This page has annotations:

1. 1 2017-10-13T05:59:32-07:00 Gillian Fourie e0551ccac9ca1a59cdb4180c678881fb96b5e1aa ODOUR Gillian Fourie 2 plain 2017-10-13T05:59:50-07:00 Gillian Fourie e0551ccac9ca1a59cdb4180c678881fb96b5e1aa

This page has tags:

1. 1 2017-09-18T04:32:37-07:00 Karli Brittz 26501e3c34311bed727f8938a040fb83cf19c4c7 QUESTION 5: Is there anything you really like or really hate about the Piazza and its environs? Karli Brittz 4 structured_gallery 2017-10-31T03:41:38-07:00 Karli Brittz 26501e3c34311bed727f8938a040fb83cf19c4c7

This page has replies:

1. 1 2017-10-13T05:56:53-07:00 Gillian Fourie e0551ccac9ca1a59cdb4180c678881fb96b5e1aa Louise Question 5 Audio Gillian Fourie 3 Louise, 47, white, under benches in smokers corner, 13:30 on 10-10-2017 plain 2017-10-13T06:55:37-07:00 2017 Gillian Fourie e0551ccac9ca1a59cdb4180c678881fb96b5e1aa

This page is referenced by:

• 1 media/louise.jpg 2017-09-18T04:41:38-07:00 Louise 56 The Piazza ~ a sensory exploration image_header 2018-03-14T10:52:36-07:00

  “It is through the daily smelling, touching, seeing, hearing and tasting that places become known to us, familiar.”
  
  ~ Monica Montserrat Degen and Gillian Rose (2012:3276)

  
  
  
  1.         Introduction
   
  On Tuesday 10 October 2017, students from the University of Pretoria’s Visual Arts department embarked on a sensory exploration of the Piazza, a communal space, central to student life on campus. Each participant engaged with the space as a flâneur, Baudelaire’s urban stroller (Borer 2013:968), moving across the space and recording the individual multi-sensorial embodiment via photographic and voice recording. Paul Rodaway (Borer 2013:977), suggests that walking is a primary way in which we touch and perceive a place. When moving on foot, one’s whole body comes into contact with the environment. Of the 11 participants in this walk, two confirmed that they were visiting the place for the first time. Nine participants indicated that the Piazza was a space they frequented during the first and second year of their undergraduate studies. Due to reasons such as location, convenience and personal preference regarding the amenities and ambience, most preferred alternative options on campus with some participants, such as Chloe, citing off-campus ATM facilities preferential to those offered by the Piazza.
   
  2.         The Piazza – a sensory exploration
   
  Historically, the Italian Piazza is described by Richard Fusch (1994:424) as “an opening in the city fabric that allows activity in various forms – walking, riding, driving, shopping, socialising, and playing.”. Likewise, the UP Piazza has been structured in a similar manner to provide indoor and outdoor facilities where students can purchase food, socialise, relax, fulfil a number of administrative tasks, but mainly to act as an ‘oasis’ in the centre of campus. The student centre can be accessed via multiple walkways situated on the periphery of the space. This structural phenomenon guides the flow of pedestrian traffic from the outside space into the student centre and food court. The majority of participants preferred to enter the building from these walkways as opposed to walking across the central open court area. Jane stated, “I walk around it, instead of through it.” This sentiment is echoed by Loretta who referred to the walkways as a type of ‘tunnel’, getting you to where you want to be, a means of avoiding the various activations that occur within the space from time to time. She stated, “I don’t want people to pick on me... I prefer not to be seen.” In a comparative study of Milton Keynes, Degen and Rose (2012:3277) found that participants displayed similar routinised patterns of walking. A participant in the Milton Keynes walk Susan observes “You find people walking in synch with each other, so if you want to get across it’s really hard.”

  “I experience; therefore I am.” ~ George Simmel

  In a sensory twist to the philosophical proposition put forward by René Descartes, George Simmel motivates our investigation of the experiential dimension of social life (Borer 2013:967). Simmel observed that within a city, individuals strive to protect themselves from sensory overload. Simmel views this notion as a necessary adaptation. This “protective organ” that has developed has had a profound effect on how individuals relate to each other, resulting in what Simmel refers to as a “blasé attitude”. When asked the question “Do you like this part of campus?”, JP replied with, “there is nothing good or bad”. According to Simmel this attitude is necessary for individual survival and to maintain social order (Borer 2013:967).
   
