Without the senses, we have no perception of this physical world. Our senses are the gateways to the world. We use our senses to anchor ourselves in the world as human beings and thus experience a sense of security and integration. We must learn to structure our sensory impressions and develop more awareness in sensory perception. This is an important basis for our work as architects and designers. After all, our senses are the organs with which we perceive architecture. I would like to show a way to develop more awareness – and also more precise concepts – for sensory perception. What we experience in perception as a complex unit must be differentiated and structured. For the multi-layered areas of sensory perception, we have the most diverse organs of perception that we need to know. Only in this way we´ll be able to categorize and evaluate our perceptions in a fruitful way. Every perception always involves several senses working together, with one sense having the leading function. This guiding function is closely linked to our intentions, to what we focus our senses on, what they are attracted to. Physiology today speaks of around eight to ten senses, but these are not very differentiated and delineated. Rudolf Steiner developed a conclusive concept of twelve senses between 1909 and 1924 and assigned them to the human being’s essential elements (body-soul-spirit). On this basis, there were many in-depth studies, e.g. by Willi Aeppli in his book “Sinnesorganismus, Sinnesverlust Sinnespflege” (Willi Aeppli: Sinnesorganismus Sinnesverlust Sinnespflege. Rudolf Steiner’s theory of the senses in its significance for education, Stuttgart 1979) in connection with educational issues. Hans Jürgen Scheuerle made a significant contribution to the relationship towards architecture in his work on the overall organization of the senses (Jürgen Scheurle: Die Gesamtsinnesorganisation, Stuttgart 1984) and to the concretization of the modalities. For me, this approach is an essential basis for consciously dealing with the senses and their relationship to the elements of architecture. The twelve senses are the sense of touch, the sense of life, the sense of movement, the sense of balance, the sense of taste, the sense of smell, the sense of sight, the sense of warmth, the sense of hearing, the sense of speech, the sense of thought and the sense of self. In the following I can only give examples of individual senses. These twelve senses are divided into three groups or modalities: the physical senses, the spatial senses and the temporal senses.

The body senses

We can call the first four senses the bodily senses. They give us information about how we relate to the world with our physical body. They are the senses of self-perception or body perception (the red part of the diagram). Let’s do a little exercise here. Pick out a small object, e.g. a small stone. Feel what you experience: Pressure on the skin, pointy or smooth – this is a tactile experience. For the tactile experience, you must constantly move the object, i.e. activate your sense of movement. But you also experience something else, the heaviness, the weight of the stone. You experience this with the sense of life. And you also experience the temperature: is the stone cold or warm, is the sun shining on it? This is where we experience the sense of warmth. You can see how varied this little tactile exercise is and how we also activate the other senses involuntarily. The sense of balance tells us the position of our body in relation to the spatial directions: left, right, front, back, up, down. The sense of movement provides us with information about the position of our body and limbs and registers changes in position. We perceive external movements by following them internally in our body. We find the organ of the sense of movement in our musculature, in the shortening and lengthening of the muscles. This is how we perceive movements and forms outside ourselves through the muscles in our eyes.

The spatial senses (green marked)

The next group out of those twelve are the sensory or spatial senses: the sense of taste, the sense of smell, the sense of sight and the sense of warmth. They convey mental impressions to us. The sense of smell, for example, tells us what is in the air. In a room, for example, it warns us if we smell a burning smell. The sense of smell is always active, but we only become aware of it when there is a change in the environment. Nevertheless, it is very present when we enter a house, for example, and are confronted with a certain smell. A smell that we know from another situation, e.g. from our childhood, from our grandparents. If we now follow this perception, we find ourselves in our grandmother’s house with all the emotional sensations of that time. The olfactory experience is strongly linked to the room and place and our earlier experiences. This emerges from the semi-conscious, our consciousness has no direct access to it. Our sense of sight is our guiding sense, especially in today’s visually influenced culture. We perceive colors, light, bright and dark, contrasts, but also shapes and formats. We have a clear sense organ, but it conveys more to us than just the visual. We can see how complex the subject is and that “seeing” is not just limited to the optics of the eye. We have visual perceptions that immediately evoke sensations. With this group of senses – sense of taste, sense of smell, sense of sight and sense of warmth – we open up space. We leave our body. We feel ourselves in space, we actively connect with our surroundings. We can also call them the spatial senses.

