On Wednesday, I attended a lunch event where each dish was prepared to provide a unique multi sensory experience. Of course, the taste of the food was very important but it was enhanced by varied combinations of colours, textures, presentations, light, sounds which suggested locations (the sea or the forest), and smells (tobacco essence, caramel) which, sprayed around the tables, served to enhance the experience of the food. The first dish was served with headphones for a total immersions, some were completely silent to minimise stimuli and enable diners to appreciate the food more. Sometimes the cutlery changed, as when we were given long tweezers to eat jelly fish (yes, and it was very nice too).
Each of the 5 courses was introduced by a short talk by Joseph Youssef from Kitchen Theory and Professor Charles Spence (from the Department of Experimental Psychology at Oxford University) who collaborated on the project. A masterpiece, beautiful; food and great experience.
Below is the information that advertised the event, followed by scans of the menu:
How do colour, aroma, texture and even sound affect how you experience flavour? Why do we like and dislike particular foods? And do we all experience flavour in the same way? The emerging science of ‘gastrophysics’ – the combination of gastronomy and psychophysics – looks to answer all these questions and more.
Working in collaboration with Oxford University Professor of Experimental Psychology, Charles Spence, multi-sensory gastronomy experience designers Kitchen Theory, have ‘commandeered’ the Studio at London’s ANdAZ Liverpool Street Hotel to create the ultimate foodie senseploration.
Featuring a five course lunch, guests are invited to experience food in a whole new way. Do certain foods taste sweeter while stroking velvet? Will ‘sonic seasoning’ one day replace the salt cellar? If you can’t smell a meal, what happens to your experience of flavour?
Preconceptions will be challenged, while all of your senses will be stimulated. Prepare to walk away with actionable insights that you can apply in your own kitchen.
In June I attended the Design Research Society Conference in Brighton. Four fantastic days of workshops and talks on design research (of course). Two workshops were especially interesting for me because highly relevant to my research on sensory experiences. This is the first one, the other is available on the next post.
DRS Workshop: Capturing & Shaping Meaningful Sensory Experiences in the Urban Environment
We are looking forward to working with you on Monday June 29 when we will explore and reflect on competing multi-sensory stimulations that shape people’s urban experiences intentionally or by accident. After a short introduction to the leaders’ sensory work, small teams of participants will take a sensory journey around the environs of Brighton. During the workshop, teams will map the contexts of their sensory journeys by capturing the sounds, smells and flavours that contribute to their overall sensory encounter. The explorations will emphasize the non-visual sensory modalities of contact (tactile), sound (auditory), and smell (olfactory). Highlights of the workshop include an immersive tasting scenario of each team’s urban flavour compositions and designing multi-modal (multi-sensory) scenarios for balanced urban futures. We are hoping for nice weather, however please plan for rain and cool offshore breezes. Wear good walking shoes and clothing for the outdoors (rain or shine). Please bring tools for capturing and recording data, (e.g. smartphone, notepad and pen, bags to collect artefacts, etc.). Please let us know when you arrive if you consent to being photographed and/or videotaped. >
The workshop drew parallels with my research practice and I was interested to meet like minded people whose research and practice also incorporated multi-sensory modalities. It began with a short introduction and we were asked to think about the kind of events and qualities we’d be looking for when documenting a specific sensory experience. For example, why we need to investigate and document across touch, sound, smell and visual. This quick fire round was the first level of interaction between participants and a good ice breaking activity.
In the next part of the workshop. participants were paired up and given a map with pre-selected routes highlighted across 5 distinct sections. Kate MacLean, PhD candidate at the RCA (see my next post), worked with me to document touch, haptic perception, across Brighton. She specialises in smells so wanted to do something different and I thought touch was interesting because it usually comes with restrictions.
After a highly enjoyable and fun hour recording haptic perceptions in the streets of Brighton, we came back to the studio where we were paired up again with someone who had selected a different sense. My new partner had been working with sound. Our next task came as a complete surprise. After 15 minutes spent charting the qualities of our respective sensory experiences, their sensory DNA, we were presented with an array of food ingredients for us to use to translate our perceptions into food preparations, food sketches as our hosts called it. We used the taste, textures, colours, chewiness, wetness, dryness of the food to make a 3 course meal based on our sensory experiences of Brighton Seafront (blue route on the map). Our work also incorporated time and memory into the preparations. It was a lot of fun and everyone engaged with the activity with enthusiasm. Each team then presented their compositions, explaining the connection with the sensory journey through the city, while every one tried the dishes to get a taste of other’s experiences.