  Vision is the predominant means by which we experience our life as “social life” (Krase cited by Borer 2013:970). It is the visual aspects of the space that provide us with clues to the interactions and activities that need to take place. Sight, however, cannot provide a full bodily engagement with a space and define the individual experience. When driving through an urban area for example, reliance on sight alone takes away from the experiential nuances provided by the other senses. In this respect a walk through, such as that conducted within the Piazza, provides one with a more comprehensive sense of place. Although the majority of the participants provided negative feedback regarding the ambience at the Piazza, it was the visual structural elements that received the most positive review. Chloe, Molly and Poppy liked the outside sections of grass which they described as “cooling”, “calming” and “relaxing”. The lines created by the brickwork lead the visitor to the central, circular area which acts as a podium, with a range of possibilities as pointed out by Calliope. On the inside of the student centre, architectural features such as the ceiling also received positive feedback from Poppy, Loretta and Louise, and the radial layout is deemed as the most striking feature by Ophelia. “Seeing” and “being seen” are also attached to a negative connotation of surveillance, and this influenced the manner in which the participants described their utilisation of the Piazza, choosing not to “linger” in the space. Adeline stated that she preferred not to walk through centre of the outdoor area as it felt as if everyone was looking at her.
   
  It is only when the other senses are explored that alternative viewpoints on both the interior and exterior of the Piazza are provided. In terms of the sound experience, the inside of the student centre and food court are described by many as loud, noisy and chaotic however visitors seem to spend time both inside and outside working or socialising. Noticeably the “protective organ” as posited by Simmel, is deployed in the form of personal music players. This is a strategy that enables the visitor to retreat to a privatised world by “tuning out” or “sounding out” (Borer 2013:972). The keynote sounds within the food court consist of voices, laughter, movement of cutlery and crockery. The constant noise is punctuated by soundmarks, such as the calling out of orders, from the many fast food outlets available.
   
  The sense of smell and odour featured predominantly as an influencer in the manner in which the space is used. In general, participants preferred the grassy area outdoors, to the inside of the student centre due to the “overwhelming” odour of the cooking process, food and the cigarette smoke prevalent in the benched area adjacent to the building. Simmel (Borer 2013:972) views the sense of smell as a “disassociating” sense and results in the stigmatisation of certain practices such as smoking. This notion came to the fore during the subsequent photo elicitation in which Savanna mentioned that the area is associated with the “lazy people” who “smoke, play cards, chill and don’t go to class”. The sense of taste also featured as a means of division between those who frequented the food court at the Piazza and those who preferred to buy food elsewhere on campus. The notion of taste suggests a social class distinction whereby “taste classifies, and it classifies the classifier” (Bourdieu cited by Borer 2013:975). Borer (2013:975) is of the opinion that our tastes are not individual but a result of socialisation and re-socialisation according to a particular context. Poppy claimed that when one compares the donuts, for example, to “other” donuts they are “not that appealing” and Savanna supported this opinion in her observation, “Now it sounds like I’m being a snob but I’d rather go to Tribeca or Aloha.”.

  “There is no perception which is not full of memories.”
  ~ Henri Bergson

   Memories can result in comparisons between specific aspects of two places. Judgements are made when comparing the sensory qualities of each (Degen & Rose 2012:3281). The majority of participants who frequented the Piazza, during the first and second year of their undergraduate studies, now preferred to make use of alternative facilities on campus due to what is perceived as an improved sensory experience to that which is offered by the Piazza. The two participants that visited the Piazza for the first time experienced the place somewhat differently. Louise commented on the positive aspects the Piazza had to offer, such as an opportunity to engage with other students and collaborate on projects in an informal manner. Chloe viewed the external central area as a “blank canvas”, an opportune area on which activations could occur, not as a place to be avoided as indicated by the other participants.
   
  3.         Conclusion
   
  The way in which we engage with a space on a sensory level is influenced to a large degree by our perceptual memory. This project provided significant evidence of this as the majority of participants provided similar feedback in terms of their sensory embodiment of the space. Memories associated with alternative facilities on campus served as a basis for comparison and categorising the Piazza as the loud, noisy and chaotic “other”. The process of photo documentation and elicitation provided first-hand and individual feedback regarding the multi-sensorial embodiment of this space. Besides the verbal feedback received during the elicitation session, the use of photography also provides other clues in terms of the participants’ individual engagement with the space. What is interesting is that few participants chose to frame areas with a close shot which suggests a disassociation from the space. However, the use of a camera encouraged participants to notice structural details that had gone unnoticed on prior visits such as the image of the surveillance camera captured by Molly and the ceiling detail captured by Louise. As the group of participants are quite homogenous in terms of culture, interests and age, the feedback was very similar in terms of the majority of sensory experiences. It would be interesting to repeat the process with a heterogenous group of randomly selected and willing participants on campus. The value of such a project on a larger scale, within an urban area, would be crucial in terms of the design and expansion considerations of urban planning that often places too much emphasis on the purely visual and aesthetic elements within a space and ignores the culturally diverse sensorial aspects.
   
