將“感官體驗(yàn)漫步分析”用于多重感官體驗(yàn)的風(fēng)景園林教學(xué)

（德/加）丹尼爾·羅爾 魏菲宇（加）肖恩·貝利

0 引言

當(dāng)今可用于場(chǎng)地分析和表達(dá)的數(shù)字工具越來越具復(fù)雜性和可及性，致使風(fēng)景園林學(xué)科研究方法在過去10年中發(fā)生了巨大的變化。技術(shù)創(chuàng)新擴(kuò)大了風(fēng)景園林行業(yè)在景觀評(píng)價(jià)和建設(shè)方面的研究范圍，也使其具備了解決全球規(guī)模問題——從氣候變化到城市社會(huì)和環(huán)境問題的能力。近年來，增強(qiáng)現(xiàn)實(shí)軟件已經(jīng)開始可以協(xié)助風(fēng)景園林項(xiàng)目的建設(shè)過程[1]。然而，對(duì)于數(shù)字技術(shù)的依賴可能會(huì)帶來風(fēng)景園林師脫離現(xiàn)場(chǎng)真實(shí)體驗(yàn)的風(fēng)險(xiǎn)，對(duì)環(huán)境的數(shù)字化感知可能會(huì)導(dǎo)致設(shè)計(jì)者缺乏對(duì)場(chǎng)地的深入而全面的理解。由于越來越鼓勵(lì)使用數(shù)字工具，風(fēng)景園林專業(yè)的學(xué)生和學(xué)者越來越忽視空間體驗(yàn)[2-3]。

有意識(shí)的感官體驗(yàn)對(duì)設(shè)計(jì)師來說十分重要，因其有助于進(jìn)行包容性設(shè)計(jì)。而現(xiàn)有的花園和公園在設(shè)計(jì)時(shí)通常忽視人們和多重感官體驗(yàn)[4]。例如，關(guān)注鳥類的鳴叫聲，可以提示設(shè)計(jì)師在觀察現(xiàn)有空間或設(shè)計(jì)新空間時(shí)考慮鳥類遷徙問題。此外，由于新型冠狀病毒肺炎（Corona Virus Disease 2019, COVID-19）疫情的蔓延，亟須提供具有包容性設(shè)計(jì)的開放空間促進(jìn)人類的身心健康[5-8]。而研究表明，富于多感官體驗(yàn)的花園和公共開放空間恰好具備此類優(yōu)點(diǎn)[8-16]。

目前除了用于特定治療目的的空間外，設(shè)計(jì)師很少有意識(shí)地考慮多感官設(shè)計(jì)，并且為開放空間做多感官體驗(yàn)設(shè)計(jì)[11]。為了使設(shè)計(jì)師重視設(shè)計(jì)中的多感官體驗(yàn)并提高感知能力，至關(guān)重要的是，從設(shè)計(jì)教育開始，教師就應(yīng)訓(xùn)練學(xué)生以多感官體驗(yàn)理解設(shè)計(jì)，并且學(xué)習(xí)滿足多重感官體驗(yàn)的設(shè)計(jì)方法。這將使設(shè)計(jì)師在設(shè)計(jì)開放空間時(shí)，不僅要形成視覺刺激，而且要有意識(shí)地考慮所有感官體驗(yàn)。目前，視覺表現(xiàn)是風(fēng)景園林設(shè)計(jì)過程中交流思想的主要手段[17-19]。但筆者認(rèn)為，這種對(duì)視覺交流形式的過分關(guān)注會(huì)導(dǎo)致過于強(qiáng)調(diào)風(fēng)景園林設(shè)計(jì)的視覺體驗(yàn)，并忽視其他感官體驗(yàn)。為了解決這一問題，筆者論述了提供多感官感知過程的方法和示例，以提高設(shè)計(jì)師對(duì)所有5種感官的關(guān)注：觸覺、味覺、聽覺、嗅覺和視覺。

筆者探索將“感官體驗(yàn)漫步分析”（Sensewalk Mapping）作為一種特定的體驗(yàn)式學(xué)習(xí)的方法，以增加感官知覺力、觀察力和記錄能力[20]。該方法為學(xué)生精心制定了指導(dǎo)策略，以深化學(xué)生對(duì)空間和多感官體驗(yàn)的理解。“感官體驗(yàn)漫步分析”可以增強(qiáng)多感官的景觀感知，并在風(fēng)景園林設(shè)計(jì)中開啟多感官環(huán)境設(shè)計(jì)的新研究領(lǐng)域。本研究的目的是：1）闡述“感官體驗(yàn)漫步分析”的內(nèi)涵；2）以現(xiàn)有的花園為例，說明該方法的應(yīng)用；3）討論如何將“感官體驗(yàn)漫步分析”作為數(shù)據(jù)收集工具；4）討論該領(lǐng)域未來的研究方向。

1“感官體驗(yàn)漫步分析”

