將“感官體驗漫步分析”用于多重感官體驗的風景園林教學

（德/加）丹尼爾·羅爾 魏菲宇（加）肖恩·貝利

0 引言

當今可用于場地分析和表達的數字工具越來越具復雜性和可及性，致使風景園林學科研究方法在過去10年中發生了巨大的變化。技術創新擴大了風景園林行業在景觀評價和建設方面的研究范圍，也使其具備了解決全球規模問題——從氣候變化到城市社會和環境問題的能力。近年來，增強現實軟件已經開始可以協助風景園林項目的建設過程[1]。然而，對于數字技術的依賴可能會帶來風景園林師脫離現場真實體驗的風險，對環境的數字化感知可能會導致設計者缺乏對場地的深入而全面的理解。由于越來越鼓勵使用數字工具，風景園林專業的學生和學者越來越忽視空間體驗[2-3]。

有意識的感官體驗對設計師來說十分重要，因其有助于進行包容性設計。而現有的花園和公園在設計時通常忽視人們和多重感官體驗[4]。例如，關注鳥類的鳴叫聲，可以提示設計師在觀察現有空間或設計新空間時考慮鳥類遷徙問題。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計的開放空間促進人類的身心健康[5-8]。而研究表明，富于多感官體驗的花園和公共開放空間恰好具備此類優點[8-16]。

目前除了用于特定治療目的的空間外，設計師很少有意識地考慮多感官設計，并且為開放空間做多感官體驗設計[11]。為了使設計師重視設計中的多感官體驗并提高感知能力，至關重要的是，從設計教育開始，教師就應訓練學生以多感官體驗理解設計，并且學習滿足多重感官體驗的設計方法。這將使設計師在設計開放空間時，不僅要形成視覺刺激，而且要有意識地考慮所有感官體驗。目前，視覺表現是風景園林設計過程中交流思想的主要手段[17-19]。但筆者認為，這種對視覺交流形式的過分關注會導致過于強調風景園林設計的視覺體驗，并忽視其他感官體驗。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，以提高設計師對所有5種感官的關注：觸覺、味覺、聽覺、嗅覺和視覺。

筆者探索將“感官體驗漫步分析”（Sensewalk Mapping）作為一種特定的體驗式學習的方法，以增加感官知覺力、觀察力和記錄能力[20]。該方法為學生精心制定了指導策略，以深化學生對空間和多感官體驗的理解。“感官體驗漫步分析”可以增強多感官的景觀感知，并在風景園林設計中開啟多感官環境設計的新研究領域。本研究的目的是：1）闡述“感官體驗漫步分析”的內涵；2）以現有的花園為例，說明該方法的應用；3）討論如何將“感官體驗漫步分析”作為數據收集工具；4）討論該領域未來的研究方向。

1“感官體驗漫步分析”

感官體驗漫步（sensewalk）專注于超越視覺的感官刺激[21]，這種逐步讓人們了解個人感官及其空間內涵的方法增強了人們對其存在的空間意識。例如，木結構可能與其氣味有關，但也與其觸覺特征有關。“感官體驗漫步分析”是將使用者的各種感官體驗進行解析評價的過程，以得出某一場所的多重感官體驗結論，并將此結論與場所設計相聯系，為設計師提供指導。該分析方法為設計教育者提供了對學生進行多感官體驗教育的機會，目的是讓學生調動所有感官進行設計。

感官體驗漫步并不是新鮮事物，且已經進行了數十年的試驗。在20世紀70年代初，加拿大溫哥華的西蒙菲莎大學（Simon Fraser University）引入“聲音漫步”（soundwalks）的概念。當時游客被蒙上眼睛并被引導穿過花園，并記錄下所有非視覺感受[21]。同樣，謝菲爾德大學的研究員維多利亞·亨肖（Victoria Henshaw）組織了面向公眾的“氣味漫步”（smellwalks）活動，以研究人們對城市氣味的感知[22]。藝術家和學者凱特·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公眾進行有意識的多感官分析，并鼓勵發展包容性環境設計方法，進而引導公眾了解其如何影響城市生活質量[21-25]。

風景園林設計始于設計者沉浸在場地環境中，并通過感知來觀察、記錄環境。感官將人類的各種體驗匯集在一起，形成對環境的印象[26]。景觀感知是人們對環境復雜的認知和心理過程。簡而言之，“景觀感知研究人們對景觀環境的感受以及人與景觀環境的相互作用”[27]。信息通過人們的5種感官進行傳遞，進而使人們產生各種感知體驗，并通過大腦將它們整合到對一個空間的完整印象中。多種感官的綜合體驗，結合對整體特征的情感反應，引導著人們對空間的認知和判斷。這一過程創造了客觀和主觀的體驗。