Participants were then asked to associate and adjective with each dish. The adjectives facilitated the expression of the qualities of the experiences to come through. A system of coloured dots and stars was also used for each participant to bring their own subjective evaluation into sensory experienced afforded by the dishes. Each coloured dot represented a sense, for example, green for smell, red for visual, blue for sounds and red for touch. We were given two dots of each colour and asked to place them next to the dish we felt had the most connections with the location it represented. We used the stars to mark the dishes we felt gave the closets representation of the sensory experiences depicted through food.
Below are the details of the food composition from my team (touch and sounds, map location 3).
1st course – Ground coffee and lime, rub together with finger and taste. This unusual combination of two intense – bitter and acidic – tastes was designed to challenge and be invasive as a representation of the assault of the wind and traffic when turning the corner that connects the city’s interior with the seafront. It seemed to work. People felt the assault and the taste combination was definitely a challenge.
2nd course – Banana chip, mascarpone, crushed weetabix to contrast creamy and dry textures. This is a reference to the experience of touching the railing by the seafront where the smooth, almost creamy successive layers of paint contrast with the dry and rough texture of the timber railing (especially on the sea facing side after years of being battered by the wind and rain). We added a hint of cinnamon to add warmth to suggest the warmth of the sun on the skin and raisins to add sweetness and echo the seaside sounds and its associated memories. The contrasts came across clearly.
3rd course – A medley of kiwi, white chocolate button, pieces of strawberry sweets and parsley flakes to bind the flavours as a reference to the sight and sounds of the merry go round by the beach. Not directly related to touch other perhaps than the wind from the sea. This polyphonic sensory experience reconnects us to childhood memories, seaside sounds and associations with sweet tastes/smells, bright colour and fun. The dish was extremely well received and seemed to fulfil its role connecting people with seaside fun.
What worked well?
The workshop was very well organised and I enjoyed the day. The translation of sensory experiences into taste was very interesting. Partly because taste is often neglected in the built environment (although it is connected to smell) and partly because I found the process enabled me to further explore, evaluate and, very importantly, share the experiences of urban spaces. The process of translation into food brought clarity into my understanding of the sensory experiences and the process of sharing enabled me to evaluate ways to transmit a highly subjective experience to someone else.
What could be improved?
Once the documentation and evaluation had taken place, I would have liked to be able to spend some time with others looking at ways in which this wealth of information could be used post-workshop.
What new insights did I take away from the workshop?
That, to some extent of course, it is possible to share subjective experiences. Enlightening!
What were the most interesting, challenging, and/or inspiring sensory aspects that I experienced?
I selected touch. It was for me the most challenging sense because it is so often the one sense that comes with many restrictions (can’t touch this or that, can’t walk here or there, touch amongst people is also culturally sensitive…). I enjoyed taking part in the sensory walk but it was challenging to separate one sense from the other and I often felt that other senses affected my ability to sense touch. Bachelard calls this phenomenon ‘the polyphony of the senses'(Gaston Bachelard, cited in Juhani Pallasmaa, The Eyes of the Skin. Architecture and the Senses. (Chichester: John Wiley & Sons Ltd, 2005: 41.). For example, when we approached a large fountain on the green, hearing and seeing water fall onto stone gave us some sense of what it would be like to touch the wet stone or stand underneath the water. Lived sensory experiences are mediated by others senses as well as imagination and memories.
Another challenge was that as soon as we try to write down our thoughts on sensory experiences we objectify them and they lose their immediacy. Perhaps the process of translation and association with adjectives further dilutes the sensory experience away from its lived primary form?
Being very familiar with the location was sometimes challenging because I had to be very mindful of expectations and assumptions (based on previous experiences/memories) taking over the lived experience. Saying that, I lived in Brighton for a few years and never did I realise that the railing on the seafront offered such interesting haptic experiences and information about location/environmental conditions. With a focus on touch, I noticed haptic qualities and non-qualities in the environment that I hadn’t seen before.
A highly enjoyable workshop, great facilitators and fantastic co-participants.
I presented her paper ‘Sensing the Urban Environment’ at the [in]arch 2014 International Conference that took place at Universitas Indonesia, Department of Interior Architecture, Depok (Jakarta) on 10th and 11th September 2014, where I showcased techniques I developed to document sensory experiences in interior environments, to uncover a connection between the way we feel and our sense of belonging by investigating the correlation between the interior’s embodied atmosphere and its perceptual affect on the body. I participated in what was the first conference of its kind in Indonesia and attracted international researchers from South East Asia, the Middle East, the USA, the UK and Europe.