感官體驗(yàn)漫步（sensewalk）專注于超越視覺的感官刺激[21]，這種逐步讓人們了解個(gè)人感官及其空間內(nèi)涵的方法增強(qiáng)了人們對(duì)其存在的空間意識(shí)。例如，木結(jié)構(gòu)可能與其氣味有關(guān)，但也與其觸覺特征有關(guān)?！案泄袤w驗(yàn)漫步分析”是將使用者的各種感官體驗(yàn)進(jìn)行解析評(píng)價(jià)的過程，以得出某一場(chǎng)所的多重感官體驗(yàn)結(jié)論，并將此結(jié)論與場(chǎng)所設(shè)計(jì)相聯(lián)系，為設(shè)計(jì)師提供指導(dǎo)。該分析方法為設(shè)計(jì)教育者提供了對(duì)學(xué)生進(jìn)行多感官體驗(yàn)教育的機(jī)會(huì)，目的是讓學(xué)生調(diào)動(dòng)所有感官進(jìn)行設(shè)計(jì)。

感官體驗(yàn)漫步并不是新鮮事物，且已經(jīng)進(jìn)行了數(shù)十年的試驗(yàn)。在20世紀(jì)70年代初，加拿大溫哥華的西蒙菲莎大學(xué)（Simon Fraser University）引入“聲音漫步”（soundwalks）的概念。當(dāng)時(shí)游客被蒙上眼睛并被引導(dǎo)穿過花園，并記錄下所有非視覺感受[21]。同樣，謝菲爾德大學(xué)的研究員維多利亞·亨肖（Victoria Henshaw）組織了面向公眾的“氣味漫步”（smellwalks）活動(dòng)，以研究人們對(duì)城市氣味的感知[22]。藝術(shù)家和學(xué)者凱特·麥克萊恩（Kate McLean）組織了嗅覺之旅并用“氣味地圖”將她的行走路徑可視化[23]。亨肖和麥克萊恩都鼓勵(lì)公眾進(jìn)行有意識(shí)的多感官分析，并鼓勵(lì)發(fā)展包容性環(huán)境設(shè)計(jì)方法，進(jìn)而引導(dǎo)公眾了解其如何影響城市生活質(zhì)量[21-25]。

風(fēng)景園林設(shè)計(jì)始于設(shè)計(jì)者沉浸在場(chǎng)地環(huán)境中，并通過感知來觀察、記錄環(huán)境。感官將人類的各種體驗(yàn)匯集在一起，形成對(duì)環(huán)境的印象[26]。景觀感知是人們對(duì)環(huán)境復(fù)雜的認(rèn)知和心理過程。簡(jiǎn)而言之，“景觀感知研究人們對(duì)景觀環(huán)境的感受以及人與景觀環(huán)境的相互作用”[27]。信息通過人們的5種感官進(jìn)行傳遞，進(jìn)而使人們產(chǎn)生各種感知體驗(yàn)，并通過大腦將它們整合到對(duì)一個(gè)空間的完整印象中。多種感官的綜合體驗(yàn)，結(jié)合對(duì)整體特征的情感反應(yīng)，引導(dǎo)著人們對(duì)空間的認(rèn)知和判斷。這一過程創(chuàng)造了客觀和主觀的體驗(yàn)。

2 方法論

2.1“感官體驗(yàn)漫步分析”矩陣

筆者擬定了一個(gè)矩陣作為多感官體驗(yàn)的記錄工具（表1）。該矩陣可以應(yīng)用于多感官體驗(yàn)實(shí)踐研究，作為用戶進(jìn)行多感官思考的指南，它適用于本研究后面討論的實(shí)例研究。此矩陣可以作為學(xué)生、教育者和設(shè)計(jì)師進(jìn)行現(xiàn)場(chǎng)調(diào)研的數(shù)據(jù)收集工具，以對(duì)不同感官的個(gè)人體驗(yàn)進(jìn)行排名，從而促進(jìn)人們有意識(shí)的景觀感知研究。此矩陣是筆者根據(jù)自己作為設(shè)計(jì)師的經(jīng)驗(yàn)創(chuàng)建的，未來矩陣的結(jié)構(gòu)和內(nèi)容可以進(jìn)行調(diào)整，以更好地代表每個(gè)人作為特定空間訪客的感知和感受。

表1 多感官體驗(yàn)記錄矩陣Tab. 1 Multisensory experience recording matrix

2.2 以中國(guó)古典園林為例進(jìn)行“感官體驗(yàn)漫步分析”

已有有關(guān)聲音和氣味的感官體驗(yàn)研究，使設(shè)計(jì)師意識(shí)到環(huán)境設(shè)計(jì)中考慮多感官體驗(yàn)的必要性[21-24]?，F(xiàn)有的研究為如何分別探索嗅覺、聽覺、觸覺和味覺提供了靈感。花園是空間實(shí)例，它可以在使用者訪問過程中以可控的方式逐步提供多重感官體驗(yàn)。由于花園是充滿愉悅的且能夠增強(qiáng)人們環(huán)境體驗(yàn)的空間，例如植物的氣味、水景的聲音或亭子的降溫效果，所以非常適合多感官體驗(yàn)漫步[8]。

