Sensory Lab was a participatory event in collaboration with students from the Design for Branded Spaces course at London of Communication (University of the Arts London) and part of LCC’s public events programme. The event ran on two consecutive days in June 2022 for 2 hours each day.
Visitors were invited to take part in a series of immersive activities challenging their perceptions through sensory stimulation via light, textures and sounds. They were then invited to leave feedback on their experience and this feedback was translated into a visual representation of qualitative data. First, using a creative toolkit method where participants could make a 3-dimensional expression of their experience and assign emotional qualities to these. Then, participants could record their emotions in a diagram.
The design of the diagram was adapted from Russell’s Circumplex Model of Affect in psychology. In Russel’s model emotions are organised across four concepts, arousal, pleasure, sleepiness and misery, represented around a circle to highlight their interrelation.
The purpose of the event was to examine and evidence the cause and effect principle between sensing and emotions. It was also a unique and memorable experience that stimulated the senses in an innovative and fun way. The event was hugely successful with over 80 people taking part.
In October and November 2021, I designed and led two workshops that allowed me to put principles developed in my PhD research into practice and test their validity and transferability. The outcome of these workshops will contribute further insights to the PhD. The first workshop took place on 26th and 27th of October in Pamplona, Spain, at the University of Navarra with students from the BA Service Design students. The second workshop took place online on 20th of October and on 3rd of November, a collaboration between students from the BA Interior Design at Politecnico di Milano and students from the BA (Hons) Design for Branded Spaces at London College of Communication, University of the Arts London.
I would like to thank the students at Navarra, PoliMI and LCC for their valued contribution and amazing designs. I would also like to thank Aitor Alicu and Alicia Fernandez Barranco at University of Navarra, as well as Alessandr Biemonti, Silvia Maria Gramegna and Lorenzo Fossi at Politecnico di Milana for their support and warm welcome.
In these workshops students were introduced to principles of sensory ecology exploring the correlation between sensing and emotions in the context of place attachment and wellbeing. The objective was to design experiences that enabled people to develop positive emotional connections towards their environment. The principles explored in these workshops are discussed in a paper published in 2020. The paper titled “Inhabiting the Public Interior. An Exploration into the Critical Role of Personalisation in Imparting Quality to Public Life” is discussed in a previous post titled ‘Inhabiting the Public Interior’.
Designing experiences – University of Navarra, BA Service Design.
The activity took place on the site of the University of Navarra Museum designed by architect Rafael Moneo. First, students were invited to re-consider the museum as a public interior and were provided with tools to document and map sensory phenomena (sight, touch, smell, hearing, kinaesthesia). They were then tasked to design interventions that would entice visitors on a journey through the interior and enrich their experience of Museum.
Designing experiences – Politecnico di Milano, BA Interior Design and London College of Communication, BA (Hons) Design for Branded Spaces.
The activity took place online using Miro as a platform for students to collaborate (a fantastic platform for individual and group work). First students learned about the primacy of sensing and the types of emotional qualities people may experience in the built environment. They were then tasked to design a temporary public space or pavilion where people could define personal and group territories while still maintaining positive sensory connections with the collective environment.
These activities draw on phenomenological and ecological theoretical principles. Here, phenomenology is presented as the study of experience from the first-person perspective to foreground the primacy of embodied perception. The ecological perspective explores the relationship between living organisms (people) and their environment (the build environment). Phenomenology and ecology bring the perceptual and the relational together to become phenomenological ecology, a principles coined by Mark Reigner (1993, p.181) and discussed by David Seamon (1993, p. 16) in the book ‘Dwelling, Seeing, and Designing. Toward a Phenomenological Ecology’.
Reigner, M. (1993) ‘Toward a Holistic Understanding of Place: Reading the Landscape through its Flora and Fauna’, in Seamon, D. (ed.) Dwelling, Seeing and Designing. Toward a Phenomenological Ecology. Albany, USA: State University of New York.
Seamon, D. (ed.) (1993) Dwelling, Seeing and Designing. Toward a Phenomenological Ecology. New York: State University of New York Press.
Workshop information: We make sense of the world through our senses. We are sentient beings and that as such, experiences are inevitably multi-sensory. This exploratory workshop invites participants to discover ways to document and map sensory perceptions and learn how designers develop their knowledge of sensing and their sensitivity to the sensory world to perfect sensory intelligent designs.
