轨迹生香——长春市二道区铁路沿线室内移动菜市场设计

In contrast to other spatial perceptions, why do architects prefer to design, map, and depict the visual? In addition to the visible, immaterial, and intangible aspects of space, architecture also addresses the minimal qualities that exist between the solid and the fluid as well as the ambiguous materiality of sound and smell. The human touch and multi-sensorial connection are what make the experience more intense.Today's building envelopes are made of tactile boundaries and visually perceptible borders that are an abstraction of the human body. This relies on vision, smell, and touch. For example, improving one's sense of smell may improve the perception of the surroundings. This is particularly intriguing because it emphasizes the significance of this sense and serves as a reminder of the possibility of sensory-sensitive information that is responsive and environment-adaptive.Individuals have different sensory perceptions of odours, just as different people have different needs for ambient and appropriate temperatures in a location. Although each person subjectively interprets these and responds differently, an individual instantaneously receives this information of change in the environment when any of the three aspects of scent, namely flow, intensity, or duration, are disturbed or augmented.Based on the methods used to acquire smell, data can be divided into four basic categories: observational, experimental, simulational, and generated. The intensity of a smell also fluctuates according to how far it is from its source, which will gradually wither away as time and distance pass. The study would help establish a parallel between smell and colour preferences. Researching if people’s preferences for colour and smell can be classified based on fixed parameters. McLean et al. (2018), pp 9-19Humans, however, can identify millions of distinct odours just by using their nose's smell receptors. So, it's an intriguing idea to incorporate smells into the process of designing a space. Although fragrances themselves cannot be represented visually and their ability to transport us to a different place and time cannot be demonstrated, they are nonetheless essential components of a setting that makes us feel at ease and at home.

With globalization and the transformation of socio-cultural structures, the focus of spatial design has shifted from functionality to perceptual experience and atmospheric creation. This study draws on the spatial perception theory and the phenomenology of perception to examine how sensory subjects perceive and respond to the physical attributes of space. It explores key elements that shape spatial experiences, including lighting, color, spatial form, sound, material, and scent, all of which contribute to the construction of emotional ambiance and the perceptual character of interior environments. Based on this foundation, this study proposes multi-sensory design strategies for interior spaces, including the following: (1) visual perception: modifying color and lighting to establish emotional ambiance and enhance spatial depth; (2) auditory perception: crafting soundscapes that deepen immersion; (3) tactile perception: designing both direct and indirect tactile experiences; and (4) olfactory and gustatory perception: incorporating scent design to evoke memory and forge emotional connections. To demonstrate the practical potential of these strategies, this study presents a conceptual design case of a coffee roasting factory in Suzhou. The design integrates visual, auditory, tactile, olfactory, and gustatory elements to enhance users’ overall spatial perception through multi-sensory coordination. This study ultimately seeks to provide theoretical insights into practical design strategies, highlighting the importance of perceptual experience in improving spatial quality and guiding future interior design practice.

Urban interior design practices examine the dynamic relationship between interiority and the urban landscape, focusing on how effective interior design can enhance public spaces amid increasing urban density. This paper explores the evolving role of interior design in urban contexts, emphasizing its impact on physical spaces and the temporal, social, and emotional dimensions that shape our interactions with these environments. As cities face the challenges of rapid urbanization, there is a pressing need to foster connectivity among diverse communities while ensuring flexibility in design to adapt to changing urban dynamics. This study highlights the pivotal role of urban interior design in cultivating a sense of belonging and resilience within communities. The paper illustrates how interior environments can be strategically developed to promote engagement and inclusivity by incorporating methodologies such as design research and scenario-based propositions. It argues for a holistic approach to design that prioritizes adaptability, allowing spaces to evolve in response to shifting societal needs and contexts. Ultimately, this exploration seeks to position urban interior design as a vital practice in contemporary citymaking, capable of transforming underutilized urban areas into vibrant, meaningful spaces that resonate with residents' needs and aspirations. By embracing connectivity and temporal adaptability, designers can contribute to the emergence of urban environments that reflect the complexities of modern life and foster social interaction and community well-being.