“感官體驗(yàn)漫步分析”可以通過對(duì)中國(guó)古典園林的多感官體驗(yàn)分析來得到證明?；趯?duì)于花園的多感官體驗(yàn)的調(diào)查，筆者選擇中國(guó)古典園林作為研究對(duì)象的花園。選擇的原因是其空間尺度相對(duì)較小，并且有墻體為空間邊界，為該研究創(chuàng)造了一個(gè)可控環(huán)境。中國(guó)古典園林是世界上有記載的最古老的園林之一，為多感官體驗(yàn)提供了廣泛的可能性[28-31]。根據(jù)歷史文獻(xiàn)，這些中國(guó)古典園林的設(shè)計(jì)者有目的地為多種感官體驗(yàn)而設(shè)計(jì)[32-34]。中國(guó)古典園林激發(fā)了游客的想象力，并且蘊(yùn)含著豐富的文化內(nèi)涵。它們通過經(jīng)典的意象和主題向游客傳達(dá)精神意義。這些主題大多與中國(guó)傳統(tǒng)文學(xué)、繪畫和歷史有關(guān)。園林通過多種空間營(yíng)造手法，為游客帶來不同的感官體驗(yàn)。參觀者將身體的感官體驗(yàn)與對(duì)園林主題的認(rèn)知理解結(jié)合起來，對(duì)空間進(jìn)行全面的了解[35]。此外，近年來中國(guó)對(duì)多感官體驗(yàn)的研究有所增加，也對(duì)本研究選擇的古典園林實(shí)例研究具有重要作用[33,36-39]。

筆者選擇中國(guó)4個(gè)著名古典園林作為“感官體驗(yàn)漫步分析”的案例研究：1）揚(yáng)州個(gè)園；2）北京恭王府花園；3）蘇州滄浪亭；4）蘇州拙政園。之所以選擇這些花園，是因?yàn)樗鼈凅w現(xiàn)了中國(guó)古典園林中典型的多感官體驗(yàn)設(shè)計(jì)思想。目前已有較多針對(duì)這些花園的研究，特別是對(duì)個(gè)園和拙政園的多感官體驗(yàn)進(jìn)行分析[29,32,36]。此外，選擇這4個(gè)園林還考慮到它們的建造時(shí)間，即從1004年到18世紀(jì)，數(shù)百年間這4個(gè)花園不斷被重建、改建與修復(fù)。

3“感官體驗(yàn)漫步分析”矩陣在中國(guó)古典園林中的應(yīng)用

筆者為每個(gè)花園設(shè)定了案例研究矩陣，描述了使用者的主要感官體驗(yàn)。由于本研究重點(diǎn)非視覺感官，因此在此特定矩陣中排除了視覺因素。此外，由于在列舉的園林實(shí)例中沒有發(fā)現(xiàn)專門的味道設(shè)計(jì)元素，所以味覺因素也被矩陣列表排除在外。未來的任何矩陣都可能包括或排除部分感官體驗(yàn)，以最適合其研究目的。筆者通過現(xiàn)場(chǎng)分析、研究地圖、照片和文獻(xiàn)綜述，已經(jīng)確定了某些感官體驗(yàn)。感官分析基于園林的基本組成部分（植物、建筑、水體、地形）與自然條件（風(fēng)、雨、陽光、溫度和濕度）以及它們?nèi)绾闻c感官相互作用。盡管矩陣中的一些體驗(yàn)僅存在于一年中的特定季節(jié)或天氣條件下，但大多數(shù)體驗(yàn)都具有普遍適用性。由于不同地域的園林空間要素是共通的，如建筑、植物、水體、巖石、地形、道路、鋪裝等，對(duì)園林的感知和體驗(yàn)具有一定的關(guān)聯(lián)性。這使設(shè)計(jì)師能夠總結(jié)可廣泛用于其他園林空間的體驗(yàn)類型。

本研究選擇了個(gè)園、恭王府花園、滄浪亭、拙政園4處古典園林，分別進(jìn)行多感官體驗(yàn)分析，以定性描述的文本作為觀察結(jié)果記錄（表2～5）。選擇這4處古典園林，是因?yàn)樗鼈冊(cè)诮ㄔO(shè)時(shí)間、建設(shè)規(guī)模、區(qū)域分布等多方面，能夠充分證實(shí)中國(guó)古典園林中的多重感官體驗(yàn)設(shè)計(jì)，體現(xiàn)出感官體驗(yàn)的豐富性。筆者利用手繪軸測(cè)圖展現(xiàn)了滄浪亭和拙政園“感官體驗(yàn)漫步分析”結(jié)果，并顯示出每種感官體驗(yàn)的位置。從聽覺、嗅覺、觸覺等多重感官體驗(yàn)角度，對(duì)兩處園林進(jìn)行聲音景觀、氣味景觀、觸覺景觀解析。每張圖示都專注于一種感官知覺，即觸摸、聲音、氣味（圖1、2）。

