A person feels homely and intimate and can recognize the smell of own place. Smells can be associated in architectural designs to guide and stimulate emotions and even to distract. In the same way, every city could have smell and every building could have their smell. Though, this is very difficult to achieve, as the sense of smell is very sensitive. Sense of smell is also associated with memories, and each of the invisible artworks at The Art of Scent, Museum of Art and Design, New York City are aimed to evoke memories and influence thought patterns of guests. Smell has the power to capture the memories in brain. “A particular smell makes us unknowingly re-enter a space that has been completely erased from the retinal memory; the nostrils awaken a forgotten image, and we are enticed to enter a vivid daydream. The nose makes the eyes remember” (Pallasmaa, 1996). Travelling on the streets of a city becomes a journey of the smells and odors.
The human tounge is effective in only differentiating seven to eight different tastes, while the nose can differentiate among hundreds of smells. Olfaction increases the sense of taste. This rule is also applicable in the architectural designs. Though it is clear that there is no taste in architecture, still it has the ability to amplify the sense of taste. In spatial environment, vision is transferred to sense of taste. “Certain colors and delicate details evoke oral sensation. A delicately colored, polished stone surfaceis subliminally sensed by the tongue” (Pallasmaa, 1996). Therefore, the taste in architecture does not really mean to taste the walls, but it means that architecture have the ability to make the mouth water just by he alluring texture and sight of interesting material.
Tactile and vision can stimulate the sensation of taste, in which texture and color of the architecture plays an important role (Pallasmaa, 2011). The smothness of any surface could be sensed by the touching with tounge. “Our sensory experience of the world originates in the interior sensation of themouth, and the world tends to return back to its oral origins. The most archaic origin of architectural space is in the cavity of the mouth” (Pallasmaa, 1996). The interesting example come from the famous Japanese writer Junichiro Tanizaki, who described the incident of tasting a souo bowl, which stimulated the senses in whole body. The expeperience of tasting the soup can be applied to architectural space where the continous moments can stimulate the sense of intimacy.