Spatial arrangements that support the psychosocial well-being of users in rehabilitation centers have become a significant research focus in both health and landscape architecture fields in recent years. Therapeutic environments that integrate natural elements with artistic interventions offer multifaceted contributions to the emotional, cognitive, and social development of individuals with special needs. This study examines an interior wall mural and an exterior planting design implemented at the Siirt Deniz Yıldızı Special Education and Rehabilitation Center. Artistic applications such as handprints and tree motifs created with the participation of children have enhanced user engagement and strengthened their sense of belonging to the space. In the proposed planting design for the outdoor area, low-maintenance, aromatic, and sensory plant species were selected to create a sustainable and therapeutic garden model. The findings indicate that spatial arrangements designed to improve the physical environment of rehabilitation settings can effectively support children’s emotional, cognitive, and social development. It is recommended that such practices be used as models and widely implemented to promote inclusive and supportive design approaches in special education environments.

This paper proposes the concept of multisensory landscape construction, pointing out that people’s perception and appreciation of a landscape is a process of overall impression and judgment formed with a combination of visual, auditory, olfactory, tactile, and even thermal and humid sense. Examples can be found in many famous traditional Chinese gardens. Around the West Lake area, there are famous soundscape scenic spots, e.g., Liu Lang Wen Ying (Orioles Singing in the Willows), Nan Ping Evening Bell (Evening Bell Ringing at the Nanping Hill), Zhejiang Qiu Tao (Autumn Wave of Zhejiang), and Jiu Li Song Tao (Wave of Pine Trees Lasts Nine Miles) . There are also some famous lightscape scenic spots, e.g., San Tan Ying Yue (Moon and Candlelight Mirrored in the Lake) and Ping Hu Qiu Yue (Moon over the Peaceful Lake in Autumn) . In terms of smellscape, in addition to the famous scenic spot Qu Yuan Feng He (Curved Yard and Lotus Pool in Summer), the West Lake area is also widely planted with osmanthus and other fragrant plants, forming a smellscape in which "late autumn is fragrant with osmanthus flowers and lotus in bloom for miles and miles." At Humble Administrator Garden, there are soundscape scenic spots such as Wu Zhu You Ju (Secluded Residence among Bamboo Bushes) and Liu Ting Ge (Pavilion to Pause and Listen); there are smellscape scenic spots such as the Orchid Field, the Magnolia Courtyard, the Panicum Pavilion, etc.; lightscape scenic spots such as Liu Ying Ge (Hall of Reflecting Shadows) and Ta Ying Ting (Pavilion of Shadow of Tower) can also be found there. In Chengde Summer Resort, there are soundscape scenic spots such as Wan He Song Feng (Wind of Ten Thousand Ravines and Pines) and lightscape scenic spots such as Xi Ling Chen Xia (Morning Sunset on West Ridge), etc.; smellscape scenic spots such as Qu Shui Hua Xiang (Fragrance of Flowers in the Curved Water) and Yuan Xiang Tang (Hall of Fragrance of Far Away) can also be found.The above classic cases eloquently prove that the creation of multisensory landscape and the integration of them are the valuable experience in traditional Chinese gardens, which play an important role in the achievement of famous landscape.Therefore, the design of landscape must pay attention to the creation and integration of soundscape, smellscape and lightscape. Another key point of the theory of multisensory landscape construction is that it is necessary to pay attention to both spatial and temporal dimensions so that the constructed landscape can be enjoyed everywhere and at all time periods. In this regard, the creation of the three-scape (specifically refer to soundscape, smellscape and lightscape) can also highlight their regional and temporal characteristics. By analyzing some classic cases of traditional Chinese gardens, this paper proposes that the construction of multisensory landscape and the integration of soundscape, smellscape and lightscape are the valuable experience in traditional Chinese gardens, which are also important for the achievement of famous landscapes and are excellent traditions that we should vigorously inherit and carry forward.

