Summary and Analysis:
Keywords
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This research is situated within the field of neuroscience, which scientifically investigates the nervous system from a multidisciplinary perspective (44). One of its branches is cognitive neuroscience, a field concerned with understanding how the brain supports the mental processes underlying cognition (9). Perception and sensation are central components of cognition (44). Although they operate as part of an integrated process, they are often analytically distinguished to facilitate their study. Theories and empirical research on sensation and perception have been developed from multiple perspectives and continue to evolve. Contemporary areas of inquiry, including multisensory perception, crossmodal processing, and multisensory integration, are particularly relevant to understanding how individuals perceive and engage with their environments.
The relationship between perception and the environment has also been examined within architectural theory, particularly through the concept of atmosphere. One definition describes atmosphere as a phenomenon that emerges from the interaction between objective and subjective dimensions, which are mutually constituted through the material qualities of the environment and the embodied experience of those who encounter it (45).
From both neuroscientific and architectural perspectives, one of the main challenges is to develop a more integrated and multidisciplinary understanding of the relationship between people and their environments, recognizing that social, cultural, and individual factors also shape perceptual processes and influence how spaces are experienced. Nevertheless, advances in this field have provided increasingly robust evidence of the significant role that environmental multisensory qualities play in human well-being.
This research is of interest because it explains how the brain combines information from different senses, including the mechanisms involved in their integration (1). The review also questions the popular idea of “synaesthetic design” suggesting that the term may be misleading, and proposes that architects rely instead on two more clearly defined evidence-based concepts: multisensory integration and crossmodal correspondences (the automatic links the mind makes between senses, such as lighting colour and thermal comfort (8)). The article also highlights the concept of multisensory congruency: the response of environmental cues which “tend to be processed more fluently” (7).
The relevance of these concepts to architectural theory are discussed by considering how a design tradition, centred predominantly on vision, has often overlooked the interaction between different senses (3). These multisensory interactions contribute to shaping the overall atmosphere of a space (5) and can affect people’s health and wellbeing (12).
The field of multisensory research still presents gaps. Most studies tend to focus on one sense at a time (4), while relatively few have examined how combinations of ambient or atmospheric cues influence people’s perceptions, feelings and behaviour (10).
A further challenge is that findings from laboratory research have been slow to reach design practice (13) while their ecological validity may , in some cases, be limited. For instance, some experiments explicitly direct participants’ attention toward atmospheric cues that would normally remain in the background of everyday experience (11).
As a literature review rather than an empirical study, some of the principal statements from synthesising the literature are:
1. Neglecting multisensory design can negatively affect health. Sick building syndrome (SBS) and seasonal affective disorder (SAD) are some of the negative health consequences of neglecting multisensory stimulation such as olfaction, air and sound quality, window views, or daylight exposure. (13-16)
2. Perception of architecture is fundamentally multisensory. Our response to any environment, built or natural, is always the combined result of all the senses being stimulated, whether or not we are consciously aware of their influence. Carefully considering the multisensory attributes of a built environment can deliver an experience that positively stimulates the senses, and, by so doing, promote well-being, (17-18)
3. There are qualities of environments to which we have evolved innate responses. For example, curved forms, in contrast to rectilinear ones, can activate or deactivate our desire to approach or withdraw, to play, or to feel fear. (19-22)
4. The design of an aural experience should not focus only on noise cancellation or on acoustic-quality variables, but also on how it can enrich an experience. For instance, sound can convey information about the built environment identity such as “intimacy or monumentality, rejection or invitation, hospitality or hostility” and proportions of a space; music and soundscapes can carry health benefits; natural elements such as plants or fountains can be used to intentionally enrich a soundscape.
Sound also has an impact on attentional processes and the type of source that generates it matters for whether it is judged positively or negatively. For example, workers in open-plan offices report noise as a source of distraction. In addition, sounds believed to come from pleasant sources, such as nature, tend to be evaluated more favorably than those associated with unpleasant sources, such as industrial machinery. (23-27).
5. Tactility, which includes the texture and temperature of a building’s materials, is fundamental to the total multisensory experience, regardless of whether a surface is touched directly, or merely seen or inferred. For example, simply looking at imitations of materials such as marble or wood can give us a sense of their quality, or lack of it, without needing to touch them, affecting our experience (28-29).
