9/12/2023 0 Comments Landscape architecture symbolsThey brush against the stone pillars, though most buildings are brick, and the cold glass meets them on the ground floors. The streets are narrow the echo of their footsteps reminds them of this narrowness when they can hear it through the human chatter, coffee machine whirring, and shop signs squeaking. The smell of fumes mingles for a while after they enter a lively shopping district. Their bodies carry them further, and the vehicle fumes and sounds hit them as they pass through a gate to a busy road. The whiff of honeysuckle tickles their nose. Soon, their bodies relax, relieved by the warmth behind the rough stone walls of a chamber garden that shelters them from the wind. Most of the participants turn right and, after a short walk, a birdsong melody and tree fragrance tell them that they enter the precinct’s park area. We follow behind, observing them, recording video, and taking measurements of the natural light’s intensity. Directed by individual intuition, participants disperse through the territory of the Canterbury Cathedral Park and beyond. A metallic clanking sound of a scaffolding parasitising on the stately Cathedral spreads through the area. The ochre limestone of the Canterbury Cathedral that towers over the participants radiates warmth, contrasting grey sky and piercing wind. The contrast between the stillness and controlled detachedness of the building’s interior and the anticipated but still somehow unexpected physical force of the wind makes most of them put a colour sticker on a map regardless or probably because of the struggle. Proformas flap violently in their hands, threatening to escape at any moment. Exiting the warmth and monotonous humming of the Lodge, they are met with the fierce wind, which makes it difficult not only to record anything but barely to hold onto the thin paper proformas. It is a gloomy morning in the late Spring of 2015 when a group of fourteen people, one by one, embark on a journey to explore and map elusive lived space. ![]() The results were then digitised and are presented in the final section of this chapter. The objective of this exercise was to capture the qualitative experience of sensory space by recording individual perceptions of sensory stimuli. Participants were encouraged to map the impressions engendered by their physical environment in the specific moment in which they encountered it. In order to draw attention to the embodied city, the authors invited a group of workshop participants to work with a map of the Canterbury city centre (Kent, UK) as a critical tool with which to analyse concrete space. In any discipline, taking a multisensory approach means embracing this complexity, while recognising the myriad variables and finding methods and approaches by which to record them. Sensation is complex, and the sensory experience of place is more so. Sight, sound, smell, taste, kinaesthesia, and touch all contribute to the creation of the experience and affectiveness of place. Recognition of, and attachment to, places is constructed through personal experience and memories. ![]() Lived space is constructed from the relations between people and their habitation of the physical environment. The focus of the authors’ methodology is lived space. ![]() The premise is that it is impossible to make a single map of a city without overlapping temporal, monumental, social, and sensory spaces, a premise situated in Henri Lefebvre’s philosophy of social space. This chapter presents a methodology for recording sensory data in an urban landscape and looks forward to how this might be adapted to enable multisensory mapping of ancient spaces more broadly.
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