表2 以個(gè)園為例進(jìn)行多感官體驗(yàn)描述Tab. 2 Take Geyuan Garden as examples to describe the multi-sensory experience

表3 以恭王府花園為例進(jìn)行多感官體驗(yàn)描述Tab. 3 Take Prince Kung’s Mansion Garden as examples to describe the multi-sensory experience

表4 以滄浪亭為例進(jìn)行多感官體驗(yàn)描述Tab. 4 Take Canglang Pavilion as examples to describe the multi-sensory experience

表5 以拙政園為例進(jìn)行多感官體驗(yàn)描述Tab. 5 Take The Humble Administrator’s Garden as examples to describe the multi-sensory experience

1 滄浪亭多重感官體驗(yàn)分析圖Analysis diagram of multi-sensory experience of Canglang Pavilion

2 拙政園多重感官體驗(yàn)分析圖Analysis diagram of multi-sensory experience of The Humble Administrator’s Garden

4 討論

4.1“感官體驗(yàn)漫步分析”的價(jià)值體現(xiàn)

筆者認(rèn)為，通過感官體驗(yàn)漫步進(jìn)行的多感官分析將提高人們對(duì)場(chǎng)地的空間意識(shí)，從而對(duì)空間的理解不僅是視覺體驗(yàn)，還應(yīng)是一種更強(qiáng)大的、多方面感官的體驗(yàn)?！案泄袤w驗(yàn)漫步分析”可以幫助設(shè)計(jì)師、學(xué)者和訪問者重新考慮自身對(duì)環(huán)境的觀察，通過運(yùn)用他們的記錄和分析技巧，將所有5種感官體驗(yàn)都包括在設(shè)計(jì)過程中。通過感官漫步有意識(shí)地

收集信息，可以使我們的身體與周圍環(huán)境建立更緊密的聯(lián)系。筆者建議人們應(yīng)該尋求更加身臨其境的體驗(yàn)，并遠(yuǎn)離數(shù)字媒體。

矩陣是實(shí)施感官體驗(yàn)漫步的寶貴工具，可以是學(xué)生、學(xué)者和設(shè)計(jì)師在訪問網(wǎng)站時(shí)輕松使用的工具；還可以促使訪客考慮如何規(guī)劃對(duì)園林空間的游覽路徑，以實(shí)現(xiàn)更具體和豐富的感官交互體驗(yàn)。例如，將矩陣與多感官空間引導(dǎo)圖示相結(jié)合，可以使訪客在特定的空間中的游覽體驗(yàn)更為專注。

4.2 研究趨勢(shì)

花園和開放空間可以被當(dāng)作感官（眼睛、鼻子、舌頭、皮膚和耳朵）與感官體驗(yàn)情緒之間認(rèn)知聯(lián)系的實(shí)驗(yàn)室。感官體驗(yàn)漫步研究可以擴(kuò)展到分析多感官設(shè)計(jì)如何影響身心健康，及具體影響因素。本研究可有助于確定環(huán)境中需要哪些多感官條件來改善人們的身心健康。最近研究表明，參觀和體驗(yàn)綠色開放空間有益于人類健康，尤其是在當(dāng)前疫情蔓延的城市中[8-14]。

此外，在研究過程中收集有關(guān)網(wǎng)站上傳的感官體驗(yàn)數(shù)據(jù)，也同樣具有研究前景。園林中的多感官體驗(yàn)漫步可以引發(fā)新的數(shù)據(jù)收集與研究方法，以推動(dòng)設(shè)計(jì)師有意識(shí)地將所有感官體驗(yàn)納入環(huán)境設(shè)計(jì)中。例如，可以采用列表及簡(jiǎn)化的低、中、高等級(jí)，鼓勵(lì)訪客記錄自我感官體驗(yàn)，并基于訪客的情感感受對(duì)景觀節(jié)點(diǎn)進(jìn)行排名，從而實(shí)現(xiàn)數(shù)據(jù)收集。每個(gè)訪客個(gè)體的感官體驗(yàn)都會(huì)受到不同因素的影響，例如興趣點(diǎn)、文化背景、之前的體驗(yàn)等因素。在訪問期間和訪問結(jié)束后提供的在線調(diào)查，可以得出訪客對(duì)感知點(diǎn)進(jìn)行排名的詳細(xì)信息，以顯示特定感官體驗(yàn)的感知強(qiáng)度以及其如何使訪客產(chǎn)生情感上的共鳴。這些數(shù)據(jù)可以為研究人員和設(shè)計(jì)師評(píng)估不同設(shè)計(jì)的多感官體驗(yàn)提供依據(jù)，例如水景的聲音或芳香植物的氣味，以幫助身心康復(fù)[11,20]。這些數(shù)據(jù)還可以進(jìn)一步用于教學(xué)，幫助學(xué)生理解如何針對(duì)所有感官進(jìn)行包容性設(shè)計(jì)。此外，還可以引導(dǎo)學(xué)生學(xué)習(xí)如何調(diào)動(dòng)所有感官，針對(duì)個(gè)人感官數(shù)據(jù)進(jìn)行空間研究，例如闡述特定空間的感官體驗(yàn)評(píng)論或繪制感官體驗(yàn)圖表。從網(wǎng)絡(luò)收集數(shù)據(jù)后，可以創(chuàng)建某一空間的多感官體驗(yàn)評(píng)價(jià)。

