Afterword

Anthologies provide key opportunities to assess the current state of a field or topic. In the case of Designing with Smell: Practices, Techniques and Challenges, the subject is relatively new and the anthology takes an adventurous step forward in specialization. Up until now, compilations regarding smell and design have done so through the general context of the senses in particular niches, such as the city (Zardini, 2006; Diaconu, Heuberger, Mateus-Berr & Marcel Vosicky, 2011) or the museum (Levent and Pascual-Leone, 2014). In a similar way, anthologies on smell have featured some chapters on design, but in the midst of art, literature and other cultural forms (Drobnick, 2006; Jaquet, 2015). ¹ Designing with Smell, by contrast, not only concentrates on smell, it does so in a broad, inclusive way to cover a full range of design applications: events, installations, exhibitions, buildings, landscapes, schools, workspaces, museums and public space, among other areas. With this pioneering anthology, one can take in a breath and sniff the prevailing winds, so to speak, of the diverse examples of olfactory research currently present in design practice.