The senses of time (yellow marked)

The next group of senses are the senses that extend beyond space, the senses of time. Their qualities can only be experienced in time. These senses are closely related to the volitional senses of our bodily or self-perception. They require the abilities of the bodily senses, but the direction of perception is directed outwards through our consciousness towards our fellow human beings, towards the animated and essential. Against this background, we can also refer to this group as the social senses. It includes the sense of hearing, which forms the transition from the feeling-oriented to the thinking-oriented senses, the sense of speech, the sense of thought and the sense of self. A piece of music or a conversation cannot be captured, it develops on the timeline. We have therefore become familiar with three sensory or modal areas: the physical senses, the spatial senses and the temporal senses.

Senses and the relationship to architecture

In the following, the references to architectural perception and architectural elements will be briefly outlined. As a rule, we remain completely unaware of our bodily senses. They anchor us in the world and allow us to experience the qualities of architecture directly in our own bodies (see diagram). If everything is harmonious and nothing throws us off balance, we are usually not aware of it. We move safely in the space, but have no conscious experience of our bodies. The architectural references to these senses are the spatial directions, the construction and statics, supports and loads, the dynamics in the space, the materiality, the natural, structured material, the surfaces. The following examples illustrate this well: If we are in a room with vertical windows, we can feel these verticals in our back and in our spine. We are straightened up. If the room has “horizontal” windows, we can feel the need in our body to move into a horizontal position. If we look at sloping pillars, an activity is generated in us to bring ourselves upright against this slant. We experience the need to restore the vertical. We are usually not aware of these perceptions, but they have an effect on us. As the example of the sense of smell shows, we are only half aware of our perception of the spatial senses. They only enter our consciousness when we direct our attention to them, but they still create an indirect, unconscious impression. For example, we perceive odors as described above when they create a great difference and discrepancy to our expectations. So there is something unexpected. The sense of temperature or warmth also only comes into our consciousness when we feel cold or too warm. We are only partially aware of the activity of our sense of sight. For example, when we are driving a car, we perceive very few things consciously. Who can say afterwards the color of the house that we drove past if it didn’t catch our attention? We can assign special architectural perceptions to this sensory area. Smells, colors, light and shadow, room temperature and mood are the elements in architecture with which we experience the atmosphere, the perception of space. Let us illustrate this with an example. Imagine entering a room painted in vivid terracotta, where the light falls in through a window and the window bars draw shadows on the blue-grey terrazzo floor. We feel the protection and warmth of the walls and the coolness of the floor – color and light make us feel cheerful. “Our hearts open up.” Our attention is usually required to perceive the senses of time. These are the senses that are only active with awareness. We use these senses to perceive the following architectural qualities: the sound of the room, the proportions, the shape and form, the idea of the room and even the essence of the building. When we allow the impressions of the previous senses to take effect on us, the room speaks to us. Through our own speaking or singing in the room, the room responds through its acoustics, its reverberation or its acoustic dullness. We experience the regularity of its proportions and we sense the shape of the room.

Awareness in perception

If we want to practise this deeper perception of architecture, we need to develop more awareness, especially for the perception of the physical and spatial senses. After all, they also form the basis for the higher senses of time. Without awareness of our own bodily perception, we cannot classify our sensory experiences. We lack the basis for understanding how space affects us. However, this is the basis for consciously using architectural qualities when designing architecture. In the visual perception exercise, we have seen that we are initially drawn out towards the object, but are then thrown back into ourselves. We compare the image with our earlier perceptions, the concepts we developed from them and our ideas. We then project these back into the world. If we want to develop our perception further, we should proceed with the following intention. Let us extend our visual process, leave behind our intentional gaze for individual details and move around the room with an expanded vision, trying first to sense and then to raise our awareness of what the other senses are showing us. It will be an exercise to remain completely in perception, to expand the pure process of perception. For example, when seeing, to observe exactly what is happening, which other senses are involved. Where do resonances arise in our body, in our sensations, in our cognitive life? If we try to stay in the space with our perception for as long as possible, we can experience that new things also emerge, as our ideas do not immediately close off the perceptual space. We must practice expanding our perception, immersing ourselves in our perception, controlling our flow of thoughts and protecting ourselves from quick judgment and concepts, increasing our consciousness, our awareness. It is a simultaneous experience on three levels. Through the body-related senses I have the perception “I am within myself”, through the space-related senses the perception “I am in the world, in space” and through the time-related senses “I am in the flow, stream of thoughts, in the presence of mind”. If we manage to keep our sensory attention in space with full awareness and endure the tension, we will be able to observe that something is coming towards us from the future, the timeless space of thought, that something is opening up. In architecture, the building idea, the essential, can reveal itself as the essence of architecture.

