depict a room interior, views of the outside or of the building’s exterior. Adding props to the scene adds to the reality of the environment blending into the space and the projected panel walls. The panels simulate a multitude of geographic locations such as a city in the Middle East. Sound effects are synchronized with the rendered graphics as well as lighting to represent explosions or a lightning storm. The scene further enhanced to create a more realistic environment through which smells including burned charcoal are pumped into the room making the trainee feel fully immersed into the scene. The addition of smell helps the soldiers to remember their training when they enter the war zone. In this digital training environment, smells of death, fire, oil, gun powder, and so forth add to the realism of the scenario preparing them for future combat.
FlatWorld is a completely digital environment with three-dimensional models humans to interact with. The project began in 2009 and is currently being used as a training environment for soldiers. The participants can walk or run through a space where the walls consist of rear-projection flat panel screens which depict a room interior, views of the outside or of the building’s exterior. Adding props to the scene adds to the reality of the environment blending into the space and the projected panel walls. The panels simulate a multitude of geographic locations such as a city in the Middle East. Sound effects are synchronized with the rendered graphics as well as lighting to represent explosions or a lightning storm. The scene further enhanced to create a more realistic environment through which smells including burned charcoal are pumped into the room making the trainee feel fully immersed into the scene. The addition of smell helps the soldiers to remember their training when they enter the war zone. In this digital training environment, smells of death, fire, oil, gun powder, and so forth add to the realism of the scenario preparing them for future combat.
Perfumes:
3 parts (notes)
3 parts (notes)
top-notice first & first to disappear
top: citrus, fruit, spice
middle (heart)
middle: floral
bottom (bases-most persistent)
base: woody, musky, amber
question: perfumery
what are the combinations and what are their associated concentrations?
construction of a perfume
components that structure the smell
components that structure the smell
ornament, details
scent formula for architecture
perfume corrected (corrects) ugliness
1)PROJECT: Léviathan Thot, Ernesto Neto
As part of the Paris Autumn Festival, Neto displayed Léviathan Thot in the Panthéon, Paris in 2006. Neto used tulle and polystyrene suspended from the ceiling to create a new relationship between space and the body. The translucent skin allowed for visitors to see the scents establishing a tension wanting to touch and play with the hanging floral stigma releasing more scents into the air. Through the passage of time, the scent dissipated into the space and would visitors would need to interact with it again (spray more perfume into the room).Like perfume which encompasses the space all around, Léviathan Thot provided a new spatialized scent formula which worked with gravity to place smells directly in front of the nose like a top note. The aromatic combination included black pepper, powdered cloves, turmeric, ginger and sand representing a flower with unique colors and perfume. The chandelier was intended to be touched, seen and smelled. Residue of the different spices and herbs left circles on the floor as a remnant of the installation (like the base of the perfume).
As part of the Paris Autumn Festival, Neto displayed Léviathan Thot in the Panthéon, Paris in 2006. Neto used tulle and polystyrene suspended from the ceiling to create a new relationship between space and the body. The translucent skin allowed for visitors to see the scents establishing a tension wanting to touch and play with the hanging floral stigma releasing more scents into the air. Through the passage of time, the scent dissipated into the space and would visitors would need to interact with it again (spray more perfume into the room).Like perfume which encompasses the space all around, Léviathan Thot provided a new spatialized scent formula which worked with gravity to place smells directly in front of the nose like a top note. The aromatic combination included black pepper, powdered cloves, turmeric, ginger and sand representing a flower with unique colors and perfume. The chandelier was intended to be touched, seen and smelled. Residue of the different spices and herbs left circles on the floor as a remnant of the installation (like the base of the perfume).
http://architecture.org.nz/2009/09/22/video-of-the-week-xxxii-site-specific-mini-series-iii/#more-2069
http://www.festival-automne.com/leviathan-thot-spectacle79.html
2)PROJECT: The Smell of Fear, Sissel Tolaas
In 2007, Tolaas collected sweat from nine men who were placed in a fear inducing situation by a device placed under their armpits. The sweat was placed into a spray bottle and each spray bottle labeled 1 through 9. The bottles were displayed on a store shelf just like perfume. Bottle 1 was described to have the scent of bug spray, bottle 2 to have the scent of a skunk and syrup bouquet, bottle 3 to have the scent of beer and cologne, bottle 4 to have the scent of a bar of soap while bottle 7 had the scent of a musky body odor and bottle 8 the most pungent of the group. As perfume was developed to mask personal odors, the Smell of Fear collected these personal body odors and made them into a type of perfume. The scents created deodorant type notes that were pungent enough to make one gag. The odors were also sprayed around the space, on pieces of paper, painted into the walls (like a scratch and sniff).