I was able to engage in the many opportunities for discussions amongst conference participants for collaborations at a networking event at the end of the conference to discuss how to take new insights into design research forward including future conferences, disseminations through publications as well as the formation of an international network to include existing and emerging researchers in this new and exciting area of design research on interiority. This marks the start of a new research chapter for me across interior design, spatial design and interior architecture, one that links theory and practice and creates opportunities for the advancement of knowledge in interiority and wellbeing and, in the words of Professor Yandi Andri Yatmo “enrich our practice and pedagogy, experiment with concepts and ideas beyond the existing knowledge, and… establish further network and collaboration beyond the event of this conference.”
Beyond situations that have been experienced, discover situations that have been dreamed” Gaston Bachelard, The Poetics of Space (1958: 29)
This project investigates the creation of an immersive experience in the abandoned interior of Poplar Baths, in Poplar, London, positioning the body in terms of sensing and creating through performance in the context and site specificity of selected interior spaces within the building. The techniques draw on the perceptions and emotions generated by the synergy between body and space. This enquiry is grounded in existing theories and research, notably the writings of Maurice Merleau-Ponty on phenomenology, J.J. Gibson on ecology and Paul Ricoeur on memory. The objective is to reposition the site survey as an experiential encounter, embodied by the interior through a fictional narrative and performed by the investigator. Using mapping drawing, scenography and performance the incentive is to reveal sensory perceptions and unique corresponding emotional affect.
The project relates to the concept of synaesthetic as defined by Dr Rosie Klich from the University of Kent at the symposium on Immersive Theatre Experiences at the Royal Central School of Speech and Drama, University London, London UK in November 2013. The symposium explored examples of immersive theatre practices and reflected on the phenomenon of the ‘immersive event.’ So the project transposes the potential offered by performance immersive practices into the study of an interior, revealing the uniqueness of a situation. It meets some of the exploratory aspirations of another project Ephraim Joris wrote about in his paper ‘The Interior: between research and practice.’ Joris’s students however benefitted from dance training and choreographed their interpretation accordingly while the method here is entirely visceral and considers a more intuitive and spontaneous approach to experiencing an environment. This approach facilitates perceptual and emotional expression by fully engaging the senses with the atmosphere of the interior. ‘We perceive atmosphere through our emotional sensibility – a form of perception that works incredibly quickly, and which we humans evidently need to help us survive. We are capable of immediate appreciation, of a spontaneous emotional response, of rejecting things in a flash.’ (Zumthor, 2006, p. 13)
The site of the performance is a small empty room in the abandoned public baths building Poplar Baths, in Poplar, East London. Poplar Baths was built and opened in 1852. Used as a swimming pool and baths most of the year, it was also transformed into a theatre, dance hall and exhibition hall in winter when the main pool, known as East India Hall, was floored over. It sustained substantial bomb damage during World War II and subsequently remained closed until 1947. Following extensive repairs it reopened to renewed popularity, attracting large numbers of swimmers each year. However lack of funding to carry out structural repairs and the changing nature of the area and leisure occupations meant that the facilities were closed permanently in 1985. The abandoned site slowly fell into disrepair, its original interior crumbling, obliterating the memories of its past. The study focuses on four interconnected areas: the main pool on the ground floor, adjacent corridors, stairs leading to the first floor and a small room on the second floor that looks down onto the street on one side and onto the main pool, now empty, on the other, and although the performance is staged in the second floor room, it is informed by the experiential journey through the building.