 

 

 

 

 

 

 

 

Further reading:

– Wulf Schneider: Sinn und Un-Sinn – Umwelt sinn-

in architecture and design,

Wiesbaden / Berlin 1987.

– Rudolf Steiner: Themes from the Complete Works 3,

On the theory of the senses, Stuttgart 1981.

– Arthur Zajonc: The shared history of

Light and Consciousness, Hamburg, 1997.

Have you ever been trapped in a story? Equipped with logic, curiosity and playfulness, each creature in the respective room can creatively unfold together on an adventurous journey of escape. The special part about the so-called Escape Rooms (EXIT) is that the players are locked in a room for a certain period of time and have to independently explore the rooms and work out solutions to be able to leave them again later.
Behind each object, a crucial clue could open the way to the next room – a shifted perspective.
A shifted perspective – a new door – all in all: a partially mobile interior architecture. With great attention to detail, an ambience is created that transports all players into a story that can only be understood interactively through the cooperation of all and can therefore be told together. Every arrangement in the room ensures or blocks the possibility of progressing to the next room. Do the players allow themselves to (still) uncertain playing spaces with conscientiousness – feel them out and think them through, then they experience a very conscious steering. The moment when they realize that the experience of the path lies in their own hands…
My assumption that this type of spatial encounter is linked to very specific forms of interior architecture and stimuli will be examined in the further observations.
If we look at the appeal of the unknown, it quickly becomes clear why EXIT spaces make so many happy: We are faced with something completely diffuse without certainty of knowledge and can practise awakening in this blind state in a new way. Recognizing ourselves as an active co-creator of the space, even when simply rearranging objects, can be liberating and fulfilling. The aesthetics of the unknown lie in this freely designable space and the actual discovery of the new, the teasing balancing act between loss of control – due to the unfamiliarity of the situation – and the possibility of control due to one’s own choice.
On the other hand, experiencing the stimulus of “being included” can both motivate and invite you to go on your own creative mental journey, enriching you, but also stressing you.
In this resulting “living” space, the surprise factor is sometimes so great that the mastered interior design with the supportive acoustics of the rooms, can leave people amazed and they discover how versatile some objects actually are.
By perceiving the dynamic interior architecture, the whole room becomes much more organic and flexible than it would be from a structural-spatial point of view. Especially here, the experience of teamwork and interaction is particularly great. Only together it´s possible to recognize the riddles and the use of some items. Anyone who has already tried something “unsuccessfully” will soon be joined by someone else with another idea and can benefit at a later point in time from the previous experience and the knowledge gained from it. The spatial experience is therefore “moved” in exactly the same way as the respective players. This makes it possible to leave everyday life to enter into a completely new situation that requires full attention and concentration – active relaxation with a touch of adrenaline.

Fascinated by the idea and aesthetics of the unknown and its power, I wanted to find out more about the so-called Escape Rooms and was delighted that the founder of EXIT in Berlin-Mitte (Friedrichstraße 101) Max Mühlbach agreed to answer a few questions about the creation and special features of these rooms.
A big thank you at this point for his openness!

Jonna Louise Besuglow:
“How long does it take – from the planning drafts to the structural implementation – until an
EXIT Escape Room is completed and ready for use?”
Max Mühlbach:
“That varies greatly. There are game designers/room designers who build turn-key games in 2-3 weeks and others plan and build games in 2 years. Our approach lies in the middle ground:
Game design and story are created in about 4-6 weeks, every now and then we use a kind of board game, on which we test the process. The pre-construction takes 2-4 months and the installation is then quite quick. Depending on how well it was planned, you have to go through another phase of 4-6 weeks for testing and optimization, sometimes even during live operation.”

Jonna Louise Besuglow:
“How important is the daily use of the rooms?”
Max Mühlbach:
“It’s negligible. The room is like a computer that has to be switched on before use and
shut down afterwards. Every now and then it needs an update, otherwise it runs if nobody breaks anything.”

Jonna Louise Besuglow:
“What characterizes the interior design of the individual EXIT rooms?”
Max Mühlbach:
“They are all multi-room games, so no world is smaller than 3 rooms and we strive for a very immersive setting.”