2 方法論

2.1“感官體驗漫步分析”矩陣

筆者擬定了一個矩陣作為多感官體驗的記錄工具（表1）。該矩陣可以應用于多感官體驗實踐研究，作為用戶進行多感官思考的指南，它適用于本研究后面討論的實例研究。此矩陣可以作為學生、教育者和設計師進行現場調研的數據收集工具，以對不同感官的個人體驗進行排名，從而促進人們有意識的景觀感知研究。此矩陣是筆者根據自己作為設計師的經驗創建的，未來矩陣的結構和內容可以進行調整，以更好地代表每個人作為特定空間訪客的感知和感受。

表1 多感官體驗記錄矩陣Tab. 1 Multisensory experience recording matrix

2.2 以中國古典園林為例進行“感官體驗漫步分析”

已有有關聲音和氣味的感官體驗研究，使設計師意識到環境設計中考慮多感官體驗的必要性[21-24]。現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。由于花園是充滿愉悅的且能夠增強人們環境體驗的空間，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漫步[8]。

“感官體驗漫步分析”可以通過對中國古典園林的多感官體驗分析來得到證明。基于對于花園的多感官體驗的調查，筆者選擇中國古典園林作為研究對象的花園。選擇的原因是其空間尺度相對較小，并且有墻體為空間邊界，為該研究創造了一個可控環境。中國古典園林是世界上有記載的最古老的園林之一，為多感官體驗提供了廣泛的可能性[28-31]。根據歷史文獻，這些中國古典園林的設計者有目的地為多種感官體驗而設計[32-34]。中國古典園林激發了游客的想象力，并且蘊含著豐富的文化內涵。它們通過經典的意象和主題向游客傳達精神意義。這些主題大多與中國傳統文學、繪畫和歷史有關。園林通過多種空間營造手法，為游客帶來不同的感官體驗。參觀者將身體的感官體驗與對園林主題的認知理解結合起來，對空間進行全面的了解[35]。此外，近年來中國對多感官體驗的研究有所增加，也對本研究選擇的古典園林實例研究具有重要作用[33,36-39]。

筆者選擇中國4個著名古典園林作為“感官體驗漫步分析”的案例研究：1）揚州個園；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，是因為它們體現了中國古典園林中典型的多感官體驗設計思想。目前已有較多針對這些花園的研究，特別是對個園和拙政園的多感官體驗進行分析[29,32,36]。此外，選擇這4個園林還考慮到它們的建造時間，即從1004年到18世紀，數百年間這4個花園不斷被重建、改建與修復。

3“感官體驗漫步分析”矩陣在中國古典園林中的應用

筆者為每個花園設定了案例研究矩陣，描述了使用者的主要感官體驗。由于本研究重點非視覺感官，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例中沒有發現專門的味道設計元素，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，以最適合其研究目的。筆者通過現場分析、研究地圖、照片和文獻綜述，已經確定了某些感官體驗。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、雨、陽光、溫度和濕度）以及它們如何與感官相互作用。盡管矩陣中的一些體驗僅存在于一年中的特定季節或天氣條件下，但大多數體驗都具有普遍適用性。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，對園林的感知和體驗具有一定的關聯性。這使設計師能夠總結可廣泛用于其他園林空間的體驗類型。

本研究選擇了個園、恭王府花園、滄浪亭、拙政園4處古典園林，分別進行多感官體驗分析，以定性描述的文本作為觀察結果記錄（表2～5）。選擇這4處古典園林，是因為它們在建設時間、建設規模、區域分布等多方面，能夠充分證實中國古典園林中的多重感官體驗設計，體現出感官體驗的豐富性。筆者利用手繪軸測圖展現了滄浪亭和拙政園“感官體驗漫步分析”結果，并顯示出每種感官體驗的位置。從聽覺、嗅覺、觸覺等多重感官體驗角度，對兩處園林進行聲音景觀、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 以個園為例進行多感官體驗描述Tab. 2 Take Geyuan Garden as examples to describe the multi-sensory experience

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

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

表5 以拙政園為例進行多感官體驗描述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分析圖Analysis diagram of multi-sensory experience of Canglang Pavilion

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

4 討論

4.1“感官體驗漫步分析”的價值體現

筆者認為，通過感官體驗漫步進行的多感官分析將提高人們對場地的空間意識，從而對空間的理解不僅是視覺體驗，還應是一種更強大的、多方面感官的體驗。“感官體驗漫步分析”可以幫助設計師、學者和訪問者重新考慮自身對環境的觀察，通過運用他們的記錄和分析技巧，將所有5種感官體驗都包括在設計過程中。通過感官漫步有意識地