  4.         Bibliography
   
  Borer, M.I. 2013. Being in the city: The sociology of urban experiences. Sociology Compass, 7(11):965-983.
  
  Degen, M.M. & Rose, G. 2012. The sensory experiencing of urban design: The role of walking and perceptual memory. Urban Studies, 49(15):3271-3287.
  
  Fusch, R. 1994. The piazza in Italian urban morphology. Geographical Review:424-438.
  
  
   
• 1 media/Screenshot 2017-10-23 12.00.38.png 2017-09-18T04:40:49-07:00 Savanna 35 Senses of Place: The Sensory experience of the UP Piazza. image_header 2018-03-16T09:48:44-07:00 “As place is sensed, senses are placed; as places make sense, sense make place” (Steven Feld in Borer 2013:966). The senses are part of people’s everyday experiences, including that of the city and other built environments (Degen & Rose 2012:3). In saying that, the actual experience of being in these environments, such as bodily and sensuous, are very often presumed, and thus are never critically analysed and interpreted. In light of this, there has been an increase in the study of the experiential dimension of urban and built environments as “lived and felt through the body’s five senses” (Boerer 2011:965). Furthermore the aim of this interactive reflective essay is to discuss and analyse people’s sensory and embodied experience of the University of Pretoria’s Piazza through the use and evaluation of various images, voice recordings and photo elicitation conversations obtained during the data collection process. Additionally, people’s sensory experience of the Piazza is discussed in relation to their walking practices as well as experiencing the Piazza as a smellscape, soundscape and touchscape (Borer 2013:965). Finally a reflection of this project is given in which perceptual memory is discusses and how it effects participants sensory and embodied experiences.
   
  The Piazza, most commonly known as the Student Centre, is situated approximately in the middle of the Hatfield Campus. It can be seen as a hub for the students to “socialise” (Louise 2017), “interact” (Chloe 2017), relax and grab a bite to eat between lectures. Calliope describes it as having a “laid back atmosphere”  whereas Adeline sees the Piazza as being “grimy” and Ophelia characterises this area as “ambivalent” . From these descriptions, one is able to see the variety of opinions and feelings surrounding this space. Moreover the Piazza can be understood as a “sensory constellation” (Degen & Rose 2012:17) and as a result, individuals will experience it different through their  individual sensorium.
  
  Degen and Rose (2012:1) suggest that experiencing a place can be mediated in various ways such as bodily mobility, more specifically, walking practices. These walking practices can be influenced by the design of the buildings and the spaces between them, which in turn, influences people’s experiences of a particular environment. Other words used to describe the Piazza are “watched” (Molly 2017) and “observe” (Lousise 2017). In saying this, many of the people involved in this study feel as if they are being “surveyed” (Molly 2017) while in the Piazza. Molly’s image of the camera sign suggests that not only are the students watching and observing one another but that the university is laying a watchful eye in this space. This feeling of being looked at influences the way in which individuals walk and move within this space. Adeline states that she “mainly walks around the circle and not directly in the center – no one walks directly in the center”. Majority of the participants tend to agree with this, however JP states that he “walks straight through” and Savanna “[does] it sometimes”. Ophelia and Loretta do not interact with the Piazza as they see it as a “fly through” (Loretta 2017) and only a space where they “pass through” (Ophelia 2017) in between lectures to get from one side of campus to the other. The design of the space can also be seen as a way to influence how people walk in the space. There is a covered area towards the back of the Piazza that people can use to cross through it and thus they do not have to walk directly through the middle.
  
  The walking practices described above can also be explained in terms of Borer’s (2013:976) understanding of the built environment as a “touchscape” or feeling the city. The body and environment come together through the act of walking, in which individuals are able to touch and feel the environment while moving on foot through the space (Borer 2012:977). In this way, individuals inevitably touch things that come into contact with the body. The participants in this research may possibly feel the wet or dry grass on their legs and hands when sitting outside the Piazza or may even feel, through the soles of their shoes, the hot bricks that have been in direct sunlight, sunken into the concrete floor which forms a beautiful pattern of petals surrounding the center circle of the Piazza.
   
  Another way in which Borer (2013:972) describes experiencing an environment is by smelling the space, thus the Piazza can be described as a “smellscape”. According to Borer (2013:972) different smells can have various associations as well as negative and positive connotations, which may alter an individual’s experience of a space.  Several participants commented on the variety of smells in the Piazza, which were described as being “a bit overwhelming” (Calliope 2017). These smells included that of “tomato sauce” (Calliope 2017), “various foods cooking” (Chloe 2017), “cigarettes [as well as] hubbly” (Chloe 2017). The participants did not like these smells, which in fact, made the Piazza quite unappealing to them and made the area appear to be “dirty” (Chloe 2017). The litter in the area, such as the overflowing dustbins, contributed to the feeling of dirtiness and created an unhygienic space, which illustrates “a disregard of the self, others and the environment” (Lousie 2017). Some participants commented on the smell of the grass and the jacaranda flowers, however the smells of food and smoke, as described above, engulfed the organic smells of nature.
  