Although the interior environment has been neglected for many years and has suffered substantial damage, abandoned fixtures hint at the activities that once took place there and revealed a building once teeming with life with fragments of the elegance and beauty of its original Art Deco style still visible through the decay slowly disintegrating. So from a perceptual perspective, the interior of the building retains a ghostly imprint of its past, which engendered uncanny occurrences of phenomenological imprints of past occupancy, that manifested itself as shifting impressions of fleeting movements and sounds emanating from imagined ghosted silhouettes permeating the layers of time. It was an emotionally moving experience no doubt influenced by my own experiences and memories of such places, both real and narrated, but nonetheless unique to this situation. Professor Robert Tavenor, director of the cities programme at the London School of Economics provides an interesting point of view on this phenomena. ‘Each time a memory is triggered, it is renewed and revised by the new experience, and our sensitivity to buildings becomes an amalgam of recall and reinterpretation. […] A building’s voice can be very potent, but it is ultimately the inner voice you are hearing – your own voice.’ (Cited in Architectural Voices, Littlefield, p.12). So the building may be abandoned but it is still a place of textures and colours, light and shadows, smells, sounds, scale and objects, and the high level of perceptual entropy I felt while I visited the site allowed me to be transported back in time into an imagined environment while being conscious of the present and therefore, feeling the tensions of the duality of time, a constant shift between the past and the present. While exploring the building, I also experienced sound distortions reverberating across the darkness of the corridors and staircases. For a brief moment, I lost sight of the people I was with and could not locate their position with accuracy as the sound they were making reverberated against the tiled surfaces and seemed to come from different directions at once. For a brief moment when time seemed to become suspended, I felt truly lost and apprehension and anxiety took over. The scarred building turned into an unfriendly place. Then suddenly clarity came back, I was back in the present and able to follow the sound and rejoin the others.
A few days later in the studio, the stage was set for a one minute performance of four recurring sequences titled ‘Lost Time’. ‘[…] we do not know, in a phenomenological sense, whether forgetting is only an impediment to evoking and recovering the “lost time”, or whether it results from the unavoidable wearing away “by” time of the traces left in us by past events in the form of original affections.’ (Ricoeur, 2004, 2006 ed., p.30)
One of the elevations of the room was projected onto the wall of the studio and masking tape was used to mark out on the floor the exact boundaries of the interior. Three cameras were running, one for the foreground, one for the middleground and another for the background.In preparation for the performance, I previously mapped the scenography across a series of diagrammatic drawings showing the sequence of movement across the floor space and elevations, bridging the gap between the emotional and the physical, between performance and design drawing. I also included three props. Two of them represented the room in anthropomorphic terms. To represent the room in the present, I used a once beautiful but now damaged 1930’s tailored woman’s suit jacket turned inside out to show its ripped lining. To represent the room in the past, I chose a chair covered with a heavy single white sheet. The third prop was a recording of voices that represented keynote sounds of the people in the present moving across the building.
The performance is inspired by my experience within the entire building and a desire to express this unique and uncanny situation, I chose to perform the feeling of loss, duality and the anxiety emerging from the destructive layers of time felt when I visited the site and the momentary confusion that resulted from the sound of people’s voices reverberating across the building’s surfaces. The room used for the performance becomes the stage, a blank canvas onto which I could project the narrative of the situation. It explores the sensation of being physically, emotionally and psychologically aware of the space both in the present and trough the imprint of its past expressed by fragments of memory still visible amidst the decay. The room, represented by a figure sitting on a chair (waiting), inhabits its former reality, now a world of stillness and silence. As people speak when they enter the room (in the present time), they create vibrations, which produce energy waves that alter the medium, substances and surfaces, not only across the environment but also time. The room can now hear voices and tries to locate the sounds vibrating across the environment but it can’t, and people, in their own reality can see the decay and rubble while never experiencing the environment as it was originally intended. When they leave, all is quiet again and the room goes back to its waiting position.Movement is activated by the emission of sound, an actual recording of people talking as they enter the room taken on site.The movement through the environment is fast but hesitant because it is impossible to locate the source of the sound and also incorporates swift 360˚ turns to change direction and emphasise the feeling of confusion. When the sound stops, the movement slows down and lacks clear direction.
This project focusses on the symbiotic relationship between the building and its past occupants and through mapping and performance, explores the perceptual voice of the interior. It highlights a practice where the insubstantial is captured through performance. The atmospheric stimulation experienced in real time leads to an encounter with a past imprinted into the fabric of the environment. The approach allows the designer to become the environment and in doing so incorporates emotions and the notion of spatial empathy. It also highlights the notions of fragility and ephemerality.
Listening to the perceptual voice of the interior is unusual but this approach is part of a larger body of work that investigates techniques that supports the integration of knowledge of emotions through perceived atmosphere and the senses into the design process, alongside aesthetic and functional concerns. In this case, as a more acute sense of awareness developed, it provided additional layers on information about the layout and materiality of the interior as well as the symbiotic relationship between the environment and past occupants. It is about a creating a situation for a ‘lived experience’ (Merleau-Ponty, 1948, 2004 ed., p.32) rather than recording the space from the point of view of the rationality of a scientific approach.
Acknowledgements: I completed this project as part of my postgraduate thesis development. It was set by Dusan Decermic, Course Director of the MA Interior Design at the University of Westminster, London. The brief specified the location and the creation of mapping drawings and one minute performance on the theme of ‘the waiting room’. The interpretation however was unique to each student.