雖然本研究以中國(guó)古典園林為例，但世界各地域的不同園林類型都可以成為探索多感官體驗(yàn)的適宜場(chǎng)所。未來的研究可以繼續(xù)探索不同類型的園林，以及分析封閉的環(huán)境設(shè)置是否更容易進(jìn)行多感官體驗(yàn)分析。

4.3 討論總結(jié)

1）引導(dǎo)式多感官分析讓訪客了解空間可以容納多方面的體驗(yàn)，改變他們參與空間的體驗(yàn)方式。該矩陣可以成為有效工具，指導(dǎo)用戶多重感官與空間互動(dòng)，并促進(jìn)花園或空間體驗(yàn)多樣性。

2）矩陣可以成為教師培養(yǎng)學(xué)生多感官素養(yǎng)的教育資源。學(xué)生可以理解不同的設(shè)計(jì)空間干預(yù)如何導(dǎo)致不同的感官體驗(yàn)，使他們能夠理解如何組織各種元素以獲得豐富的感官體驗(yàn)，進(jìn)一步豐富學(xué)生對(duì)設(shè)計(jì)的理解。

3）未來關(guān)于多感官體驗(yàn)漫步的研究可以發(fā)展為2個(gè)新研究領(lǐng)域：①一種新的數(shù)據(jù)收集方式，用于公園和花園中的多感官感知研究；②關(guān)注數(shù)據(jù)收集的位置，以研究如何設(shè)計(jì)公園和花園中的感官體驗(yàn)，進(jìn)而影響訪客的身心健康。

5 結(jié)論

本研究介紹了感官體驗(yàn)漫步和“感官體驗(yàn)漫步分析”，作為風(fēng)景園林學(xué)、建筑學(xué)學(xué)者和游客多感官體驗(yàn)空間的工具。感官體驗(yàn)漫步被用作教學(xué)和學(xué)生自己練習(xí)對(duì)空間的主觀感知、觀察、記錄和自我反思的手段。感官體驗(yàn)漫步能夠培養(yǎng)多感官意識(shí)，從而在景觀和建筑設(shè)計(jì)中實(shí)現(xiàn)更具包容性的設(shè)計(jì)思維。

本研究強(qiáng)調(diào)了在設(shè)計(jì)教學(xué)中進(jìn)行感官體驗(yàn)感知教育的必要性。從實(shí)地考察、文獻(xiàn)綜述、感官數(shù)據(jù)收集和手繪地圖4方面闡述了感官測(cè)繪的方法，在不同的圖示上標(biāo)注了觸覺、聽覺、嗅覺的不同感官體驗(yàn)。由于每個(gè)人的感官體驗(yàn)不同，可以參考本研究中的矩陣進(jìn)行排序和記錄，以供自己思考或研究。

“感官體驗(yàn)漫步分析”為學(xué)者創(chuàng)造了一個(gè)新的研究方向。通過收集訪客數(shù)據(jù)，可以評(píng)價(jià)花園的多感官感知以及不同的感官如何促成訪客的空間體驗(yàn)。此類信息有助于進(jìn)一步了解多感官設(shè)計(jì)如何促進(jìn)訪客的身心健康。

沉浸在花園或公園空間中是一種動(dòng)態(tài)的身體體驗(yàn)。環(huán)境生機(jī)勃勃，不斷變化，重要的是人們需要有機(jī)會(huì)體驗(yàn)和欣賞這一點(diǎn)。如果設(shè)計(jì)師沒有意識(shí)到多感官體驗(yàn)對(duì)其設(shè)計(jì)空間的影響，他們將繼續(xù)在設(shè)計(jì)過程中優(yōu)先考慮視覺因素。在當(dāng)今世界，空間設(shè)計(jì)必須包羅萬象，感官體驗(yàn)漫步可能是我們解決包容性設(shè)計(jì)教學(xué)過程的新方法。感官體驗(yàn)漫步增強(qiáng)了多感官意識(shí)，筆者希望通過此研究未來將改變?cè)O(shè)計(jì)師和學(xué)者對(duì)風(fēng)景園林設(shè)計(jì)及研究的觀念。

致謝：

感謝內(nèi)達(dá)·魯尼亞（Neda Roohnia）渲染感官體驗(yàn)漫步地圖，感謝杰西卡·烏達(dá)爾（Jessica Udal）和米歇爾·加格農(nóng)–克里利（Michelle Gagnon-Creely）對(duì)論文有見地的評(píng)論和編輯工作。

圖表來源：

圖1、2由Neda Roohnia改繪自《中國(guó)古典園林》；表1～5由作者繪制。

（編輯/劉昱霏）

“Sensewalk Mapping” as a Method for Teaching Multi-sensorial Landscape Perception