In 2007, Tolaas collected sweat from nine men who were placed in a fear inducing situation by a device placed under their armpits. The sweat was placed into a spray bottle and each spray bottle labeled 1 through 9. The bottles were displayed on a store shelf just like perfume. Bottle 1 was described to have the scent of bug spray, bottle 2 to have the scent of a skunk and syrup bouquet, bottle 3 to have the scent of beer and cologne, bottle 4 to have the scent of a bar of soap while bottle 7 had the scent of a musky body odor and bottle 8 the most pungent of the group. As perfume was developed to mask personal odors, the Smell of Fear collected these personal body odors and made them into a type of perfume. The scents created deodorant type notes that were pungent enough to make one gag. The odors were also sprayed around the space, on pieces of paper, painted into the walls (like a scratch and sniff).
http://www.pitch.com/2007-02-01/culture/smells-like/
http://www.wired.com/wired/archive/15.05/posts_odor.html
Food:
quality (state of decomposition)
quality (state of decomposition)
bacteria (aging, fermentation)
preserve with spices, honey, vinegar
preserve with spices, honey, vinegar
1)PROJECT: Made In Italy, Gaetano Pesce
The smell of food is an incredible source of olfaction. It has the ability to indicate if something is fresh or spoiled and rotten. Some foods need bacteria to ferment and age, while bacteria in other foods cause it to be inedible. Gaetano Pesce uses perishable foods in his exhibits such as Made in Italy. This piece also shows the passage of time and its relationship to smells and decomposition. Typical foods and drinks were displayed to the public and left to spoil. Items that needed to be refrigerated were exposed to the air of the space. Other foods that should have been sealed and contained were left open. This provided the visitors with a unique olfactory experience of time from the day of original exhibition opening when all items were fresh to the closing when the food was aged.
The smell of food is an incredible source of olfaction. It has the ability to indicate if something is fresh or spoiled and rotten. Some foods need bacteria to ferment and age, while bacteria in other foods cause it to be inedible. Gaetano Pesce uses perishable foods in his exhibits such as Made in Italy. This piece also shows the passage of time and its relationship to smells and decomposition. Typical foods and drinks were displayed to the public and left to spoil. Items that needed to be refrigerated were exposed to the air of the space. Other foods that should have been sealed and contained were left open. This provided the visitors with a unique olfactory experience of time from the day of original exhibition opening when all items were fresh to the closing when the food was aged.
2)PROJECT: MCDXCII, Sita Kuratomi Bhaumik
In A Sensory Feast 2011, MCDXCII by Sita Kuratomi Bhaumik uses the Asian spice curry mixed with the sweetness of sugar to exhibit a golden toned Asian arrangement. The two food choices are not foods that will decompose but rather preserve. The Orient used spices and flavorings during the Baroque period keeping food from going bad. Bhaumik uses this concept of preservation to create a picture of a floral arrangement of spices that is reminiscent of Asian culture. Accenting the table runner are gold chocolate candy wrappers, a sweet food that could melt or decay over time is removed from the display. This leaves the trace of wrappers, the idea that it did exist at one point in time as one thing is now another. These are wrapped over found items in the work of objects in Asian culture that have evolved over time.