Bachelard, G. (1958) (1994 ed.) The Poetics of Space Beacon Press: Boston, Massachusetts
Gibson, J. J. (1986) The Ecological Approach to Visual Perception New-York: Psychology Press
Lefebvre H. (1991 ed.) The production of space. Oxford: Blackwell Publishing
Littlefield, D. & Lewis, S. (2007) Architectural Voices. Listening to Old Buildings. Chichester: Wiley Academy
Merleau-Ponty, M. (1948, 2004 ed.) The World of Perception. New-York: Routledge.
Merleau-Ponty M., (2012 ed.) ‘Phenomenology of Perception’ New York: Routledge
Ricoeur, P. (2006) Memory, History, Forgetting. Chicago: University of Chicago Press.
Roger P., (ed) (2012) Interior Education Futures. Contemporary Insights. Libri Publishing, Faringdon. Joris E., The Interior: between research and practice. p.59. Macdermott J. et al., Emotion, emotion, emotion. The Spirit of being human. p.75
“Only rarely does a psycho-analyst feels impelled to engage in aesthetics investigations, even when aesthetics is not restricted to the theory of beauty, but described as relating to the qualities of our feeling. He works in other strata of the psyche and has little to do with the emotional impulses that provide the usual subject matter of aesthetics, impulses that are restrained, inhibited in their aims and dependent on numerous attendant circumstances. Yet now and then it happens that he has to take an interest in a particular area of aesthetics, and then it is usually a marginal one that has been neglected in the specialist literature. One such is the ‘uncanny’. There is no doubt that it belongs to the realm of the frightening, of what evokes fear and dread. It is equally beyond doubt that the word is not always used in a clearly definable sense, and so it commonly merges with what arouses fear in general. Yet one may presume that there exists a specific affective nucleus, which justifies the use of a special conceptual term. One would like to know the nature of this common nucleus, which allows us to distinguish the ‘uncanny’ within the field of the frightening.” Sigmund Freud, The Uncanny p.123 para 1 & 2, Penguin 2003
This project, called ‘Adjusted Views’, was set by Dusan Decermic, Course Director of the MA Interior Design at the University of Westminster. These are extracts from the brief: ‘for this project you are asked to select a space in the existing building. It is intended that you disregard small cell like rooms and choose a larger space for your project.’ ‘Rather than focusing on movement this project is concerned with formal, static relationships and the gaze of the viewer.’
Working with the image of an abandoned swimming pool, I chose to alter the atmosphere of the place by introducing elements that change the viewer’s perceptions of the foreground, middleground and background. I chose this photograph taken during a site visit because this isn’t an ordinary room but the remains of a swimming pool so its sunken aspect is unusual. It’s scale is also very large and there’s a strong light coming from the left while the arches at the top echo a former splendour despite the damage and decay. In reality, the space has already been noticeably adjusted over the years when the water was removed and subsequent decay allowed to set in. It appears that a new opening was also created in the background.
In the new image, the gaze of the viewer is constantly shifting and the relationship between foreground, middleground and background is unstable yet clearly defined along an invisible line, drawing the gaze from the butterfly outside the frame towards infinity (and back). So the gaze is not the act of looking itself but the viewing relationship characterised by this staged set of new circumstances. Time appears suspended and the allegory of renewal is expressed by the symbolism of the butterfly. The richly dressed banquet table contrasts with the decayed room and also implies invisible bodies. Not knowing where the occupants are, who they are or what happened to them brings ambiguity to the scene.
The image is framed as where 2 others (The Waiting Room and Horizon) and mounted on the wall of an abandoned house in central London alongside the costume used for the waiting room performance. This set the stage for a reading of an essay ‘Substitute Memories’, on the way photography has altered our perceptions of architectural spaces and consequently our collective memories. The gloomy light of the winter afternoon and dilapidated room added drama to the performance.
The Spatial Communication and Contextual and Theoretical Studies Programme Group at London College of Communication invited me to present some of my projects, notably my thesis on Interior Practices in Urban Environments, to staff and students in the college campus. It was a unique opportunity to contribute to the programme events and provide an insight into perceptions and multi-sensory practices.
This paper presents a study of selected visualisation and investigative methods that facilitate the exploration and expression of human emotions and perceptions within real world environments during the design development stages of a project, repositioning exploration and visualisation in spatial design education. It puts forward an outline for an iterative inquiry around human experiences in order to assess the value of alternative cognitive tools for spatial design students in higher education.
