DESIGNING WITH ALL 5 SENSES When people find out I am a blind designer, the first question I am usually asked is how can a man design a space that he cannot see? In the 10 years that I have been designing, I have realized that I must turn the question around: how can a sighted person design a space so that it appeals to all of the senses when sight alone is so limiting?
Naturally, the first thing a sighted person does is use their eyes to assess a space. The problem with this is that it greatly prejudices the way the other senses interpret the same space. I have found that for most people, it actually precludes the other senses from consciously interpreting the space at all. But what most people don't realize is that their other senses are still assessing the space sub-consciously, deciding whether it is welcoming and comfortable.
This is where I have several advantages. When I approach a space, I am not limited by my eyesight. My other senses are free to explore and examine a room without being prejudiced by sight. In fact, my other senses are heightened; I can hear, feel, smell and sense things long before others do. I also have the benefit of modern technology, with such tools as voice-response software, talking tape measures and Braille-like blueprints (See Eric's Special Tools). Finally, when I was sighted I worked in advertising, which is an extremely visual medium. I came to understand the impact of every visual decision and I still remember that vividly today.
Now, as I design a space, I am always conscious of how every decision will impact all of the senses, consciously and sub-consciously. I assemble all of the elements of my design in my mind, like the pieces of a puzzle, envisioning myself moving around the finished space.
My spaces appeal on a subconscious level to all of the senses. And I find that it also appeals to those same senses on a conscious level. I frequently hear someone walk into my spaces and first comment positively on how it looks. But then they quickly notice how it feels too. They might comment on how it smells, the textures of the space or the sounds they hear. They don't realize it, but all of their other senses are being satisfied as well.
After a short time designing, I discovered something else that surprised me: in losing my eyesight, my original fifth sense, I have gained another. I began to sense the energy and flow of a space. As I nurtured this sensation, I found that I could sense not only the energy of a space, but also the blockage of energy. I have learned how to find and remove the source of the blockage, and allow the energy to resume a natural flow again. So I still design with every part of myself, using all 5 of my senses.
A WORD ABOUT COLOR
The second question I am usually asked is how I deal with color. First, when I was sighted I was in advertising and I still remember colors well. Secondly, I rely on the people around me to describe colors and patterns in explicit detail. Finally, I have learned that color plays on the mood of the viewer. Close your eyes and think of the colors brown and red. Now close your eyes again and think about a rich brownie dripping with chocolate sauce and a cherry on top. The same colors but a different experience.
This is a rather simplistic description, but it makes the point well. There is a reason we don't just call it dark brown, we call it chocolate brown. Color has an impact on the memories and emotions the viewer, and I take that into account when I design a space.
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