Scent as primary architecture

The grotto as sensorial metaphor

The design begins with a metaphor, ‘grotto’, meaning cave, associated with ancient rituals, subterranean architecture, and atmospheric depth (Cardillo, 2015). The idea of the cave as a primordial, protective, and sensorial space informed both the spatial geometry and the atmospheric qualities of the lounge, evoking a sense of introspection, sensuality, and timelessness. As a form, the grotto invokes enclosure, shadow, moisture, and earth, deeply tied to olfactory cues. The metaphor aligns with Gernot Böhme’s notion of atmosphere as a ‘spatially extended feeling’.

The metaphor unfolded into a design concept that embraced roughness and shadow, setting the stage for an intimate relationship between scent, light, and material. Rather than treating scent as an add-on or a decorative component, Cardillo embedded olfaction into the very conception of the environment, integrating the brand’s identity with a tactile and olfactory architecture. Here, the grotto is not only a spatial enclosure but a container of scent: an archetype for the olfactorily dense and emotionally resonant interior.

A path driven by olfactory curiosity

The internal layout comprises a single room with a loosely arranged semi-circle of suspended glass vessels, each containing a distinct Illuminum fragrance. These 37 vessels are hung at body height, encouraging visitors to navigate the space via olfactory curiosity rather than visual signage. This choice reverses the hierarchy of senses that typically dominates retail design. The spatial sequence becomes non-linear, inviting wandering, sniffing, pausing, and returning, a form of sensuous browsing tied to movement and material engagement.

Scent is a controlled and explorative experience in the space. Because the fragrances are not labelled but contained in vessels, the experience is non-verbal and embodied, allowing scent to operate on affective and mnemonic levels. According to the architect, at the centre of the arc were the four most intense and luxurious fragrances including Majestic Oud, Tonka Oud, Rosewood, and Black Amber. Following the flow on both directions, the fragrances in the vessels are less intense, including Black Oud, Taif Rose, White Musk, and others. Positioned at the wings were the first-entry fragrances including Arabian Amber, Wild Tobacco, White Datura, Piper Leather, Bergamot Blossom, and the renowned White Gardenia Petals, which the now Princess of Wales, Catherine Middleton, wore to the royal wedding.

Smell as a spatial index

The lounge is sited in a conventional commercial district, yet it resists the spectacle of high-end retail by creating a threshold experience based on displacement and sensory recalibration. The reduced lighting, soft flooring, and slow movement produce a sensory ecology in which scent becomes both ambient and intimate. The visitors experienced a sense of tranquillity and calmness. The immediate contrast between the urban street and the intimate, scented enclosure sharpens the olfactory perception, positioning smell as an index of spatial belonging. The act of sniffing switches the olfactory imagination on and off from one vessel to another following one’s exploration in the space. This movements and sniffing acts as a transition into a new sensory register, where scent becomes the dominant spatial signifier. Scent in this project is not merely an accessory to build form but becomes an active constituent of architectural space, being part of its function, layout, and materiality. This project challenges traditional sensory hierarchies in architecture, positioning olfaction as a primary medium of spatial experience.

Scentonics: a passive olfactory strategy

Cardillo’s use of construction materials is central to the project’s olfactory design. The surface was left raw and textured, ‘echoing the volcanic topography where it was quarried’ in the architect’s own words. The walls are made from a mix of Italy’s Vesuvius volcano ash and lime putty, echoing ancient Roman practices. The Ancient Roman’s concrete consisted of a mix of volcanic ash, lime, and seawater to make a mortar (Jackson et al., 2010). The volcanic ash contains both silica and alumina which proved crucial for a chemical reaction. The seawater dissolves components of the volcanic ash used in the original mixture, creating an alkaline environment that encourages the formation of new, stronger minerals.

Apart from the structural benefits, the combination of the volcano ash and lime produces chemical reactions to neutralise the smells. Volcanic ash, a mixture of rock, mineral, and glass particles expelled from a volcano during a volcanic eruption, may contain a small amount of hydrogen sulphide, which smells like rotten eggs. However, lime mortar has alkaline properties that can help neutralise acidic compounds. This combination neutralises the ambient smell in the room and offers a very subtle, often unnoticeable, earthy tone. This material strategy transforms the architecture into a passive olfactory technology, avoiding mechanical scenting devices in favour of material atmospherics and a muted experience with precision in control of scent through the suspended vessels.