The Anatomy of Atmosphere
Introduction
It's 2010, I'm in Camden at the iconic Electric Ballroom, and the student night is about to climax with The Killers. The crowd is a humanoid wave of pulsating emotion, and the atmosphere, like the name of this institution, is electric. An intoxicating mix of sights, sounds, smells, and tastes, it's an eye-widening experience that makes me feel like I’m truly living in the moment.
Music so loud my ears are ringing. The smell of spilt lager on the floor as it slowly seeps into canvas Converse. My senses are stimulated in a way that the term 'good vibrations' starts to make sense.
But then, the lights are unforgivingly slammed on in the same way the switch is thrown on an electric chair. I'm dazed and confused, as a morbid murmur falls over the crowd of hormonal teenagers. What was dangerous decibel levels of "I'M MR BRIIIGHTSIDE", is now a delicate discussion on where we are stopping for food before the N5 to Edgware. Sensational to sombre, in but a moment.
This was my starting point for this essay, which is designed to examine the anatomy of atmosphere, its origins, and how the industry can design better for their consumers.
From caves to colosseums
In 1974, Philip Kotler wrote the seminal piece on atmospherics, where he attributes its origin to the rise of artificial environments. "One of the mixed blessings of human history is that man increasingly lives, works and plays in artificial environments."
In essence, throughout human history, we have progressed, from living in natural environments – surrounded by trees, streams, and grasslands – into bricks & mortar, artificial environments. With this progress, human beings have tried to make artificial environments more attractive to live within through the application of atmospherics.
This dates back to the ancient Greeks – where architects created visually magnificent temples that were fitting edifices to their gods – through to the Roman Coliseums, designed to amplify the acoustic quality for the mob through the curved shape and carefully considered use of marble materials.
The anatomy of atmosphere
Kotler, in his work on atmospherics, describes it as "the effort to design buying environments to produce specific emotional effects in the buyer that enhance his purchase probability". This highlights the intentional manipulation of sensory elements within a retail space to influence customer emotions and increase the likelihood of a sale. In other words, businesses can strategically design the atmosphere of their experiences to evoke particular emotions and associations in customers, ultimately making them more likely to make a purchase. He presents four key sensory dimensions in which atmosphere is experienced:
Visual: colour, brightness, size, shapes
Aural: volume and pitch
Olfactory: scent and freshness
Tactile: softness, smoothness, temperature
This framework for understanding the sensory dimensions of atmosphere is further explored and validated in Turley and Milliman's (2000) comprehensive review of 58 experimental studies on this topic. Their analysis showcased that manipulating these sensory elements within a retail environment can significantly impact customer perceptions, evaluations, and behaviours.
For instance, one example can be found within Bellizzi and Hite's (1992) work on visuals within colour. This study found that a blue environment elicited more favourable responses from consumers, influencing their feelings and purchase intentions, noting emotional responses of calm & coolness in comparison to red environments, which elicited tenseness within the sample. Similarly, Areni and Kim's (1994) study on lighting demonstrated that brighter lighting could lead to increased customer engagement with merchandise through longer dwell times.
But although these studies provide a rudimentary understanding of the individual elements that can influence an atmosphere, the more interesting question is, what makes a ‘good’ atmosphere? It's a big question, and so to start, it might be helpful to outline what a ‘bad’ or 'negative' atmosphere is.
In 1999, Woodstock Festival returned and was one of the most anticipated events of the decade. With a shift from the flower power movement of the ‘60s to the counterculture grunge era of the ‘90s, the festival was set for record numbers of people to attend. However, things didn't quite go to plan, and atmospherics played a key role in one of the biggest recorded festival disasters in modern human history.
Visual
Unlike the festival's 1969 predecessor, Woodstock '99 wasn't hosted on green rolling hills, but instead, a former air base and benefactor of brutalism, which featured unforgiving tarmac roads and an abundance of asphalt, Newsweek (2022)
Tactile
Laddering off the above, the festival weekend felt the full force of our solar star with temperatures hitting 38°C (100°F), with little to no access to shade for attendees. The Baltimore Sun reported that more than 700 people were treated for heat exhaustion and dehydration over the weekend and there were over 1,200 onsite medical admissions, Culture Matters (2022).