6. Odour is one of the strongest memories we hold of a space. We tend to become habituated to the positive or neutral smells of environments we regularly inhabit. Moreover, certain scents can affect behaviour or wellbeing; for example, by promoting relaxation (lavender) or encouraging cleaning behaviours (citrus) (30-33).
7. Our embodied, vestibular, and proxemic responses (movement, balance and distance from our body) shape our experience and extend architecture beyond the classic five senses. For example, the design of the Grand Canyon Skywalk, located at Eagle Point in Arizona, illustrates how the use of transparent glass in elevated circulation areas can alter the perception of stability, potentially generating feelings of fear or insecurity. Walking on this type of structure may also increase awareness of one’s own body and movement, engaging proprioceptive and kinaesthetic senses (34-36).
8. Environmental cues can influence our behavior even when we are not consciously aware of them or when they fall below our perceptual threshold. Background music has been shown to steer purchasing choices, and sub-threshold scents and infrasound can affect people even without conscious detection (37-38).
9. Individual control over environmental conditions can improve productivity. In one office study, giving employees individual control over temperature, lighting, air quality, and acoustics raised productivity by roughly 15%; disabling that control dropped performance by around 2%. (39)
10. Multisensory congruence can shape how environments are perceived and experienced. When cues across senses are congruent they are processed more fluently and appraised more positively; when they clash or become overwhelming, the effect reverses. For example, combining relaxing music with an “ambient scent that we associate with clean and cleaning then activates, or primes, the associated concepts” such as citrus scent, was found to cut shoppers’ purchases (40-41).
11. “Synaesthetic design” is a misleading label. What architects intuitively pursue is better described by crossmodal correspondences and multisensory integration, empirically grounded phenomena that are testable and can be deliberately built into design.
Health & Wellbeing: Lack of consideration of the non-visual senses in design choices can lead to stress, poor sleep, and sick-building syndrome. The reverse also holds: spaces designed with all the senses in mind can measurably lift mood, aid recovery, and improve performance. Designing for health, in other words, means designing for more than just the eye.
Comfort & Accessibility: A multisensory approach can make spaces more comfortable and easier to navigate and use. Temperature, lighting, scents, acoustics, movement, and the perception of safety can shape how people experience a space. Also, giving people some control over these conditions can also help create a more comfortable and accessible environment.
Place Attachment: The review shows how strongly the non-visual senses tie us to a place. Smell and sound in particular anchor memory and give a space its identity, which is why thoughtful multisensory design can create a genuine emotional bond between people and the places they inhabit.
Joy & Recreation: Some spaces simply feel better to be in, and can shape our behaviour, emotions, cognition, and social interaction. When a design engages several senses in harmony, it becomes not only restful but genuinely enjoyable, playful, and memorable, whereas sensorially poor or monotonous environments tend to push us away.
1. Design for the human experience and wellbeing, not just for function.
Environments should be planned around the social, cognitive, emotional and physiological needs of the people who will use them, as well as the activities taking place within them. A space meant for rest calls for very different conditions from one designed for focus or social connection. Identifying these needs and the environmental conditions that support them can help prevent problems such as sick-building syndrome or seasonal affective disorder.
2. Consider how the formal qualities of a space are perceived.
In some contexts, curved forms tend to feel more welcoming and playful, while sharp or angular ones may be perceived as colder or threatening, potentially encouraging withdrawal. Colour, lighting, and even ceiling height also shape these perceptions, influencing whether a space feels warm or cool, open or enclosed. Designers can intentionally work with these formal qualities to better align the overall perception of a space with its intended purpose.
3. Treat sound as part of the experience, not just as noise.
Aural design should go beyond simply reducing noise, how a space sounds is central to how it is experienced. Sound can reveal the size and character of a place, affect concentration and actively support wellbeing. Music and natural soundscapes can promote rest and recovery, and natural elements such as plants or water fountains can be used to build a calming soundscape.
4. Design with scent in mind.
Smell is easy to overlook, yet it leaves a lasting impression. Scent is one of the strongest carriers of memory and can contribute to a place’s identity. Specific smells can also gently guide how people feel and behave. For example, calming aromas like lavender may support relaxation. These cues should be considered intentionally in design rather than left to chance.
