#ccdn 231

Sensorial Design - Catching the Bus

The brief for this project was to use an everyday experience (in my case, the experience of taking the bus) as a starting point, and then to translate sensorial parts of this experience into another type of sense, in the form of tiles.

This paper also involved devising ways of testing and observing people using your tiles, as well as a group project in which we designed an exhibition space for the class to exhibit their tiles.

This card model shows how we planned to split the given space into a series of rooms, with each dedicated to tiles that utilised a particular sense.

Comfort

The experience I have created expresses the feeling of comfort. It combines both visual and physical elements to create a comforting perfume experience. Warmth is directed to the physical comfortability of a person. The heat bag that wraps around the wrist provides this warmth and prepares the skin for the perfume. The scents provided for choice were chosen because they are familiar. Often we associate what is familiar with our level of comfort. These familiar things range from people, objects, surroundings, sounds and scents. The presentation of the three scents also offers comfortability for the eye. This is because our eyes have been trained by media advertising to appeal to nicely laid out objects.

Comfort as an overall concept has evolved throughout time. Originally the word comfort came from the Latin verb ‘comfortare’, meaning mental or physical strength, encouragement or consolation. (Shove, 2004).This meaning can be interpreted as the act of comforting someone. An example of this is giving someone a comforting hug when they are experiencing bereavement. A second example is writing consoling words to someone in times of trouble. This definition can also be interpreted to mean comfortability in the decisions one makes and the ability to be able to retire comfortably. (Shove, 2004).

Recently, the meaning of comfort has evolved to a materialistic definition. This refers to the physical comfortability of someone, with importance on the relationship between the physical environment and one’s body. (Shove, 2004).In order for people to achieve this type of comfortability an importance on objects had to be created. These objects were purchased to enhance the physical environment and satisfy the mental wellbeing of someone. This type of physical comfort also became part of architecture. In France, Britain and America the image of a comfortable house was a cottage, implying that a person’s level of comfort was directly related to their living conditions. (Crowley, 2001). Crowley expressed about these societies that “There are two words in their language in which these people pride themselves, and which they cannot be translated. Home is one, by which an Englishman means his house. The other word is comfort; it means all the enjoyments and privileges of home”. This definition of comfort is dominant in society today.

Currently, the most dominant definition of comfort refers to a material world. The concept of comfort is materialized and defined as an attribute. (Shove, 2004). With the evolution of this concept came assumptions about culture. It seems that the world is becoming overwhelmed with the large amount of products being produced and brought. The assumption is that because of this we are becoming superficial and more materialistic human beings, and as a consequence the relationships we have with others are being compromised because of the relationships we have with objects. (Miller, 2009). However, this assumption has been proven wrong. In reality, the relationships we have with objects often strengthen the relationships we have with people. The closer we are with our objects and possessions the closer our relationships are to people. (Miller, 2009).

Mass consumerism has become an integral part in the achievement of comfort in the home. People have become more focussed on enhancing aspects of their everyday lives. These enhancements include privacy, light, warmth and cleanliness. Researchers have coined these enhancements as comfort. However, because comfort cannot be measured then it cannot be a response to living in a materialistic environment. (Crowley, 2001).These objects found in the materialistic environment are the means to achieving comfort as opposed to being seen as comfort. (Shove, 2004).

Similarly, the notions and feelings an object brings to someone can dictate their level of comfort. Objects are a part of everyday life and a lot can be said about someone through their possessions. This means that our possessions reflect on our individual experience with the world. (Miller, 2009). For example, children from a broken home with divorced parents may have found solace in one of their toys; this translates into adulthood as their toy would still be in their possession. This indicates that the toy offered the young child comfort when they were in times of need. This meaning of comfort related directly to the original definition that comfort was about consoling someone in their time of need. This kind of comfort found through objects can indicate the sadness or happiness in a person’s life. (Miller, 2009).  

