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Functionality, good ventilation, comfortable lighting, and access to views are some of the important required characteristics that make for human comfort in inhabited or occupied spaces. Nonetheless, those elements are becoming harder to achieve within smaller city dwellings. Architects and individuals, therefore, turn towards design solutions to create more agreeable and personalized settings.

An initial solution to upscale and widen spaces is to reduce the amount of standard solid partitions or walls and replace them with alternative means of spatial separation. 

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The Royal Institute of British Architects (RIBA) has announced the shortlisted projects for the 2022 RIBA London architecture awards. The list of 68 buildings includes projects ranging from individual houses to schools and office towers in the city centre, showcasing the best architectural interventions in London over the past two years. All designs will be assessed by a regional jury, and the winning projects will be announced later this spring. Subsequently, Regional Award winners will be considered for the RIBA National Award.

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Claude Monet and Vincent van Gogh used the impasto technique extensively in their paintings. Both applied thick layers of oil paint over the canvas, usually one shade at a time, and it was up to the viewer's brain to mix the colors and create the desired effects. When dry, the paint forms reliefs and textures on the canvas, evoking a sense of movement. Even without being able to touch the screen, the texture of the brushstrokes gives a three-dimensionality to the painting, something that can only be fully observed by seeing the artwork live, looking at it from more than one angle and actually experiencing it.

In his famous book “The Eyes of the Skin: Architecture and the Senses,” Juhani Pallasmaa points to "a predilection in favor of vision and in detriment of the other senses in the way architecture was conceived, taught and criticized, as well as the consequent disappearance of sensory and sensual characteristics in arts and architecture." According to the author, "an architectural work is not experienced as a series of isolated retinal images, but in its fully integrated material, corporeal, and spiritual essence."

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