In A Sensory Feast 2011, MCDXCII by Sita Kuratomi Bhaumik uses the Asian spice curry mixed with the sweetness of sugar to exhibit a golden toned Asian arrangement. The two food choices are not foods that will decompose but rather preserve. The Orient used spices and flavorings during the Baroque period keeping food from going bad. Bhaumik uses this concept of preservation to create a picture of a floral arrangement of spices that is reminiscent of Asian culture. Accenting the table runner are gold chocolate candy wrappers, a sweet food that could melt or decay over time is removed from the display. This leaves the trace of wrappers, the idea that it did exist at one point in time as one thing is now another. These are wrapped over found items in the work of objects in Asian culture that have evolved over time.
http://www.somarts.org/2011/01/22/a-sensory-feast-art-food-and-asian-american-identity/
http://sitabhaumik.com/section/160890_MCDXCII.html
3)PROJECT: Eating the City, Song Dong
Eating the City is a series of installations by Song Dong beginning in 2006. He recreates a mini-replica of the city in wafers, cookies, biscuits and candy. Viewers are presented with a sweet olfactory experience of the city rather than the usual urban stench of steam, garbage, and other urban pollution odors. Because food is an edible product, Dong explores it the temporality of a city through a decomposing, non-permanent material. The public is allowed to nibble the exhibit as their human footprint changes the daily footprint of the modern city landscape.
Eating the City is a series of installations by Song Dong beginning in 2006. He recreates a mini-replica of the city in wafers, cookies, biscuits and candy. Viewers are presented with a sweet olfactory experience of the city rather than the usual urban stench of steam, garbage, and other urban pollution odors. Because food is an edible product, Dong explores it the temporality of a city through a decomposing, non-permanent material. The public is allowed to nibble the exhibit as their human footprint changes the daily footprint of the modern city landscape.
http://www.treehugger.com/files/2006/02/eating_the_city.php
http://www.whatsonsanya.com/tag-Eat%20the%20City.html
Gardens:
alhambra (metaphor) – interpretation of celestial garden
arabic culture – rose water & secret gardens
alhambra (metaphor) – interpretation of celestial garden
arabic culture – rose water & secret gardens
plants, trees, flowers
scent sources / seasonal
scent sources / seasonal
scent garden vs. zen garden
lavender – clean, home, calm, soothe
1)PROJECT: Onde Onirique, Yukio Nakagawa
In opposition to the tradition blooming olfactory experience of many floral scents in the garden, Nakagawa looks at the meditative state of the zen garden. The rocks, stones and soil of a typical zen garden replace plant life and are found in Onde Onitique which was installed in 2003. The garden was sustained for three months inside the Hermes Space in Tokyo. The sand was replaced with lavender blossoms Nakagawa dyed cobalt blue. The flower arrangement of the petals and path visitors could walk was created by them; moved around, brushed aside or thrown into the air. The exhibition space of glass blocks and a row of columns was offset by white gauze suspended from the ceiling making the space look like a beach. With all of the senses working together, one felt calm and relaxed inside the space.
In opposition to the tradition blooming olfactory experience of many floral scents in the garden, Nakagawa looks at the meditative state of the zen garden. The rocks, stones and soil of a typical zen garden replace plant life and are found in Onde Onitique which was installed in 2003. The garden was sustained for three months inside the Hermes Space in Tokyo. The sand was replaced with lavender blossoms Nakagawa dyed cobalt blue. The flower arrangement of the petals and path visitors could walk was created by them; moved around, brushed aside or thrown into the air. The exhibition space of glass blocks and a row of columns was offset by white gauze suspended from the ceiling making the space look like a beach. With all of the senses working together, one felt calm and relaxed inside the space.
http://aromamuse.com/2009/12/01/aromatic-art-onde-onirique/
http://www.designboom.com/contemporary/ondesoniriques.html
http://www.designboom.com/contemporary/ondesoniriques.html
2)PROJECT: Arabic and Islamic Gardens
The design of garden space was primarily guided by religious beliefs. The Arabic culture is full of these secret gardens enclosed in walls where paradise was inside. A symmetrical formal four square layout features water and shade for the hot climate. This represented harmony and beauty. A central pool or fountain is found in the center of the grid in which water channels run out from separating the garden squares. Planted in the garden are fruit trees which symbolize life, roses, other fragrant flowers and vegetables. It was very import to plant trees that would provide shade and coolness accompanied by the water feature. The rose petals also serve another purpose in the religion. Rose-water or petals adorn the path of an important person cleansing the way with a sweet smell of divinity and power.