Olfactory
Budget cuts had resulted in poor sanitation, epitomised by a number of festival goers suffering from trench mouth. It was reported that human faeces had leaked into drinking and shower water, which coalesced into pungent pools of what was coined "Sh*t mud" The Tab (2022).
Aural
On the penultimate day of the festival, the crowd was feeling frustrated as a result of the above onslaught. Internally, festival management had been put under increasing pressure to call for calm, with media reporting LIVE from the festival on what had become widespread disorder. 8pm struck and Limp Bizkit took to the stage, energising the crowd over 45 minutes, before this monologue from lead singer Fred Durst:
"Time to reach deep down inside, and take all that negative energy, all that negative energy, and let that shit out of your fucking system. You got girl problems? You got boy problems? You got parent problems? You got boss problems? You got job problems? You got a problem with me? You got a problem with yourself? It's time to take all that negative energy, and put it the fuck out!".
The band then dropped the hit single, 'Break Stuff' to widespread pandemonium, with elements of staging being ripped off and burned, which echoed into the night.
The atmosphere of Woodstock '99 was described as chaotic, violent, and misogynistic, with some calling it a "flashpoint in cultural nadir" Rotten Tomatoes (2023).
However, paradoxically, what we can learn from Woodstock '99 in the context of atmospherics showcases that multisensory congruency plays a role in generating an emotional response, albeit in this case, a negative one.
Creating congruence
How great pairings can create a cohesive brand experience.
In 2022, Charles Spence, Head of the Crossmodal Research Laboratory at Oxford University, built upon Kotler's research, highlighting the need for us to study atmospherics in a multisensory way in his article, ‘Experimental atmospherics: A multisensory perspective’. He argues that while atmospherics are inherently multisensory, they are often unfortunately studied in a unisensory way, for example, focusing on scent or sound in isolation.
The way I’ve come to think about this throughout my research into the subject of atmospherics is to use an audio engineer's mixing desk as a representation for our senses, where specific elements can be isolated, before being brought together for a richer experience. Here’s Butch Vig to showcase.
Spence highlights that when sensory cues are congruent, meaning they work in harmony, it enhances processing fluency or the ease in which our brains decode the stimulus.
For example, slow tempo music paired with a relaxing lavender scent might create a congruent and pleasant atmosphere, leading to positive consumer evaluations. However, when sensory cues are incongruent, such as combining a zingy citrus scent with calming music, it disrupts processing fluency and leads to negative perceptions, potentially impacting sales negatively.
In my opinion, by creating sensory congruency we appeal to Type 1 or ‘automatic thinking’, and when sensory elements are incongruent, we inadvertently require our consumers to engage more ‘Type 2’, rational thought which is slower and more cognitively taxing which can lead to irritation. Kahneman, D. (2012).
As a real world example of sensorial congruence, a supermarket study on wine selections found that customers were more likely to purchase French wine when French accordion music was played in the background, and German wine sales increased when German bierkeller music was played. North, A.C., Hargreaves, et al (1999).
Interestingly, customers often denied the influence of music on their choices, but the sales figures reflected a strong correlation between musical congruence and purchasing behaviour. However, as David Ogilvy once said, “The trouble with market research is that people don't think what they feel, they don't say what they think and they don't do what they say.”
This highlights how carefully curated, congruent sensory cues can subtly, yet effectively, influence consumer choices and ultimately drive sales.
Post-note:
It is worth noting that incongruent sensory elements can sometimes be of use when stand-out is required, this links to the Von Restorff or Isolation Effect and is common within the world of new product innovations & NPDs.
Atmospherics as a taste influencer
“You have to try the Guinness in Ireland, it’s so much better.”
- Literally everyone
Well, it’s not. At least to my knowledge, *awaits email from DIAGEO*. However, it’s not to say this person is wrong, because what they are experiencing is a result of atmospherics and the Provençal Rosé Paradox.
The Provençal Rosé Paradox describes the phenomenon where rosé wine, often enjoyed in the summer months in the south of France on holiday, doesn't taste as good when it’s brought home. Spence (2023).
Similar to how the atmosphere of Irish pubs more broadly enhances the perceived authenticity and enjoyment of Guinness, the specific ambiance of the south of France contributes to a heightened enjoyment of rosé wine. This highlights that when those contextual elements are absent, the experience, and thus the perceived flavour, can change.