As the definition of comfort has evolved, so too have our levels of comfort. They are ever increasing and becoming harder to maintain. Our desire for warmth and light indoors is negatively affecting the global environment. Because of the huge amount of carbon dioxide and green-house gas emissions the outdoor air temperatures are rising, meaning our lifestyles are contributing to climate change. In the developed world most people are living in cities, these cities create local temperature anomalies. This means that the temperatures experienced in that area are abnormal to neighbouring rural areas. (Watkins, Palmer, Kolokotroni, 2007). People’s desire for comfortable temperatures is tipping the scales from comfortable to uncomfortable and is ultimately contributing to global warming.

In conclusion, the meaning of comfort has evolved drastically. It began as meaning comfort of mind and is now a materialistic term relating to our physical environment. With the transition to physical comfort a materialistic and consumerist culture has evolved. Objects are now very important to people and can strengthen ones relationships with others. The experience I have created satisfies the human desire to be physically comfortable through the heat bag, without using too much heat that it becomes uncomfortable. It also involves comfort of mind by incorporating the scents that are very familiar and can be found almost everywhere. The combination of the two meanings of comfort creates a fulfilling perfume experience.  

                  References

Shove, E. (2004). Comfort, Cleanliness and Convenience: The Social Organisation of Normality. London: Berg.

Crowley, N. (2001). The Invention of Comfort: Sensibilities and Design in Early Modern

Britain. Baltimore: John Hopkins University Press.

  Miller, D. (2009). The Comfort of Things. Cambridge: Polity.

Zaharah Chocolate embodies glamour by creating an illusion of beauty, wealth and luxury for the participant. By presenting an advertisement to promote Zaharah Chocolate, the participants' imaginations will be evoked. They will wonder why this product is so desirable, thus making them tempted to try it. If the product seems to behold beauty, expense, and luxury then the viewer will believe this to be true; they will believe it to be glamorous. Because everyone wants what they don't have, the participants will then feel glamorous themselves when they are presented with the beverage and a gift bag with a free sample inside.   

Though glamour is often associated with beauty, wealth and luxury, it is not. Glamour is not a style, nor a scene, but rather a reaction that relies on the dreams and fantasies of it's consumers (Rosa, J. 2004. p 24). Glamour is nothing more than an illusion - a magnificent magic trick that plays on the viewer's vision, and relies on that which cannot be attained by the ordinary. Though it may seem unattainable, it represents something more, a longing for what a person could be or what they could have. Because glamorous goods, such as cars and jewellery, are tangible, they leave consumers believing that they are in reach (Rosa, J. 2004. p 32).

Glamour originated from the mid 1920's through to the 1940's in the Hollywood film industry, and often related to femininity, fashion and cosmetics (Willis-Tropea, L. 2008 p 4). Women's power was demonstrated through glamour, and thus it became a manipulative tool for convincing the consumer of purchases. Zaharah Chocolate attempts to recreate this but with a more modern twist.  The advertisement surrounds a beautiful, yet subtly sexy woman, that which is cliché of classic Hollywood cinema (Willis-Tropea, L. 2008. p 5). As cinema empowered women, this encourages the 'everyday' women to embrace the cosmetic beauty that was marketed to them. The woman seen in Zaharah Chocolate's advertisement, demonstrates that of a glamorous consumer as she wears jewellery, makeup, high heals, and a long flowing dress. Therefore, by using a glamorous woman in Zaharah Chocolate's advertisement, the everyday women will think that they too can be glamorous and powerful if they purchase this product. 

Consumerism plays a major role in glamour, as glamour is often related to materialistic values rather than that of experience. Glamour relies on its consumers' wants and desires rather than emotional needs. Consumption justifies for the lack of meaning in today's society. Many people attempt to fill their needs through material goods and define who they are by what they own (Press, M and Cooper, R. 2003 p 11). Glamour relies heavily on this. As Rosa points out, a lot of effort goes into creating the illusion of glamour. One should not be oblivious to its manipulation and confuse it for reality, but rather enjoy the magic and let it inspire you (p 34). 