The design of garden space was primarily guided by religious beliefs. The Arabic culture is full of these secret gardens enclosed in walls where paradise was inside. A symmetrical formal four square layout features water and shade for the hot climate. This represented harmony and beauty. A central pool or fountain is found in the center of the grid in which water channels run out from separating the garden squares. Planted in the garden are fruit trees which symbolize life, roses, other fragrant flowers and vegetables. It was very import to plant trees that would provide shade and coolness accompanied by the water feature. The rose petals also serve another purpose in the religion. Rose-water or petals adorn the path of an important person cleansing the way with a sweet smell of divinity and power.
http://www.thefragrantgarden.com/index.php?option=com_content&view=article&id=130&Itemid=91
http://www.suite101.com/article.cfm/arabic_islamic_architecture/21567
http://www.wikihow.com/Create-a-Garden-with-Persian,-Arabic-or-Islamic-Influences
3)PROJECT: The Mediated Motion, Olafur Eliasson & Günther Vogt
Eliasson translates the meditative quality of a garden and installs it in 2001 with the help of landscape architect Günther Vogt into the Kunsthaus Bregenz building designed by Peter Zumthor. The sterile architecture was released through the introduction and combination of uneven earth, fogginess, and surrounding aromas. The glass and cement architecture of the space reached new levels of insight encompassed inperfumes, fog, water, plants and soil. Sight, smells and textures filled the air with earth, fungus and duckweed thus providing a sensory experience bringing to light time and space by memory and surroundings. All four floors were filled with wooden staircases and footbridges led one through the space. There was a floor of mushrooms, a watery plane covered with duckweed which was accessed by a wooden deck, a platform of sloping packed earth and a rope bridge which hung across a foggy room.
Eliasson translates the meditative quality of a garden and installs it in 2001 with the help of landscape architect Günther Vogt into the Kunsthaus Bregenz building designed by Peter Zumthor. The sterile architecture was released through the introduction and combination of uneven earth, fogginess, and surrounding aromas. The glass and cement architecture of the space reached new levels of insight encompassed inperfumes, fog, water, plants and soil. Sight, smells and textures filled the air with earth, fungus and duckweed thus providing a sensory experience bringing to light time and space by memory and surroundings. All four floors were filled with wooden staircases and footbridges led one through the space. There was a floor of mushrooms, a watery plane covered with duckweed which was accessed by a wooden deck, a platform of sloping packed earth and a rope bridge which hung across a foggy room.
Pollution / Urban:
pollution – air quality
pollution – air quality
disposing of wastes
air pollution
car exhaust
VOCs – lethal & pungent
air pollution
car exhaust
VOCs – lethal & pungent
materials that absorb odor – sponges
dust – odor of time passed
dust – odor of time passed
1)PROJECT: Concrete Lattices, Jodi Pfister
Route I-190 state highway in Erie and Niagara counties provides motorists with an interesting drive. It is visually diverse ranging from the city skyline of downtown Buffalo, the waterfront along the Niagara River, industrial areas, landfills, gas storage tanks, ecology reserves, gas storage tanks and commercial districts. Each of these views provides different accompanying smells containing pollutants in the air. Concrete Lattices analyzes the polluted air masses using wind patterns through the area for all months of the year. Four sites were chosen along the I-190 in between these areas to reduce the amount of pollution through the use of photosynthesis and olfaction. The sites are set up on a lattice concrete net system (which act as a sponge absorbing nearby pollutants in the air) taking advantage of the drag forces caused by the passing vehicular traffic and wind flow through the use of wind pollinating plants. The seeds planted inside of the lattices would be able to spread throughout the area and continue growth of the system.
.JPG "Concrete Lattices")
.JPG "Concrete Lattices")
2)PROJECT: The Whiff of Uncertainty, Esther Wu
Esther Wu plotted the spread of the smell of baking donuts from Dunkin Donuts for a series of 11 days. During each day, one single time was recorded with the spread of the smells as detected by her nose in the surrounding location on her walk home from school. She also recorded the wind patterns, dew point, temperature and time all affecting the results of the olfactory spread looking for a pattern of scent. The diagrams show that on colder days, the scent lingered closer to Dunkin Donuts but became harder to detect as the temperatures dropped. This is shown on one of the days that had the coldest temperature and the lowest dew point. The warmer weather allowed for more evaporation of the scent into the atmosphere so the spread of the baking odors followed the wind patterns leaving the vicinity of where Wu walked past. The diagrams show the building as the center point of the odor canopy. From there, the canopy radiates out depending on the comparison factor (wind, dew point and temperature). Each circle shows the spread range in distance the nose detected and is color coded according to the provided scale. The conclusions of the project did not find any scent pattern only the result that the experiment needed more sniffers for over a year’s time.