5. Design for the moving body.
Architecture is experienced not only through the eyes and ears but through the whole body. How we move through a space, our sense of balance, and how close or far things feel all shape the experience, which is why circulation, scale, and proportion carry real sensory and emotional weight. Features that engage the body directly, such as ramps, stairs, or transparent viewing platforms, can heighten this awareness and become part of what makes a space memorable. For example, the use of platforms at different levels, some of which can also function as steps, encourages movement through space and may increase awareness of the body and its position while moving. However, the perception of safety should also be carefully considered in this type of design.
6. Design for the senses as a whole: multisensory, congruent, and crossmodal.
Engaging more senses only helps if they point in the same direction: for example, when the sights, sounds, and smells of a space agree with one another (congruency), people process the environment more easily and enjoy it more; when they clash or become overwhelming, the effect can be the opposite. Designers can also draw on the automatic links our minds make across the senses (cross modality) such as warm light making a room feel warmer, to reinforce a single, coherent atmosphere. And because these cues influence us even when we don’t consciously notice them, the overall multisensory feeling of a space deserves as much care as any single feature, with people ideally given some control to adjust spatial qualities according to their preferences.
1. “Multisensory perception research provides relevant insights concerning the rules governing sensory integration in the perception of objects and events.” (Spence, 2020, p.3)
2. “a growing number of architects and designers have, in recent decades, started to consider the role played by the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and, on rare occasions, even taste.” (Spence, 2020, p. 4)
3. “Spaces, places, and buildings are undoubtedly encountered as multisensory lived experiences. Instead of registering architecture merely as visual images, we scan our settings by the ears, skin, nose, and tongue.” (Pallasmaa, 2011, p. 595, quoted in Spence, 2020, p. 2)
4. “The majority of researchers have tended to focus their empirical investigations on studying the impact of changing the stimulation presented to just one sense at a time.” (Spence, 2020, p. 4)
5. “the natural environment, the built environment, and the atmosphere of a space are nothing if not multisensory.” (Spence, 2020, p. 4)
6. “Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously.” (Spence, 2020, p. 3)
7. “Regardless of whether atmospheric/environmental sensory cues are integrated or not, one general principle underpinning our response to multisensory combinations of environmental cues is that those combinations of stimuli that are “congruent” (whatever that term means in this context) will tend to be processed more fluently, and hence be liked more, than those combinations that are deemed incongruent, and hence will often prove more difficult, and effortful, to process (Reber, 2012; Reber, Schwarz, & Winkielman, 2004; Reber, Winkielman, & Schwartz, 1998; Winkielman, Schwarz, Fazendeiro, & Reber, 2003; Winkielman, Ziembowicz, & Nowak, 2015).14” (Spence, 2020, p. 16)
8. “For it is only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort (Spence, 2020a) or between sound and the perceived safety of public spaces (Sayin, Krishna, Ardelet, Decré, & Goudey, 2015), that have been reported in recent years.” (Spence, 2020, p. 3)
9. American Psychological Association. (n.d.). Cognitive neuroscience. APA Dictionary of Psychology. Retrieved May 29, 2026, from https://dictionary.apa.org/cognitive-neuroscience
10. “To date, only a relatively small number of studies have directly studied the influence of combined ambient/atmospheric cues on people’s perception, feelings, and/or behaviour.” (Spence, 2020, p. 15)
11.”Ecological validity may, in other words, have been compromised to a certain degree.” (Spence, 2020, p. 17)
12. “At the same time, however, it is also important to note that progress has been slow in translating the insights from the academic field of multisensory research to the world of architectural design practice…” (Spence, 2020, p. 20)
13. “It has been suggested that the rise in sick building syndrome (SBS) in recent decades (Love, 2018) can be put down to neglect of the olfactory aspect of the interior environments where city dwellers have been estimated to spend 95% of their lives (e.g., Ott & Roberts, 1998; Velux YouGov Report, 2018; Wargocki, 2001)” (Spence, 2020, p. 3)
14. “is simply to replace windows by the use of large screens that relay a view of nature for those who, for whatever reason, have to work in windowless offices (Kahn Jr. et al., 2008). However, the limited research that has been conducted on this topic to date suggests that the beneficial effects of being seated near to the window in an office building cannot easily be captured by seating workers next to such video-screens instead.” (Spence, 2020, p. 3)
15.“One might also be tempted to ask what responsibility, if any, architects bear for the high incidence of seasonal affective disorder (SAD) that has been documented in northern latitudes (Cox, 2017; Heerwagen, 1990; Rosenthal, 2019; Rosenthal et al., 1984).” (Spence, 2020, p. 3)
16. “Similarly, the failure to fully consider the auditory aspects of architectural design may help to explain some part of the global health crisis associated with noise pollution interfering with our sleep, health, and well-being”(Owen, 2019).