(DEU/CAN) Daniel Roehr, WEI Feiyu, (CAN) Sean Bailey

0 Introduction

The sophistication and accessibility of digital tools for site analysis and representation has caused landscape architecture to evolve dramatically over the last decade. Technical innovations have allowed the profession to widen its scope in landscape diagnostics and construction, with the capability of tackling larger, global scale problems –from climate change to addressing social and environmental issues in cities. Recently, augmented reality programs have started assisting with the construction of landscape architecture projects[1].However, the reliance on digital technology can pose the risk of distancing the designer from site immersion. This could lead to digital perceptions of landscape that may lack a full understanding of the site. Due to the increased encouragement of utilizing digital tools, students and scholars of landscape architecture lack an understanding of the importance of the embodied spatial experience[2-3].

Conscious perception of the senses is important for a designer as it helps to design inclusively and mindfully. Existing gardens and parks are often not consciously experienced multisensorially[4]. Noticing the singing of birds for example, can remind a designer to consider bird migration when observing an existing or designing a new space. Further, in light of the COVID-19 pandemic, the need for inclusively designed open spaces for physical and mental health benefits has been illustrated[5-8]. Research has shown that multisensorial experiences in gardens and public open space can provide these benefits for users[8-16].

Aside from spaces for specific healing purposes, multi-sensorial design is seldom consciously considered nor are open spaces intentionally designed for multi-sensorial experiences[11]. To provide designers with the appropriate tools required to perceive and design multi-sensorially, it is important that students learn and practice understanding the world through the five senses from the beginning of their design education. This will equip designers with the consciousness to design open spaces that not only stimulate vision, but intentionally include all senses.Currently, visual representation is the primary method for communicating ideas during the landscape design process[17-19]. It is the authors’ view that this focus on visual forms of communicating results in the overemphasis of the visual experience in landscape design itself. This comes at the cost of less consideration for the other senses that form the human experience of a landscape. To address this overemphasis on the visual, this essay aims to provide a methodology and examples of the multi-sensorial perception process, heightening the attention for all five senses: touch, taste, sound,smell and sight.

“Sensewalk Mapping” is explored as a method for prescribed experiential learning to increase sensory perception, observation and recording[20]. This methodology provides consciously orchestrated guidelines for students to develop an understanding of embodying a space and experiencing it multi-sensorially. “Sensewalk Mapping” allows for the enhancement of multisensorial landscape perception and the initiation of a new field of investigation in multi-sensory environmental design research in the field of landscape architecture. The aim of the essay is:1) to describe a methodology of “Sensewalk Mapping”, 2) to exemplify this methodology using precedent gardens, 3) to discuss how “Sensewalk Mapping” can be utilized as a data collection tool,and 4) to discuss and identify future areas of research in this domain.

1 “Sensewalk Mapping”

Sensewalks focus on the sensory stimuli outside of the visual[21]. This prescriptive step-bystep approach of learning about the individual senses and their spatial connotations enhances the consciousness of their existence. For example, a wood structure might be linked first to its smell but also to its tactile characteristics. This method provides an occasion for design educators to teach multi-sensorial literacy with the objective of having students design utilizing all the senses.

Sensewalks are not new and have been experimented with throughout the decades. The concept of “soundwalks” was introduced in the early 1970’s at Simon Fraser University in Vancouver, Canada, where visitors were blindfolded and physically guided through a garden, recording all non-visual sensations[21]. Similarly, Victoria Henshaw,a researcher at the University of Sheffield, organized“smellwalks” with the general public to research and understand the perception of urban smells[22].Finally, Kate McLean, an artist and scholar, organizes smellwalks and visualizes her participatory findings in smell maps[23]. Both Henshaw and McLean inspire the public to engage in conscious multi-sensorial analysis and develop an understanding of how other senses influence the living quality of cities, allowing for the development of design methods that encourage inclusive environments[21-25].

Landscape design begins with immersing oneself in the environment in order to observe and record it through perception. The senses bring together various human experiences and form an impression of the environment[26].Landscape perception is a complex cognitive and psychological process between the environment and its users. In short, “l(fā)andscape perception is the study of people’s perception of the landscape environment and the interaction between people and the landscape environment”[27]. Information is transmitted as the user engages with their five senses, generating various perceptual experiences and integrating them into the complete impression of a space. The comprehensive experience of multiple senses guides cognitive judgement for making space combined with the emotional reaction to the overall characteristics. This creates experiences that are both objective and subjective.

2 Methodology

2.1 “Sensewalk Mapping” Matrix

A matrix was drafted as a recording tool for the multi-sensorial experience (Tab. 1). This matrix can be applied to site visits as a guide for users to begin to think multi-sensorially. It is applied to our precedent studies which are discussed later in this paper. This can be a tool for data collection for students, educators, and designers conducting site visits to rank the personal experiences of the different senses, thus increasing their awareness of conscious landscape perception and research.This particular matrix included here is an example created by the authors based on their own experiences as designers. The structure and content of future matrices can be adjusted to better represent each individual’s own perceptions and sensibilities as a visitor in a particular space.