Tastes better together
Additionally, ever noticed how you appreciate a drink more when you're with those that matter most?
Research conducted by Spence in partnership with Berkmann Wine Cellars identified that more than two-thirds (68%) of people feel that food and wine do not taste as good if they are consuming it alone, which reinforces the need for multisensory models.
The study also found that Wine choices in particular are often impacted by the social situation, with 28% altering the type of wine they select depending on where they are drinking it. 92% say that the flavour of their meal and wine was improved when surrounded by people they loved.
Sonic seasoning
Sonic seasoning is based on the idea that sound can enhance, or even modify, the way we experience flavour. One of the earliest studies in this area was conducted by Holt-Hansen in the 1960s, where he found that people tended to associate higher-pitched tones with stronger beers. This finding opened the door to the possibility of brands using sound to influence taste perception.
More recently, The Singleton Sensorium, a multisensory experiential event held in London in 2013, showcased the utilisation of sonic seasoning.
To prime notions of sweetness during this event, a tinkling soundscape, reminiscent of wind chimes, played in the background of one of the rooms. This particular soundscape was chosen based on laboratory research findings that revealed a strong association between such sounds and the perception of sweetness. This strategic use of sound aimed to create a holistic sensory experience that enhanced the perception of sweetness in the whisky being tasted at the event, Velasco et al (2021).
Smells delicious
The sense of smell plays a pivotal role in what we experience as taste. While we often think of taste as something perceived solely by the tongue, it is actually a complex interplay of senses, with smell being a
major contributor. Spence & Auvray (2008).
When we eat or drink, odour molecules are released from the food or drink and travel through the back of the mouth (nasopharynx) to the olfactory receptors in our nasal cavity. This process is known as retronasal olfaction. It's important to differentiate this from orthonasal olfaction, which is how we smell things in the environment through our nostrils.
One brand who is making waves in this space is Air Up, which harnesses the above to create a new way to experience flavour through its Scentaste™ technology.
Tactile touches
I’ll conclude with the impact of touch on taste. In 2024, authors Chunmao Wu, Pei Li, and Charles Spence conducted an experiment titled “Glassware Influences the Perception of Orange Juice in Simulated Naturalistic versus Urban Conditions”, with the partial aim of exploring how the shape of a glass can influence the perceived taste of beverages.
To investigate the influence of glass shape on taste perception, the researchers designed an experiment, where 78 participants tasted orange juice from three differently shaped glasses:
Pilsner Glass: Tapered sides (like a typical beer glass)
Collins Glass: Straight sides (like a highball glass)
Weizen Glass: Curved sides (like a classic beer stein)
The researchers randomly presented these glasses to the participants, ensuring they were unaware that the same orange juice was used in each glass. Participants then rated their perception of the orange juice's aroma, flavour intensity, sweetness, freshness, fruitiness, and pleasantness.
The study found that the shape of the glass significantly impacted how participants perceived the sweetness and pleasantness of the orange juice. The curved Weizen glass led to higher ratings for both attributes compared to the straight-sided Collins glass and the tapered Pilsner glass.
And although visual form is one element, research suggests that weight, balance, and material of glassware or servingware can also significantly influence taste expectations.
For example, the same way we’re programmed from an early age, ‘if it’s heavy, it’s valuable’, research suggests that heavier items tend to be associated with higher quality, ultimately influencing how the drink is perceived and experienced. For instance, serving a cocktail in a plastic glass as opposed to a heavier glass might lead to a less satisfying experience due to the difference in weight and perceived quality, even if the drink itself remains the same, CLASS (2022).
Conclusion
So there you have it, from stimulating the senses to multisensory models, creating congruency and even influencing flavour, atmospherics are a largely unexplored and untapped opportunity for brands in an ever more competitive world.
Provocation
In 2023, design agency JKR worked in collaboration with Ipsos to examine the distinctive assets of more than 500 brands, one of the largest studies of its kind, and naturally, focused heavily on visual distinctive assets.
However, as Professor Jenni Romainuk of the Ehrenberg-Bass Institute states in the opening section of her book, Building Distinctive Brand Assets, Distinctive Assets can be anything sensorial that trigger the brand name.
How can the design industry utilise a multisensory model to create richer, more distinctive assets, innovations and experiences for their audience?
Acknowledgements
My thanks to Joe Tiltman for his editorial assistance with this essay.