17.“This neglect is particularly striking given that the natural environment, the built environment, and the atmosphere of a space are nothing if not multisensory (e.g., Bille & Sørensen, 2018). In fact, it is no exaggeration to say that our response to the environments, in which we find ourselves, be they built or natural, is always going to be the result of the combined influence of all the senses that are being stimulated, no matter whether we are aware of their influence or not (this is a point to which we will return later).” (Spence, 2020, p. 4) imp
18. “some responsibility for ensuring that the multisensory attributes of the built environment work together to deliver an experience that positively stimulates the senses, and, by so doing, facilitates our well-being, rather than hinders it (see also Pérez-Gómez, 2016, on this theme).” (Spence, 2020, p. 5)
19. “Cognitive neuroscientists have recently demonstrated that we have an innate preference for visual curvature, be it in internal space (Vartanian et al., 2013), or for the furniture that is found within that space (Dazkir & Read, 2012; see also Lee, 2018; Thömmes & Hübner, 2018). We typically rate curvilinear forms as being more approachable than rectilinear ones (see Fig. 3). Angular forms, especially when pointing downward/toward us, may well be perceived as threatening, and hence are somewhat more likely to trigger an avoidance response (Salgado-Montejo, Salgado, Alvarado, & Spence, 2017)” (Spence, 2020, p. 6)
20. “joyful: The surprising power of ordinary things to create extraordinary happiness: “Angular objects, even if they’re not directly in your path as you move through your home, have an unconscious effect on your emotions. They may look chic and sophisticated, but they inhibit our playful impulses. Round shapes do just the opposite. A circular or elliptical coffee table changes a living room from a space for sedate, restrained interaction to a lively center for conversation and impromptu games” (Lee, 2018, p. 142).” (Spence, 2020, p. 6)
21. “suggesting that viewing angular shapes, even briefly, has been shown to trigger a fear response in the amygdala, the part of the brain that is involved in emotion (e.g., LeDoux, 2003). Meanwhile, Liu, Bogicevic, and Mattila (2018) have noted how the round versus angular nature of the service scape also influences the consumer response in service encounters” (Spence, 2020, p. 6)
22. “However, here it should also be born in mind that the visual perception of space is significantly influenced by colour and lighting (Lam, 1992; Manav, Kutlu, & Küçükdoğu, 2010; Oberfeld, Hecht, & Gamer, 2010; von Castell, Hecht, & Oberfeld, 2018).” (Spence, 2020, p. 6)
23. “Sounds can, after all, provide subtle cues as to the identity or proportions of a space, even hinting at its function (Blesser & Salter, 2007; Eberhard, 2007; Robart & Rosenblum, 2005)”…As Pallasmaa (1994, p. 31) notes: “Every building or space has its characteristic sound of intimacy or monumentality, rejection or invitation, hospitality or hostility.” However, more often than not, discussion around sound and architectural design tends to revolve around how best to avoid, or minimize, unwanted noise (see Owen, 2019, on growing concerns regarding the latter). (Spence, 2020, p. 7)
24. “The modern architect is designing for the deaf …. The study of sound enters modern architecture schools only as sound reduction, isolation and absorption.” (Spence, 2020, p. 7)
25. “There is also an emerging story here regarding the deleterious effects of loud background noise, and the often-beneficial effects of music and soundscapes, on the recovery of patients in the hospital/healthcare setting (see Spence & Keller, 2019, for a review).” (Spence, 2020, p. 7)
26. “Meanwhile, one of the main complaints from those office workers forced to move into one of the open plan offices that have become so popular (amongst employers, if not employees) in recent years (see ‘Redesigning the corporate office’, 2019) is around noise distraction (Borzykowski, 2017; Burkus, 2016; Evans & Johnson, 2000).4” (Spence, 2020, p. 7)
27.“Intriguingly, however, it turns out that people’s beliefs about the source of masking sounds, especially in the case of ambiguous noise, can sometimes influence how much relief they provide ” (Spence, 2020, p. 8)
28. “Temperature change, and change in the flooring material (tatami matting or cedarwood), is also something that the Tom museum for the blind in Tokyo also plays with deliberately (Classen, 1998, p. 150; Vorreiter, 1989; Wagner, 1989). There is also a braille poen on the knob of the exit door too” (Spence, 2020, p. 9)