Jonna Louise Besuglow:
“What’s so special about the magnetic mechanism that closes and opens doors and drawers?”
Max Mühlbach:
“It’s relatively little magic. The e-magnets are supplied with electricity and therefore hold together; as soon as the power is switched off, the door or drawer can be opened. Sometimes we reinforce the effect with springs or sound.”

Jonna Louise Besuglow:
“How do you experience the changing behavior of the players based on the space?”
Max Mühlbach:
“It’s huge fun. At the beginning, nobody knows what to do with themselves, there are no
rules, so you usually need some time to get into the room. Over time you get into a flow, but every group here is individual. Observing that and guiding the players on the right path is a great task.”

The interview with Max Mühlbach makes it clear that the effectiveness of the EXIT Rooms is primarily due to the interior design, in this case the detailed multi-room design and the selected sound and lighting effects.
As an observer I have long noticed, even outside of EXIT play spaces, that the behavior of those present in the room changes depending on the room. This often underestimated spatial effect led me in June 2024 to interview around 50 participants in the EXIT Escape Room at the Admiralspalast in Berlin after they had played in different rooms. Nevertheless, my assumption was that the players (despite the diversity of the rooms) will experience recurring behaviors and certain feelings when playing due to this specific situation.
To clarify the question about the effect of the space, I asked them the following question:
What feelings did you experienced when you entered the rooms, especially considering that it is up to your understanding of the riddle and your ability to solve those riddles whether you move forward or get “stuck”. The main thing reported was an “inspiring” ambition, closely followed by curiosity about “what might happen next”. For most, the spatial effect was primarily characterized by something described and characterized by “imaginative interior design key elements”, which encouraged the desire to explore and discover. What else could be hidden behind this object? Here, a slide rule can transform into a casket and a small bottle into a key and no wall has to remain immobile.
Everyone was looking forward to experiencing and “immersing themselves in a small new world”. Most experienced great joy and motivation in the adrenaline of being “locked in” and a huge motivation to master the necessary challenges. Every successful solved task gained loud approval and enthusiasm of the group as creative experimentation and logical thinking was mentally celebrated. A certainty was achieved that gave more and more certainty as knowledge increased. Each room tells its very own story thanks to the deliberate theme design.
In all rooms, the players became more mindful of their surroundings. The room was viewed differently than is usually the case. The opportunity for discovery led to a more thorough observation, familiarization and reflection. The meaningfulness of the individual objects and the choice of colors together with the furnishings thus provided the incentive for future next steps and trains of thought. All participants were visibly enthusiastic and felt good because they were able to recognize the puzzle strands and solved them correctly.
For this case the “game world” was thus understood as intended by the riddle. Of course, some also felt almost “frozen” and trapped when something didn’t work right away. The more people took part together, the more difficult the experience was perceived to be. The exciting thing was that many did not have the impression of a “game”, as the interior architects, designers and the like had presented and thought through everything so realistically.
This “extraordinary way of interacting with the space” gave the players an authentic playing space, where the players themselves freely determine the order and exploration.
Those who signed up for a prison wing got one. Those who wanted to enter a strange magical world or wanted to experience the golden 20s, embarked on this journey. The adrenaline and the thrill of the unknown were correspondingly high. Even those who had difficulties and some frustration in solving the puzzle strands were at least positively impressed by the design and vivid spatial perception.
Above all positively, the rooms stood out when there was a kind of window somewhere.
The question was also whether a recurring principle of arrangement or a special form in those
Rooms stood out. Here, it was primarily the thematically appropriate design and the
sound, but architectural features or similarities were not even recognized at all. The unexpected, mobile architecture created a great surprise factor by opening objects or passages. This was so great that none of the players expected another room or “passage” in certain places, especially not with such a different “look”.
Surprise: When the shape can be formed and a change of perspective is the result.
From my own gaming experience and observation, I can confirm that rooms like these appeal to every adventurous explorer. A successful room design thrives on deliberate uncertainty and the surprise factor when discovering and the resulting maximum gaming fun. The lively spatial effect and dynamic design is what makes the whole thing a special experience in which you can also train and recognize your own conscious use of space. It is a wonderful exercise to experience the notorious “oh – how could I have missed THAT!”, but also to overcome it by later entering other spaces more mindfully with a noticeable increase in attention.

Anyone looking for a lively spatial experience and creative encounters will find what they are looking for here.
The rooms, some of which are angled, have their own formal charm, but its effectiveness is only through their creative, thoughtful and colorful design.
A big thank you goes to all the players who happily agreed to share their feelings and thoughts with me after the games.