207ating various > atmospheres. Given its penetrating character
and subliminal effects, aromas are especially well suited to
the covert manipulation of emotion. When we remain in a
room for a longer period of time, however, an aroma quickly
becomes familiar, depriving it of much of its intensity.
Literature: Bischoff 2006> odour, sensory perception
> door and gate, opening, windowRooms and buildings require openings so that they can be
closed off, but also so that the architecture may be enlivened
by changing lighting (> light) conditions. Acts of opening and
closing condition one another reciprocally; their interplay
conforms to the interdependency of division and connection,
of > inside and outside. For this reason, a richly varied deploy-
ment of openings is decisive for architectural variety – but it
is not solely a question of > windows and > doors. When in-
terior rooms open themselves up to the outside, it is basically
a question of the nature of the transition or of the switch be-
tween spatial characters, from narrowness to expansiveness,
from dark to bright, warm to cool, or private to public.
Certain door and window forms or other figures of open-
ing invest use with a specific form of expression – for exam-
ple the possibility of penetrating from the outside, of break-
ing out from within; but also the restriction of these actions
through narrowness and options for closure – or they provide
these uses with frames. Emerging in place of point openings
by breaking open corners in the spirit of the ‘destruction of
the box’ (Frank Lloyd Wright), or even by dissolving entire
wall slabs, are interruptions, intervals and interspaces that en-
courage the > flow of space in a continuum.
Through > filters, the role of > views into or out of the
building or of > ingress and exit and the function of separa-Olfactory sense
Open/close
Opening