Esther Wu plotted the spread of the smell of baking donuts from Dunkin Donuts for a series of 11 days. During each day, one single time was recorded with the spread of the smells as detected by her nose in the surrounding location on her walk home from school. She also recorded the wind patterns, dew point, temperature and time all affecting the results of the olfactory spread looking for a pattern of scent. The diagrams show that on colder days, the scent lingered closer to Dunkin Donuts but became harder to detect as the temperatures dropped. This is shown on one of the days that had the coldest temperature and the lowest dew point. The warmer weather allowed for more evaporation of the scent into the atmosphere so the spread of the baking odors followed the wind patterns leaving the vicinity of where Wu walked past. The diagrams show the building as the center point of the odor canopy. From there, the canopy radiates out depending on the comparison factor (wind, dew point and temperature). Each circle shows the spread range in distance the nose detected and is color coded according to the provided scale. The conclusions of the project did not find any scent pattern only the result that the experiment needed more sniffers for over a year’s time.
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About Odor & Its Relationships:
smeller’s judgment
smeller’s judgment
(taste, quality, memory)
odor duration (time)
concentration (strength)
breathable (cannot avoid scents)
concentration (strength)
breathable (cannot avoid scents)
have scent – invades space
odors – proximity, social relations, distance, habitation
nose height – level of scent
highest concentration of odor just above ground level dissipate higher up in air
perception of height
odor mostly moves in a horizontal direction or attached to objects
odor mostly moves in a horizontal direction or attached to objects
methods of delivering scents
burning – rise upwards & distribute
placing pastel oils – put on beads, hands, statues, altars
evaporation – myrrh, spices
light, heat, and humidity
break down scents (evaporate it)
break down scents (evaporate it)
shield scents from ultraviolet light & evaporation to preserve)
smell – idea of immortality
uses: marketing, communication, art
first synthesized substance was vanilla by Wilhelm Haarmann
uses: marketing, communication, art
first synthesized substance was vanilla by Wilhelm Haarmann
natural odors:
climate, region, orientation, pressure, humidity, air temperature
iconic odors:
materials in space
artificial odors:
forced introduction into space
human odors:
clothing, people, what doing
Early Architecture:
close to the ground
close to the ground
bodies, feces, decomposition
industrial age – elevated architecture
hygiene / cleanliness
smooth surfaces – cannot collect garbage
allow for organisms to run off the surface
allow for organisms to run off the surface
applying scents to a space became hygienic rather than for desire or seduction
deodorizing spaces
purifying the air
ventilation
air filtering
ventilation
air filtering
japanese bathrooms
apart from main building in grove of leaves and moss
gaze out into garden
churches
incense smell makes you feel humble (manipulation)
lighting oil & wax / candles eliminated with electricity
lighting oil & wax / candles eliminated with electricity
identity of a place is determined by its odors
sandalwood – material scented to resist worms & mold
smoke – cigarettes, cigars, pipes tobacco factories
tea & coffee – release with heat & steam
smoke – cigarettes, cigars, pipes tobacco factories
tea & coffee – release with heat & steam
tea – meditation coffee-healing
physiological architecture – remove the boundaries / walls of structure
a place never has the same odors during the day as it does night
activities change, temperature
scent – nearness / intimacy / physical
erotic sense
position body is space in relation to a smell
position body is space in relation to a smell
odor carries the mind to a place different from the one currently in
‘vaporizer’ emit scent into air
‘olfactometers’ – emit activated carbon
‘olfactometers’ – emit activated carbon
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Notes:
Barbara, Anna and Anthony Perliss. “Invisible Architecture: Experiencing Places through the Sense of Smell.” Skira Editore S.p.A. Pallazzo Casati Stampa, Milano, Italy: 2006. Print.
Barbara, Anna and Anthony Perliss. “Invisible Architecture: Experiencing Places through the Sense of Smell.” Skira Editore S.p.A. Pallazzo Casati Stampa, Milano, Italy: 2006. Print.