2.2 Ancient Chinese Gardens as Precedents for“Sensewalk Mapping”

Previous sensewalk research surrounding sound and smell have encouraged designers to be more aware of the need for multi-sensorial considerations in environmental design[21-24]. Prior research provides inspiration on how to explore smell, sound, touch and taste individually, but not comprehensively. Gardens are an example of a space that can provide many multi-sensorial experiences during a single visit in a controlled step-by-step manner. They are perfectly suited for multi-sensorial experiences as they are spaces for pleasure and heightened environmental experiences such as the smell of plants, the sound of water features or the cooling effects of a gazebo[8].

“Sensewalk Mapping” is demonstrated through a multi-sensorial analysis of classical Chinese gardens. These gardens, which have been visited and researched, have been selected by the authors for their extensive multisensorial experiences. Chinese gardens have been chosen for their confined spatial design;an architecturally designed space bordered by walls, creating a controlled environment for this study. Chinese classical gardens are some of the oldest documented gardens in the world,providing extensive possibilities for multi-sensorial experiences[28-31]. According to historical documents,designers of these ancient gardens intentionally designed for multiple sensory experiences[32-34].Classical Chinese gardens stimulate the imagination of the visitors. They contain rich cultural connotations, emphasizing extraordinary meaning.They convey spiritual meaning to visitors through classic imagery themes. Most of these themes are related to traditional Chinese literature, paintings and history. The gardens bring different sensory experiences to the visitors through a variety of space creation techniques. In turn, the visitors combine the physical sensory experience with the cognitive understanding of the garden theme to develop a comprehensive understanding of the space[35]. Further, China’s research on multisensorial experiences has increased in recent years and played a major role in the literature review for the precedent gardens chosen in this paper[33,36-39].

Four well-known classic Chinese gardens were chosen as precedent studies for “Sensewalk Mapping”: 1) Geyuan Garden in Yangzhou,Jiangsu, 2) Prince Kung’s Mansion Garden in Beijing, 3) Canglang Pavilion in Suzhou and 4) The Humble Administrator’s Garden in Suzhou, Jiangsu. These gardens have been chosen because they embody ancient Chinese gardens and represent the typical multi-sensorial experiences of these gardens. Extensive research has been done on each of these gardens, in particular on the multi-sensorial experiences of Geyuan Garden and The Humble Administrator’s Garden[29,32,36].Additionally, the gardens were selected due to their construction time. Spanning from 1004 AD to the 18th century, the four gardens have been built,rebuilt and restored for hundreds of years.

3 Applying the Matrix to Classical Chinese Gardens

A case study matrix describing the main sensory experiences of the authors has been prepared for each garden. Sight has been excluded in this particular matrix as the authors’ focus was on non-visual senses. Taste was excluded as there were no intentional taste design components found in the precedent gardens. Any matrix conducted by others in the future may include or disclude senses in order to best fit its purposes for them.Sensory experiences have been identified through on-site analysis conducted by the authors as well as a literature review studying maps, photos and articles. The sensorial analysis examines the basic components of the garden (plants, buildings, water,topography) with natural conditions (wind, rain,sunlight, temperature and humidity) and how they interact with the senses. Although some experiences in the matrix exist during specific seasons or weather conditions of the year, most of these experiences have universal applicability. Because the elements of the garden space in different regions are common,such as buildings, plants, water, rocks, terrain, roads,and paving, etc., the perception and experience of the gardens have a certain interrelatedness. This allows us to summarize the types of experiences which can be widely used in other garden spaces.

The following tables provide multi-sensorial data for the four gardens chosen for our study.Observations were documented as qualitative text description (Tab. 2-5). Data was visualized spatially in hand rendered maps, showing the location of each sensorial experience. Two of the precedents,Canglang Pavilion and The Humble Administrator’s Garden, will be shown as examples of “Sensewalk Mapping”.

The following hand-drawn axonometric drawings are the result of the “sensory experience walk analysis” of Canglang Pavilion and The Humble Administrator’s Garden. From the perspective of multiple sensory experiences,such as hearing, smelling and touching, the maps analyzed the sound, smell and touchscape of the two gardens. Each figure focuses on one sensory perception: touch, sound, and smell (Fig. 1, 2).

4 Discussion

4.1 The Embodied Value of Sensewalks

The authors believe that a multi-sensorial analysis through “Sensewalk Mapping” will increase conscious awareness of a site, thus understanding spaces not simply as their visual experience but as a robust, multi-faceted experience. An embodied analysis could support designers, scholars and visitors to reconsider their own environmental observation by employing their recording and analysis skills to include all five senses in their design process. The information consciously gathered through sensewalks could develop a stronger connection of our bodies to our surrounding environments. The authors suggest that one should seek more immersive experiences,and step away from digital mediums.