29. “The tactile element is, in other words, fundamental to the total (multisensory) experience of architectural design. This is true no matter whether the materiality is touched directly or not (i.e., merely seen, inferred, or imagined).So, for example, here one might only think about how looking at a cheap fake marble or wood veneer can make one feel, to realize that touch in often not required to assess material quality, or the lack thereof (see also Karana, 2010).” (Spence, 2020, p. 9)
30. “it is clear that odour of a space can be incredibly evocative too, as anecdotally noted by Pallasmaa (1994, p. 32) in the following quote: “The strongest memory of a space is often its odor;” (Spence, 2020, p. 10)
31. “Evidence that the olfactory element of design can be used to affect behaviour change positively includes, for example, the observation that people tend to engage in more cleaning behaviours when there is a hint of citrus in the air (De Lange, Debets, Ruitenburg, & Holland, 2012; Holland, Hendriks, & Aarts, 2005).” (Spence, 2020, p. 11)
32. “Elsewhere, researchers have already demonstrated the beneficial effects that lavender, and other scents normally associated with aromatherapy, have on those who are exposed to them. So, for instance, the latter tend to show reduced stress, better sleep, and even enhanced recovery from illness (see Herz, 2009; Spence, 2003, for reviews; though see also Haehner, Maass, Croy, & Hummel, 2017).” (Spence, 2020, p. 11)
33. “Effects on people’s mood resulting from exposure to ambient scent have been reported in some by no means all studies (Glass & Heuberger, 2016; Glass, Lingg, & Heuberger, 2014; Haehner et al., 2017; Weber & Heuberger, 2008). It remains somewhat uncertain though whether the beneficial effects of aromatherapy scents can be explained by priming effects, based on associative learning, as in the case of the clean citrus scents mentioned above (see Herz, 2009), versus via a more direct (i.e., less cognitively mediated) physiological route (cf. Harada, Kashiwadani, Kanmura, & Kuwaki, 2018).” (Spence, 2020, p. 11)
34. “The vestibular sense is also worthy of mention here (see Gulden & Grüsser, 1998; Indovina et al., 2005). Anyone who has tried out one of the VR simulations of walking along the outside ledge of a tall building will have had the feeling of vertigo” (Spence, 2020, p. 13)
35. “to the importance of bodily movement in the case of the porch swing whose self-propelled movement,” (Spence, 2020, p. 13)
36. “For instance, The Grand Canyon Skywalk is a horseshoe-shaped cantilever bridge with a glass walkway at Eagle Point, Arizona that allows visitors to stand 500–800 ft. (150–240 m) above the canyon floor (Yost, 2007). Opened in 2007, by 2015, it had attracted more than a million visitors (see Fig. 7). While popular, it is perhaps worth noting that a number of such attractions have recently been closed down in parts of China due to safety fears (Ellis-Petersen, 2019). Walking on such structures likely also make people more aware of their own corporeality too, thus engaging the proprioceptive and kinaesthetic senses too. On a more mundane level, Heschong (1979, p. 34) draws attention to the importance of bodily movement in the case of the porch swing whose self-propelled movement, prior to air-conditioning, would have been a thermal necessity in the summer months in the southern states of the USA.Consideration of the putatively embodied response to architecture might lead one back to Hall’s (1966) seminal early notion of “proxemics”. Hall used the latter term to describe the differing response to stimuli as a function of their distance from the viewer’s body. It is certainly easy to imagine this linking to contemporary notions concerning the different regions of personal space that have been documented around an observer (e.g., Previc, 1998; Spence, Lee, & Stoep, 2017).” (Spence, 2020, p. 13)
37. “However, the research that has been published to date would appear to suggest that very often environmental cues influence us even when we are not consciously aware of, or thinking about them.” (Spence, 2020, p. 15)
