In my research and PhD, I use phenomenological maps to represent my experience of environments. The map is a representation of the perceived environmental experience and of emotional qualities projected onto the environment.
Drawing on Dretske’s (2003) representational theory of experience, exploring the process of interpretation of the representational vehicle into representational content can help understand what is significant to the individual and convey what is perceived through direct experiences in the present. However, to understand what remains with the individual from the experience and potentially, what can consolidate the emotional connection to place, the mapping process turns to the concept of mental images. Cope (2019) provides a useful summary of the distinction between perceptions and mental images. He explains that perceptions are embodied, in the present, they can include abundant details and the subject finds meanings and recognition through direct experiences of the environment. Mental images on the other hand are re-lived in the mind, they are of the past and selective, only retaining information that is significant for the individual. This suggests that significant phenomena can be retained as mental images.
Malnar and Vodvarka (1992, p. 232) draw on the work of Arnheim to explain that “one’s percepts typically concerns the autonomous existence of objects as they form in the mind from many individual impressions, particularly as one approaches or passes through a building. And he notes that our end image of an object (or building, as one sort of object) is thus the result of our spontaneous integration of these multiple visual projection into a total perceptual image. Arnheim theory has three important aspects: first, a comprehensive perceptual image of a building develops as a purely perceptual process; second, this image must incorporate the sensations generated in the viewer by the building as it is experienced sequentially; and third, a building exists both as a spatial event outside the temporal dimension and as an event unfolding. […] The third point is critical in Arnheim’s argument, as it implies several conditions unique to architecture. First, that the viewer’s experience of the building is participatory; second, that the appearance of individual components of the building come from the intended order of view; and third that the order of view makes senses only in terms of the physical structure of the building. It’s enduring nature”
Therefore, unlike architectural floor plans, phenomenological maps are not representations of a unique space but an amalgamation of different situations that occurred over time and from which mental images have been retained, creating a connection between the individual and the environment.
The fluid aesthetic of the map draws on the “stream of consciousness” concept developed by the psychologist William James (Sennet 2019, p. 175). Sennet explains that “[a] stream flows: thinking, feeling, dwelling is never static.” Thus, the stream of consciousness in in constant flux, whether the body is static, as in the context of vantage points, or actually moving through the interior. Philosopher Mark Johnson (2007, p. 50) explains that “if you are moving forward in a linear fashion, you experience a visual “flow” that emerges from a horizontal focal point and streams toward you, and then envelops and flows past you.
Map organisational principles
The organisation of the content and design of the map draws on Kaplan and Kaplan’s (1981) mental map functional properties. They propose that to be useful the construction of the map should follow specific functional properties, described below.
CONTENT DESIGN
Generality: the map extracts similarities and ignores unique situations in phenomena.
Simplicity: unnecessary information is discarded.
Economy: the map simplifies and codes the information for speedy and reliable access
Essence: critical stereotypical information is retained.
Connectedness: the map uses symbols to identify known points and establish connections for the map to read as continuous.
Directness: experiences are arranged into categories.
Unity: a clear organisation of information against its background.
References
Cope, W. (2019) Perceptual Images and Mental Images: University of Illinois at Urbana-Champaign. Available at: https://www.coursera.org/lecture/multimodal-literacies/11-3-perceptual-images-and-mental-images-H08eo (Accessed: 23 March 2019).
Dretske, F. (2003) ‘Experience as representation’, Philosophical Issues, 13(Philosophy of Mind), pp. 67-82
Johnson, M. (2007) The Meaning of the Body. Aesthetics of Human Understanding. Chicago & London: The University of Chicago Press.
Kaplan, S. and Kaplan, R. (1981) Cognition and Environment: Functioning in an Uncertain World. Ann Arbor, Michigan: Ulrich’s Books.
Malnar, J. M. and Vodvarka, F. (1992) The Interior Dimension. A Theoretical Approach to Enclosed Space. New York: John Wiley & Sons.
Sennett, R. (2019) Building and Dwelling. Ethics for the City. London: Penguin.