Established tools such as orthographic drawings, axonometric projections or scale models equip spatial designers with the consistency they need to investigate and represent physical attributes of space but don’t always constitute the best methods to explore the perceived environment, even though it is a key contributing factor to the way we experience our surroundings. It is therefore in the interest of design educators to investigate complementary interpretations that enable students to consciously explore less tangible aspects of design such as emotions and multi-sensorial modalities.
Projects developed using tools and techniques ranging from digital 2D and 3D image making, photography, film, animation and performance provide an insight into the possibilities offered by existing visual technologies as dynamic study devices of human experiences and contribute to the generation of alternative processes in spatial design education.
I was invited by Dr Kevin Walker who runs the MA Information Experience Design at the Royal College of Arts to talk to students from a range of MA programmes. Spatial design isn’t fully integrated in many of the programmes but some students do have projects that exist within this context and they were very keen to find out more. I really enjoyed it and it was great being able to chat with a few people about individual projects afterwards.
SPATIAL EXPERIENCE – An insight into environmental perceptions
The lecture proposes that life itself is a performance and considers the notion of space not simply as a physical entity but as an event. Starting with observations on identity, cultural ideologies and communication, the proposal unfolds to provide an insight into environmental perceptions and atmospheric qualities, and includes examples of experimental projects designed to develop environmental awareness and spatial experience.
Merleau-Ponty M., (2012 ed.) Phenomenology of Perception Routledge, New York.
Gibson J. J., (1986) The Ecological Approach to Visual Perception Psychology Press, Hove.
Pallasmaa J., (2005) The Eyes of the Skin. Architecture and the Senses. John Wiley and Sons, Chichester.
Malnar M. J., Vodvarka F., (2004) Sensory Design University of Minnesota Press, Minneapolis
Van Schaik L., (2008) Spatial Intelligence. New Futures for Architecture. AD Primer. John Wiley and Sons, Chichester.
Lefebvre H., (1991 ed.) The Production of Space. Blackwell Publishing, Oxford.
Zizek S., (2006) How to read Lacan Granta Books, London.
Freud S., (2003 ed.) The Uncanny Penguin Classics, London
Zumthor P., (2003) Atmospheres Birkhauser, Basel.
From some of the people who attended…
I attended your lecture at the RCA today which I enjoyed very much. I was going to ask you a question but you looked at little busy so I thought I would email instead.
I shot a photographic series last year, the focus of which was signage and I have recently been revisiting ideas around the project, to uncover things I had overlooked. The photos themselves are technical, large digital composites shot as panoramics, but its the method I found each location which now seems important. I obsessed over each location, virtually (through satellite imagery and street view), sometimes for years because they were in America. When I eventually visited the chosen locations, I often experienced a strange sense of deja vu, a space never before visited by very familiar to me.
I’m researching this relation between psychological state, space and mapping, and wondered if you had any suggestions for further reading?
Dominic Hawgood, Visual Artist
Hello my name is Bohyun, 1st year student majoring in Service design at RCA.
It was really great to being on your lecture today. I had to skip one meeting for that but I’m so glad I did.
As I mentioned after the lecture, currently I’m doing project for the Sainsbury for innovating customer’s supermarket experience and got to very interested in developing environmental awareness like you said. It would be really grateful if I can also get reach to the paper having the list of books you recommended as I don’t have any contact at the Information design programme, which is shame. And you also mentioned about BBC radio programme regarding ‘perception & sense’. I wonder if I can still get hold of it if I go the the BBC website.
Actually, I was very inspired today more than anytime before in RCA as I was very interested in knowing what comprise of the unique atmosphere of each site but I haven’t got any chances to learn or practice properly about it from my programme. Please let me know if you are going to give lecture to public or do any lecture which are allowed to students from other university, I would love to listen your lectures once again.
Oh yes, and will you also tell me some of museums in london you’ve suggested to visit? I was trying to take a note of your slide but I couldn’t see very well as I was sit at ‘Background’ not the ‘foreground’.
Thanks a lot. I look forward to hearing from you.
I just wanted to send an email to say thank you so much for talking to me about my work and about the kind of projects you get involved in. Your talk was really inspiring and getting to speak to you after was a wonderful opportunity. I was feeling quite concerned about my direction and potential role in a career and you were so encouraging and really gave me the boost I needed to get some faith back.
Thank you so much for giving me your time, I really really appreciate it. Hope to be in contact soon,