38. “One particularly striking example of this was reported by researchers who manipulated whether French or German music was played in a supermarket (North, et al., 1997, 1999). The results showed that the majority of the wine purchased was French when French music was played, with this reversing to a majority of German wines being sold when German music was played. The even more striking aspect of these results was the fact that the majority of those interviewed after coming away from the tills denied that the background music had any influence over the choices they made. A number of studies have also shown that scents that we are unaware of, either because they are presented just below the perceptual threshold or because we have become functionally anosmic to their constant presence, can nevertheless still influence us (Li, Moallem, Paller, & Gottfried, 2007). Similarly, there is also a suggestion that inaudible infrasound waves (i.e., < 20 Hz) may also affect people without their necessarily being aware of their presence (Weichenberger et al., 2017). Meanwhile, in terms of visual annoyance, it has been reported that flickering LED lights that look no different to the naked eye can nevertheless trigger a significantly greater number of headaches that non-flickering lights (e.g., see Wilkins, 2017; Wilkins, Nimmo-Smith, Slater, & Bedocs, 1989). Once again, therefore, this suggests that ambient sensory phenomena do not necessarily need to be perceptible in order to affect us, adversely or otherwise.”(Spence, 2020, p. 15)
39. The employees in the new office were given individual control of the temperature, lighting, air quality, and acoustic conditions where they were working. Productivity increased by approximately 15% in the new building. When the individual control of the ambient multisensory environment was disabled in the new building, performance fell by around 2% instead.” (Spence, 2020, p. 15)
40. “In terms of the cognitive mechanism underlying such crossmodal effects of scent on behaviour, the suggestion, at least in the citrus cleaning example just mentioned, is that smelling an ambient scent that we associate with clean and cleaning then activates, or primes, the associated concepts (Smeets & Dijksterhuis, 2014).” (Spence, 2020, p. 11)…“When the scent and music were congruent in terms of their arousal potential, the customers rated the store environment more positively, exhibited higher levels of approach and impulse-buying behaviour, and expressed more satisfaction. There is, though, always a very real danger of sensory overload if the combined multisensory input becomes too stimulating (see Malhotra, 1984; Simmel, 1995).” (Spence, 2020, p. 15)
41. “Congruency can, of course, be defined at multiple levels. For instance, as we have seen already in this section, sensory cues may be more or less congruent in terms of their arousal/relaxation potential (e.g., Homburg, Imschloss, & Kühnl, 2012; Mattila & Wirtz, 2001). Mahvash (2007, pp. 56–57) talks about the use of congruent cues to convey the notion of coolness: “… the Persian garden with its patterns of light and shadow, reflecting pools, gurgling fountains, scents of flowers and fruits, and gentle cool breezes ‘offers an amazing richness of variety of sensory experiences which all serve to reinforce the pervasive sense of coolness’.” However, different sensory inputs may also be deemed congruent or not in terms of their artistic style (see Hasenfus, Martindale, & Birnbaum, 1983; Muecke & Zach, 2007; cf. Hersey, 2000, pp. 37–41” (Spence, 2020, p. 17)
42. “This does, though, sound more like a description of the ubiquitous crossmodal correspondences (Marks, 1978; Spence, 2011) than necessarily fitting with contemporary definitions of synaesthesia, though the distinction between the two phenomena admittedly remains fiercely contested (e.g., Deroy & Spence, 2013; Sathian & Ramachandran, 2020). Abath (2017) has done a great job of highlighting the confusion linked to Merleau-Ponty’s incoherent use of the term synaesthesia, that has, in turn, gone on to “infect” the writings of other architectural theorists, such as Pérez-Gómez (2016).” (Spence, 2020, p. 19)
43. “Talking of synaesthetic design may then be something of a misnomer (Spence, 2015), the fundamental idea here is to base one’s design decisions on the sometimes surprising connections between the senses that we all share, such as, for example, between high-pitched sounds and small, light, fast-moving objects (e.g., Spence, 2011, 2012a)” (Spence, 2020, p. 19)
Paper reference
Spence, C. (2020). Senses of place: Architectural design for the multisensory mind. Cognitive Research: Principles and Implications, 5, Article 46. https://doi.org/10.1186/s41235-020-00243-4
Recommended references
1. DeKay, M., & Brager, G. (2023). Experiential design schemas. ORO Editions.
2. Malnar, J. M., & Vodvarka, F. (2004). Sensory design. University of Minnesota Press.
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