收集信息，可以使我們的身體與周圍環境建立更緊密的聯系。筆者建議人們應該尋求更加身臨其境的體驗，并遠離數字媒體。

矩陣是實施感官體驗漫步的寶貴工具，可以是學生、學者和設計師在訪問網站時輕松使用的工具；還可以促使訪客考慮如何規劃對園林空間的游覽路徑，以實現更具體和豐富的感官交互體驗。例如，將矩陣與多感官空間引導圖示相結合，可以使訪客在特定的空間中的游覽體驗更為專注。

4.2 研究趨勢

花園和開放空間可以被當作感官（眼睛、鼻子、舌頭、皮膚和耳朵）與感官體驗情緒之間認知聯系的實驗室。感官體驗漫步研究可以擴展到分析多感官設計如何影響身心健康，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，參觀和體驗綠色開放空間有益于人類健康，尤其是在當前疫情蔓延的城市中[8-14]。

此外，在研究過程中收集有關網站上傳的感官體驗數據，也同樣具有研究前景。園林中的多感官體驗漫步可以引發新的數據收集與研究方法，以推動設計師有意識地將所有感官體驗納入環境設計中。例如，可以采用列表及簡化的低、中、高等級，鼓勵訪客記錄自我感官體驗，并基于訪客的情感感受對景觀節點進行排名，從而實現數據收集。每個訪客個體的感官體驗都會受到不同因素的影響，例如興趣點、文化背景、之前的體驗等因素。在訪問期間和訪問結束后提供的在線調查，可以得出訪客對感知點進行排名的詳細信息，以顯示特定感官體驗的感知強度以及其如何使訪客產生情感上的共鳴。這些數據可以為研究人員和設計師評估不同設計的多感官體驗提供依據，例如水景的聲音或芳香植物的氣味，以幫助身心康復[11,20]。這些數據還可以進一步用于教學，幫助學生理解如何針對所有感官進行包容性設計。此外，還可以引導學生學習如何調動所有感官，針對個人感官數據進行空間研究，例如闡述特定空間的感官體驗評論或繪制感官體驗圖表。從網絡收集數據后，可以創建某一空間的多感官體驗評價。

雖然本研究以中國古典園林為例，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的適宜場所。未來的研究可以繼續探索不同類型的園林，以及分析封閉的環境設置是否更容易進行多感官體驗分析。

4.3 討論總結

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

2）矩陣可以成為教師培養學生多感官素養的教育資源。學生可以理解不同的設計空間干預如何導致不同的感官體驗，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，進一步豐富學生對設計的理解。

3）未來關于多感官體驗漫步的研究可以發展為2個新研究領域：①一種新的數據收集方式，用于公園和花園中的多感官感知研究；②關注數據收集的位置，以研究如何設計公園和花園中的感官體驗，進而影響訪客的身心健康。

5 結論

本研究介紹了感官體驗漫步和“感官體驗漫步分析”，作為風景園林學、建筑學學者和游客多感官體驗空間的工具。感官體驗漫步被用作教學和學生自己練習對空間的主觀感知、觀察、記錄和自我反思的手段。感官體驗漫步能夠培養多感官意識，從而在景觀和建筑設計中實現更具包容性的設計思維。

本研究強調了在設計教學中進行感官體驗感知教育的必要性。從實地考察、文獻綜述、感官數據收集和手繪地圖4方面闡述了感官測繪的方法，在不同的圖示上標注了觸覺、聽覺、嗅覺的不同感官體驗。由于每個人的感官體驗不同，可以參考本研究中的矩陣進行排序和記錄，以供自己思考或研究。

“感官體驗漫步分析”為學者創造了一個新的研究方向。通過收集訪客數據，可以評價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。此類信息有助于進一步了解多感官設計如何促進訪客的身心健康。

沉浸在花園或公園空間中是一種動態的身體體驗。環境生機勃勃，不斷變化，重要的是人們需要有機會體驗和欣賞這一點。如果設計師沒有意識到多感官體驗對其設計空間的影響，他們將繼續在設計過程中優先考慮視覺因素。在當今世界，空間設計必須包羅萬象，感官體驗漫步可能是我們解決包容性設計教學過程的新方法。感官體驗漫步增強了多感官意識，筆者希望通過此研究未來將改變設計師和學者對風景園林設計及研究的觀念。

致謝：

感謝內達·魯尼亞（Neda Roohnia）渲染感官體驗漫步地圖，感謝杰西卡·烏達爾（Jessica Udal）和米歇爾·加格農–克里利（Michelle Gagnon-Creely）對論文有見地的評論和編輯工作。

圖表來源：

圖1、2由Neda Roohnia改繪自《中國古典園林》；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, “landscape 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)