(a review I found: http://www.dogrosetrust.org.uk/bookitem.htm?id=315)
Below are ideas from this book...
Odor is a powerful vehicle for memory and as such penetrates into our deepest recollections.
Tala Klinck (in the book 'Immaterial/Ultramaterial') wants to know how polished marble, urethane-coated wood, and hot laminated steel smell in the buildings of Alvaro Siza. She wonders how the resins, solvents and pigments contained in latex paints, nylon carpets and glues influence our perception of the spaces. Rudolph e-Khoury suggested that the modern surface is the extension of a visual logic of cleanliness and the universal appeal of the white wall in modern architecture is derived from its capacity to translate the absence of odor into an image.
Suskinds' "Perfume":
People cold close their eyes to greatness, to horrors, to beauty, and their ears to melodies ro deceiving words. But they could not escape scent. For scent was a brother of breath. Together with breath in entered human beings, who could not defend themselves against it, not if they wanted to live. And scent entered into their very core, went directly to their hearts, and decided for good and all between affection and contempt, disgust and lust, love and hate. He who ruled scent ruled the hearts of men."
Most of us have a preconceived notion that architecture = buildings and the built environment, but if we experience places through the sense of smell, then it is rarely the actual buildings that produce the odour but the activities associated with them. Smells that we encounter are, mainly, produced by the function of the buildings or spaces and by the circumstances relating to them.
An article on Smell & Memory
A thesis on Smell & Architecture
And another on 'the choreography of senses'
Interesting transcript of a blind person and her experience of architecture
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