The matrix is a valuable tool for performing sensewalks. It is a tool that is easily accessible for students, scholars and designers to use when visiting a site. It also provides an opportunity to consider how site tours might be adapted to consider a more embodied and multi-sensorial interaction with the site. For instance, the matrix in tandem with a guided map that directs one to multi-sensorial spaces could be a helpful system for encouraging users to become more mindful in a given space.

4.2 Further Research

Gardens and open spaces are living labs for discovering the cognitive connection between sensory receptors (eyes, nose, tongue, skin and ears) and the emotions felt through multisensorial experiences. Sensewalk research could be expanded to examine considerations of how multi-sensorial design impacts mental and physical health. This research could be useful to determine what multi-sensorial conditions are needed in the environment for improved mental and physical well-being. Recent research has shown that visiting and experiencing open green space has been beneficial for human well-being, especially in cities,particularly under current pandemic conditions[8-14].

There are also research opportunities for the ways in which we collect data about the experiential aspects of visiting sites. Multi-sensorial sensewalk experiences in gardens could be the starting point for a new method of data collection and research to enhance the conscious inclusion of all senses in environmental design. For instance, data collection could be achieved by recording the sensorial experiences in self-reflection surveys with a point evaluation scale or simplified low, medium, high value, ranking the emotional feelings and sensations encountered by users of a site. Each individual sensory experience is informed by a number of personal variables like what one chooses to pay attention to, cultural background, previous sensory experiences, etc. An online survey provided during and at the end of a visit could provide details on how visitors rank the perception intensity of a specific sensory experience and how it makes them feel emotionally. This data could be a useful resource for researchers and designers to evaluate the benefits of differently designed multi-sensorial experiences such as the calming sound of a water feature or fragrant planting to stimulate mental and physical healing[11,20]. The data could further be used to teach students how to design inclusively for all the senses. Additionally, if the purpose is to teach students to learn how to use other senses, it is important to give space for individual interpretation of the data such as providing space to write comments or draw diagrams. After the data is collected from the network, the multi-sensory experience evaluation of the garden is created.

Though this essay focuses on Chinese gardens, garden typologies throughout the world may be appropriate places to explore multisensorial experiences. Future research could address this. Future research could also investigate if a closed environmental setting is easier for multisensorial analysis.

4.3 Discussion Summary

1) Guided multi-sensorial analysis allows users to understand that spaces can hold multi-faceted experiences, changing the way they participate in space. The matrix can be a helpful tool in guiding users to interact with a space multi-sensorially and promote the multiplicity of experiences in a garden or space.

2) The matrix can be an educational resource for teaching multi-sensorial literacy to students.Students can determine how different design interventions lead to different sensory experiences,enabling them to understand how various elements are organized to obtain a rich sensorial experience.This will enrich their understanding of design.

3) Future research about multi-sensorial sensewalk experiences allows for two new areas of research: ①a new method of data collection for multi-sensorial perception research in parks and gardens; ②a new location of data collection to research how the senses in designed parks and gardens affect the mental and physical health of the users.

5 Conclusion

This paper introduces sensewalks and“Sensewalk Mapping” as tools for understanding a space multi-sensorially for landscape architecture and architecture students, scholars and visitors.Sensewalking is used as a means of teaching and practicing perception, observation, recording and self-reflection on one’s own subjective feelings about the space. Sensewalks foster multi-sensorial awareness, thereby allowing for more inclusive design thinking in landscape and architectural design.

This essay highlights the need to teach sensorial landscape perception in design pedagogy.It documents a methodology on sensory mapping;beginning with a site visit, literature review, sensory data recording, and hand-rendered maps. These maps locate the different sensorial experiences of touch, sound and smell on separate maps. The sensory experience is different for everyone and can then be ranked and recorded referring to our matrix for one’s own reflection or research.

Sensory mapping creates the possibility of a new research field for scholars. Through the collection of visitor data, the multi-sensorial perception of gardens and how the senses stimulate the experiences of every individual can be measured.This kind of information could also be helpful in further understanding how multi-sensorial design can support mental and physical health.

Site immersion in garden or park spaces is a dynamic bodily experience. The environment and landscape are alive and in constant change, and it is important that people have opportunities to experience and appreciate this. If designers are not aware of the impacts multi-sensorial experiences have on their designed spaces, they will continue to prioritize vision in their design process. In today’s world, spatial design must be all-inclusive. The proposed sensewalks might be the beginning for a new method of how we address teaching design process for inclusivity. Sensewalks enhance multisensorial consciousness and it is our hope that these experiences will alter future designers and scholars’views when designing and integrating multi-sensorial experiences in their own projects and research.

Acknowledgments:

The authors would like to thank Neda Roohnia for rendering the Sensewalk Maps, Jessica Udal and Michelle Gagnon-Creely for insightful comments and paper edits.

Sources of Figures and Tables:

Fig. 1-2 were drawn by Neda Roohnia fromClassical Chinese Gardens. Tab. 1-5 were created by the authors.

(Editor / LIU Yufei)