Scent References:
Roland Barthes – feces is the most nauseating of olfactory experiences
Maurice Roucel - perfumer (scented wallpaper (lasts for years – to lose smell, remove papers)
Roland Barthes – feces is the most nauseating of olfactory experiences
Maurice Roucel - perfumer (scented wallpaper (lasts for years – to lose smell, remove papers)
Precedence:
PROJECT: “Made In Italy” by: Gaetano Pesce
food & drinks decomposing over time
PROJECT: “Buron Odore del Cristo” by: Philippe Rahm
church – open a tomb and feel the odor of Christ as described in different texts
upside down mushroom emanating incense, myrrh, & cinnamon (holy odors to soothe, beatify, heal)
PROJECT: “Paradise Now” by: Philippe Rahm
odor is physical limits of the earthly garden (musk, aloe, milk, honey, wine, incense)
PROJECT: “Inside Outside” by: Petra Blaisse
gardens
PROJECT: “Library of Trees” by: Petra Blaisse
gardens
PROJECT: “Onde Onirique” or “Oneiric Wave” by: Yukio Nakagawa
gardens
http://aromamuse.com/2009/12/01/aromatic-art-onde-onirique/
PROJECT: “Tenku Sange” or “Paradise” by: Yukio Nakagawa
gardens
PROJECT: “Hormonorium Room”, “Melatonin Room”, “Omnisports Room” by: Philippe Rahm Architectural room play with scents
hormones, melatonin and sports
http://www.philipperahm.com/data/projects/hormonorium/index.html
PROJECT: “La Camera Linda” or “The Clean Room” 1986 by: Clino Trini Castelli & Marek Piotrowski
filtered technological room for the noseless man
PROJECT: “Casa di Bahia” or “Bahia House” by: Gaetano Pesce
seven smell pavilions
‘The Scent of Materials‘
http://www.dailytonic.com/bahia-house-in-brazil-by-gaetano-pesce/
PROJECT: “The Mediated Motion” 2001 by: Olafur Eliasson & Günther Vogt
architecture of perfumes, fog, water, plants, soil
http://www.kunsthaus-bregenz.at/ehtml/aus_elias.ht
PROJECT: “Made In Italy” by: Gaetano Pesce
food & drinks decomposing over time
PROJECT: “Buron Odore del Cristo” by: Philippe Rahm
church – open a tomb and feel the odor of Christ as described in different texts
upside down mushroom emanating incense, myrrh, & cinnamon (holy odors to soothe, beatify, heal)
PROJECT: “Paradise Now” by: Philippe Rahm
odor is physical limits of the earthly garden (musk, aloe, milk, honey, wine, incense)
PROJECT: “Inside Outside” by: Petra Blaisse
gardens
PROJECT: “Library of Trees” by: Petra Blaisse
gardens
PROJECT: “Onde Onirique” or “Oneiric Wave” by: Yukio Nakagawa
gardens
http://aromamuse.com/2009/12/01/aromatic-art-onde-onirique/
PROJECT: “Tenku Sange” or “Paradise” by: Yukio Nakagawa
gardens
PROJECT: “Hormonorium Room”, “Melatonin Room”, “Omnisports Room” by: Philippe Rahm Architectural room play with scents
hormones, melatonin and sports
http://www.philipperahm.com/data/projects/hormonorium/index.html
PROJECT: “La Camera Linda” or “The Clean Room” 1986 by: Clino Trini Castelli & Marek Piotrowski
filtered technological room for the noseless man
PROJECT: “Casa di Bahia” or “Bahia House” by: Gaetano Pesce
seven smell pavilions
‘The Scent of Materials‘
http://www.dailytonic.com/bahia-house-in-brazil-by-gaetano-pesce/
PROJECT: “The Mediated Motion” 2001 by: Olafur Eliasson & Günther Vogt
architecture of perfumes, fog, water, plants, soil
http://www.kunsthaus-bregenz.at/ehtml/aus_elias.ht
http://planetjeff.net/ut/CaveUT_Images/FlatworldProjectCaveUT_BIG.gif
About this entry
You’re currently reading “Territories of Olfaction,” an entry on Jodi Pfister
- Published:
- February 6, 2011 / 8:17 pm
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