The movements of the body enable us to engage with the world through a process of intimate connections and interactions with spaces, people and objects. Environmental psychologist James. J. Gibson (198)3) calls it active sensing. Passive sense organs pick up on energy in the environment. Active perceptual systems (Gibson 1966) – visual, haptic, smell/taste, auditory, basic orienting. – seek information in the environment by constantly moving (eyes, head, body). Active sensing occurs in motion.
The workshop begins with a short briefing session in the Lower Street gallery at London College of Communication. Participants are then invited to explore Elephant Park, a nearby green urban space, and bring back their findings to LCC where they are given the opportunity to translate these finding into a sensory map of their experience.
1pm – Welcome and briefing
1:30pm – Sensory walk and documentation
2:30pm – data translation and mapping
You are invited to explore sensory experiences in Elephant Park. In your journey through the park you will stop at six different points, including your start and end point. Each time you stop, mark the point on your map and record your experience using one of the documentation handout provided. Also indicate on the map the proximity of the source of the sensory experience. Using your phone, take photographs, films, sound recordings of your sensory experiences.
You will be assigned a starting point. You goal is to reach a diagonally opposite point of your choice. Allow your sensory curiosity and perceptions to guide you. You don’t need to walk in a straight line. You can move across following a curved or zig-zag path to explore different points of interest in your journey.
We encourage you to be experimental. Don’t just walk on the paths or edges, find interesting places such as placing yourself under a tree or even hugging a tree, lying on the grass or bench, looking up, down, through, into, etc. There’s no right or wrong, only your sensory perceptions as they occur.
In the Event Descriptor, write down adjectives that best represent the qualities of each sensory experience, then draw a shape or a series/cluster of shapes, with textures if relevant, that you associate with the experience. Next write down the name of the colour you associate with the experience. Don’t spend too much time thinking about the experience. Record immediate, visceral impressions as they occur.
We experience a flow of information as we move through the environment. Johnson (2007) calls it a ‘streaming-past’ flow. ‘[…] if you are moving forward in a linear fashion, you experience a visual ‘flow’ that emerges from a horizontal focal point in front of you, expands out from that point and streams towards you, and then envelops and flows past you.’ (Johnson (2007: 50). Not all sensory perceptions flow in the same way. For example, sounds and smells reach us and we move through them.
In the Sensory Flow diagram, place a dot to indicate the characteristic of the sensory experience. Below is an example of what the completed sensory flow diagrams looks like although your template will be different.
Gibson, J. J. (1966) The Senses Considered as Perceptual Systems. Boston: Houghton Mifflin.
Gibson, J. J. (1986) The Ecological Approach to Visual Perception. Hove: Taylor & Francis Group.
Johnson, M. (2007, 2008 ed.) The Meaning of the Body. Aesthetics of Human Understanding. Chicago & London: The University of Chicago Press.
Residual Ambiances – An Illustration of Urban Heritage as a Sentient Experience
at: Ambiances, tomorrow, 3rd International Congress on Ambiances Volos, Greece: 21 – 24 September 2016
This paper is based on a project I carried out while a student on the MA Interior Design at the University of Westminster and the site visit this account relates to was initiated by the Course Leader, Dusan Decermic, whose inspiring vision, constructive comments and persistence gave me the confidence and commitment to push the boundaries of my knowledge and abilities.
Abstract. Our urban heritage incorporates many instances of abandoned buildings awaiting rescue, where residual fragments of past occupancies provide a stage for an immersive journey into the ambiance of the interior across past and present thresholds. Accordingly, this project illustrates a unique perceptual encounter between the abandoned interior of Poplar Baths in London and the author, while subsequently, the emotive affect of the sentient experience is synthesised into a performed scenographic narrative. The interest of the project lies in its ability to articulate how sentient experiences activate a deep empathetic connection between body and space in the context of urban heritage.
This case study advocates a phenomenological approach to site-specific documentation and evaluation, placing human psychological needs and lived experiences at the centre of Spatial Design education. The project, with 2nd year students from the BA (Hons) Spatial Design course at London College of Communication, delineates how primary research methods are introduced as a prelude to sensory driven design iterations. It showcases how a public space became a pedagogic environment for students to bridge the gap between studio practice and lived experiences through active learning. It also underlines how introducing practices informed by academic research enhances the students’ learning experience.
The Spatial Communication and Contextual and Theoretical Studies Programme Group at London College of Communication invited me to present some of my projects, notably my thesis on Interior Practices in Urban Environments, to staff and students in the college campus. It was a unique opportunity to contribute to the programme events and provide an insight into perceptions and multi-sensory practices.