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Daydream: The soft architecture of elsewhere
From sheer fashion to luminous interiors, Daydream reframes design as immersion, dissolving structure into atmosphere and inviting us to inhabit perception rather than consume it
In an era defined by sharp clarity and high-definition reality, Daydream emerges as a countercurrent foregrounding an aesthetic and emotional shift toward softness, uncanny ambiguity, and luminous suspension. It does not propose escape so much as recalibration. Daydream asks what it means to inhabit the present more gently, to blur the edge between what is seen and what is felt, to allow perception to loosen rather than tighten. It is a design language born from overstimulation, offering not withdrawal but a reimagining of presence itself.
To daydream is to remain here while drifting elsewhere. The eyes stay open; the world remains intact. Yet something shifts in the atmosphere. Forms soften, time stretches, and attention becomes porous. The French philosopher Gaston Bachelard once described reverie as an expansion of the possible, and it is precisely this expansion that underpins the Daydream sensibility. It inhabits the liminal zone—the in-between space where memory overlays reality, where imagination does not replace the world but gently reframes it.
Cinema offers a foundational vocabulary for this condition. In the films of Andrei Tarkovsky, time behaves like weather. Mist gathers in doorways, light pools across water, dust drifts through abandoned rooms. Narrative slows to the pace of breath. His camera lingers rather than advances, inviting the viewer not to follow a plot but to inhabit a mood. Daydream draws deeply from this cinematic grammar, allowing illumination to function as sculptural presence, translucency to operate as a form of structure rather than surface, and atmosphere itself to shape the experience of architecture. In these spaces, the intention is not to create spectacle for passive viewing, but to heighten perception and emotional awareness. Rather than encouraging rapid consumption, Daydream cultivates immersion, inviting the viewer to linger a little longer.
David Lynch’s dreamlike domestic interiors—curtains that shimmer as though breathing, neon swallowed by shadow, spaces that feel at once intimate and uncanny, offer another reference point. Lynch once remarked that he liked things that are confusing because they place us in a beautiful dream state. Daydream operates within this gentle confusion. It embraces the strangely familiar: objects that appear almost edible in their softness, materials that glow as though lit from within, environments that hover between comfort and estrangement. It is beauty with a tremor.
The triggers behind this movement are deeply contemporary. Digital culture has rendered experience immediate and endlessly replayable. Yet paradoxically, this saturation has intensified a desire for spaces that feel ungraspable. Online communities have become fascinated with liminal spaces—empty corridors, abandoned malls, softly lit waiting rooms—images that feel suspended between use and memory. Dream technology and lucid dreaming forums attract hundreds of thousands seeking altered states of awareness. Immersive exhibitions invite visitors to step inside digital projections and scent-filled environments. What unites these phenomena is not escapism but a hunger for perceptual depth, for atmospheres that slow cognition and restore emotional nuance.
Daydream responds by dissolving hard boundaries. Glass, once valued primarily for transparency, is reimagined as a material of depth and ambiguity. Its dual nature—neither fully solid nor liquid—makes it a perfect conduit for suspended perception. Contemporary designers experiment with cast blocks, reactive glazes, frosted surfaces, and layered translucency, allowing light to pool, refract, and diffuse. The renewed interest in glass is not ornamental; it reflects a broader cultural appreciation for process and fragility in an age of speed.
In a similar vein, soft materials begin to assume a sculptural presence of their own. Paper mâché, encaustic finishes, cotton acoustic panels, wax, foam, and fluid textiles such as organza and chiffon are employed not simply for texture, but for their ability to evoke weightlessness and gentle movement. Recent Spring/Summer collections across global fashion capitals have foregrounded billowing silhouettes and sheer layers, presenting garments that behave more like atmosphere than structure. Interiors are responding in kind. Sheer partitions increasingly replace solid walls, reflective surfaces capture and disperse light, and illumination is embedded, concealed, or diffused until it reads less as a fixture and more as a pervasive mood.
Spatially, Daydream favours environments that feel amorphous and portal-like. Architects experiment with mist, fog, and light installations that blur interior and exterior. Retail spaces shimmer with pearlescent surfaces and softly glowing walls. Museums introduce scent, sound, and tactility into exhibitions, transforming passive spectators into drifting participants. The emphasis is not on clarity, but on encounter. Visitors are encouraged to wander, to pause, to feel.
This is not naïve romanticism. Daydream arises precisely because the world feels harsh. Against the grounded tactility of IRL and the regenerative pragmatism of Solarpunk, it offers a psychological survival strategy. Where IRL turns to touch and Solarpunk to repair, Daydream turns to atmosphere. It recognises that in a climate of urgency and information overload, emotional safety may lie in softness. It invites a return to childlike wonder—not as regression, but as resilience.
The palette which includes Colour of the Year, Moonlit Silk mirrors this sensibility through luminous, whisper-soft transitions. In this chromatic landscape, colour is not declarative. It does not shout or command. It hums. It refracts. It lingers. The overall effect is one of quiet transformation, as though the room itself exhales.
Daydream ultimately proposes that perception itself can be designed. It insists that beauty need not be sharp to be powerful, nor spectacle necessary for emotional resonance. By softening edges and suspending certainty, it creates environments where we are invited not to consume experience, but to inhabit it. In a culture obsessed with clarity, Daydream restores the value of the gently unknowable. It reminds us that sometimes the most profound shifts occur not in bold declarations, but in subtle dissolves.
Daydream wallpapers soften boundaries and slow perception. Spaces styled by Pooja Bhandary; Rug and green bench by Hatsu, Chair and cushions by Maraal, Brass monkey by Peacock Life; Photographed by Kunal Daswani with Asian Paints
Colours that are pearlescent, milky, and misted blur into one another recalling light through glass, fog, or water. Spaces styled by Pooja Bhandary; Bench by Hatsu; Photographed by Kunal Daswani with Asian Paints
Daydream hues blur edges, sculpt space, and evoke the quiet poetry of drifting dust, reflective surfaces, and luminous softness. Image courtesy, ColourNext Asian Paints
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