Style information, such as tone, mood, and genre of artworks, is important for museum visitors to appreciate them better. However, such information can be challenging for non-art specialists to comprehend in the short period that they view artworks. The sense of smell is instrumental for humans to assist their image memory, color, emotion, and shape association. However, it is rarely used in the appreciation of artworks. Taking Western landscape painting as an example, this research explores the following research questions (RQs): 1) How does the intervention of the sense of smell improve the acquisition of style information in paintings? 2) How does the intervention of the sense of smell enhance the immersion in painting appreciation? To answer RQs, we first recruited seven art specialists to participate in a co-design workshop to design a prototype of the virtual museum with olfactory intervention. We then conducted an experiment with 12 non-specialists who viewed several paintings in the VR museum while being exposed to olfactory stimuli that were designed to be correlated with the style information of the paintings. We found potential effects of smell stimuli on enhancing the perception of style information for non-art specialists. Moreover, we found that olfactory intervention has both positive and negative impacts on immersiveness. Finally, we provide design implications for future virtual museum design with olfactory stimuli.

For an interior designer, he focuses on real-life colors. Therefore, painters and designers have different perceptions and requirements for color. One is to find the color in the feeling, and the other is to find the feeling from the color matching. Find all kinds of architectural attributes consistent with the space structure, improve the artistic effect of the indoor environment, and enhance the connection between the living space and the environmental design. If you want to solve this problem in time, you can use the platform designed in this paper to record the distribution of indoor landscapes in all aspects, and use the corresponding computer technology to restore the objects in the real scene. The available attributes must be fully integrated when designing the interior decoration of the building. At present, in the field of indoor virtual design, most of the research results are focused on the realization of indoor roaming function, while in the aspect of user interaction function, the research results are in the initial stage. Three-dimensional virtual vision technology, using the principle of camera 360 degree ring shot, records the real situation of indoor landscape in detail, and then restores the real situation of the landscape through specific computer technology. The newly designed platform not only can draw simple flat images, but also supports the drawing of stereo images in a larger indoor environment, which ensures the actual needs of the location of the landscape. This paper mainly focuses on interior design color transfer platform, which can better draw the landscape plane and its stereo vision, and the location of interior landscape can meet the actual needs.

Three dimensional virtual vision technologies improves the realistic effect of interior design, improves the rationality of interior design, and guides interior decoration and graphic design. In this paper, MultiGen Creator 3D modeling technology is used to reconstruct the indoor landscape and form the plane image of interior design. At the same time, the edge matching method is used to divide and decompose the features of the interior design image, and the 3D vision of the interior design is reconstructed with the key points of the interior design. In addition, through the adaptive tracking and rendering technology, the fidelity and space utilization efficiency of the room plane design are improved. The simulation results show that 3D virtual vision technology has better guidance for interior design, visual effect and landscape color fusion.

Traditional Japanese architecture is known for its open, ambiguous spatial boundaries (“kyokai”), which integrate nature and dwelling through Zen/Shinto philosophies. Yet modern urban housing, driven by high-density minimalism, flattens spatial hierarchies and erodes these rich boundary concepts. This study aims to explore how Japanese architect Yoshiji Takehara reinterprets traditional spatial principles to reconstruct the interior–exterior relationships in modern housing through a mixed-methods approach—including a literature review, case studies, and semi-structured interviews—verifying the hypothesis that he achieves the modern translation of traditional “kyokai” through strategies of boundary expansion and ambiguity. Analyzing 78 independent residential projects by Takehara and incorporating his interview texts, the research employs spatial typology and statistical methods to quantify the characteristics of boundary configurations, such as building contour morphology, opening orientations, and transitional space types, to reveal the internal logic of his design strategies. This study identifies two core strategies through which Takehara redefines spatial boundaries: firstly, clustered building layouts, multi-directional openings, and visual connections between courtyards and private functional spaces extend interface areas, enhancing interactions between nature and daily life; secondly, in-between spaces like corridors and doma (earthen-floored transitional zones), double-layered fixtures, and floor-level variations blur physical and psychological boundaries, creating multilayered permeability. Case studies demonstrate that his designs not only inherit traditional elements such as indented plans and semi-outdoor buffers but also revitalize the essence of “dwelling” through contemporary expressions, achieving dynamic visual experiences and poetic inhabitation within limited sites via complex boundary configurations and fluid thresholds. This research provides reusable boundary design strategies for high-density urban housing, such as multi-directional openings and buffer space typologies, and fills a research gap in the systematic translation of traditional “kyokai” theory into modern architecture, offering new insights for reconstructing the natural connection in residential spaces.