Taking inspiration from other glamorous products, Zaharah Chocolate's packaging is modern and minimal. As Brown states, many glamorous products have a distinct aesthetics, which is simple, formal, clean and modern (p 1). Glass and leather are both considered to be glamorous materials; therefore, Zaharah Chocolate is packaged this way (Lassell, M. 2009. p 2). The name of the Chanel perfume, No. 5, gives no indication to what the contents of the bottle is, making it far more mysterious (Brown, J. C. 2009. P 13). Zaharah Chocolate also creates mystery as I intentionally left the product unlabelled. However, the bottle is clear so the consumer can still see inside to know what the contents are. 

The participants will be envied by others as they have a chance to taste this incredible new product for the first time. The participants will feel extremely important - almost like a celebrity - as they attend this exclusive product premiere. As the host explains the arrival of the new beverage, the participants can begin to lose themselves in the fantasy of owning such a glamorous product. Though the host is not actually needed, this enhances the illusion by enabling the participant to forget their stress, as everything is provided for them (Gundle, S. 2008. p 142).  As Gundle says, anyone can be glamorous (p 147). The participant will also believe this to be true; therefore they will be easily lost in the illusion once the host encourages the thought. 

Once the participants' have seen the advertisement and tasted the beverage, they will receive a gift bag to take home with them. The bag, in which the gift is presented, is symbolic of the art deco period, which surrounded 1930's to 1940's glamour (Rosa, J. 2004 pg 28). As glamour indulges the participants' imaginations, the gift bag offers a tangible source of self-indulgence. Glamour tests the boundaries between classes, as it seems exclusive to the rich and famous; out of reach to the ordinary person. Yet ordinary people can take a small piece of glamour for themselves (Rosa, J. 2004 pg 28). By presenting the participant with a gift bag, they not only feel glamorous while attending the product premiere, but also will be reminded of that experience every time they make a beverage at home. 

It can be seen the Zaharah Chocolate creates a glamorous experience, as the participants attend an exclusive product premiere, which invites them to lose themselves in the fantasy of owning such a glamorous chocolate beverage. By demonstrating beauty, wealth and luxury, through an advertisement, the participants' are manipulated into believing that this product could also bring them such things. As the host convinces the participants of their importance, they will forget their worries and allow themselves to be lost in their imaginations, making them feel more glamorous. By receiving a gift bag the participants are able to take a tangible piece of glamour home with them. Rather than relying on pure experience, Zaharah Chocolate relies on the longing and fantasies of the participants and their reaction to the presentation of the product.  

Bibliography 

Brown, J. C. (2009). Glamour in Six Dimensions: Modernism and the Radiance of Form. Cornell, USA: Cornell University Press.

Gundle, S. (2008). Glamour: A History. Oxford, USA: Oxford University Press.

Lassell, M. (2009). Glamour:Making it Modern. New York, USA: Filipacchi Publishing.

Press, M and Cooper, R. (2003). The Design Experience: The Role of Design and Designers in the Twenty-First Century. Aldershot, England: Ashgate Publishing Limited.

Rosa, J. (2004). Glamour: Fashion, Industrial Design, Architecture. California, USA: San Francisco Museum of Modern Art.

Willis-Tropea, L. (2008). Hollywood Glamour: Sex, Power, and Photography, 1925 - 1939. USA: ProQuest LLC.

Above is my Final Hand In - Rationale and Documentation.

The following is the music I used for my Advertisement.

"Waking Up Instrumental"

Dexter Britain

Creative Commons Volume 2

Archive.org

I began filming my ad today. Thank goodness Zaharah agreed to be my actress. The poor thing ran in a ball dress, in heels, in the rain for me - I am so thankful that she did this for me. I think the footage I got was good. Now I just need to begin editing the clip.