  Another important aspect when experiencing a place through the senses is seeing the space as a “tastescape” (Borer 2013:974). Borer (2013:974) suggests that the consumption of food and drinks are important in an individuals experience of a space. Inside the Piazza there are many small food stalls that provide students with fast take away food options that are affordable. Situated next to this is Coffee Buzz, the local spot where students usually grab a coffee with their friends. From the data collected it is evident that if students did not like the food and coffee available they already had a negative impression about the Piazza. It can be suggested that by eating and drinking they experienced the Piazza in a visceral way, which either satisfied their stomachs pain for hunger or may have made their stomachs contract, possibly a sensation of turning, if they did not enjoy the food available.
   
  From the above discussion it is evident that urban spaces, in this case the Piazza, are experienced by the participants with feeling and a rich range of sensory engagements (Degen & Rose 2012:28). Sight was inevitably engaged in their experience, however for the purpose of this analysis the other senses were discussed. Each participants encounters were multisensory in which they experienced the space as a smellscape, tastescape and touchscape which influenced their walking practices. From observations made on this digital archive and through the use of the visualisation tools on scalar, is it interesting to note that in Question 4 most participants answered the question based on what they felt, while Question 6 most participants acknowledged odour - so it is interesting to note that when commenting on what they don't like participants are sensitive to smell but when commenting on what they enjoy in a space participants are more sensitive to how they feel in that area. And this deduction would not have been possible without a digital archive.
  
  It is evident that specific forms of the sensory environment elicited different forms of sensory experiences. It is important to note that perceptual memory plays a vital role in people’s experiences. This is because the sensory and embodied experiences elicited in the Piazza are related to each participants “own remembered sensory biography’s” (Degen & Rose 2012:30). This means that each individual will experience the Piazza differently and that there is no right or wrong way to experience a specific place. These sensory and embodied experiences are socially and culturally determined. Another important aspect to consider when analyzing people’s embodied and sensory experiences is that describing how others feel is a difficult task and is often “ephemeral” and “ineffable” (Borer 2013:979) and thus representing this sensory data in words has proven to be a challenging task.
   
  In summation it is evident that exploring the multisensory experience of the Piazza has been extremely valuable in coming to understand the sensorium in greater detail. Creating the visual archive was quite confusing at first as I found Scalar is not user-friendly, however once I discovered the correct way of uploading media this process became much smoother. The manner of collecting the data and the photo elicitation discussion was extremely informative as it is an area of the research process that I am not familiar with. This will prove to be extremely useful if I decide to pursue my masters in Visual Culture Studies. 
  
  BIBLIOGRAPHY:
   
  Borer, M. 2013. Being in the City: The sociology of urban experiences. Sociology Compass 7(11) 
                           :965-983. 
  
  Degen, M & Rose, G. 2012. The sensory experiencing of urban design: the role of walking and perceptual memory.   
                           Urban Studies 49(15):3271-3287. 
   
• 1 2017-09-18T04:42:20-07:00 Chloe 24 Scalar interactive essay plain 2018-03-16T09:45:40-07:00 This interactive and reflective essay aims to unpack and explore the ways in which various students experienced the Piazza space at The University of Pretoria. This essay focuses on people’s sensory engagements and bodily modes whilst experiencing the space and involves a combination of text, image and voice recordings done by the participants. Walking practices, touch scape, smell scape and the role of memory are discussed in terms of the piazza space and with reference to the theorists Degen and Rose (2012) and Borer (2013), these aspects will be enhanced. Furthermore, a short reflection on the value and nature of the project is provided so to reveal what has been learnt from the process of using photo elicitation and documentation within a visual archive surrounding the sensory experiencing of urban spaces.
  
  Degen and Rose (2012:3) state in their article titled “The Sensory Experiencing of Urban Design: The Role of Walking and Perceptual Memory” that “senses are part of people’s everyday experiencing and these sensory experiences are central to the design of urban built environments.” Therefore, it is important for town planners and architects to acknowledge that when buildings and urban spaces are being constructed and designed, one’s sensory experience needs to be considered. Thus, Degen and Rose (2012:5) stress the significance of how urban spaces are experienced through multiple sensory modalities and not solely through the visual or through sight. Similarly, Borer (2013:966) recognizes the importance of the senses for making connections between individuals and their environments by referring to places as “sensescapes.”   
  
  The piazza has a variety of walking practices owing to the different types of walk-ways within the area. The inner section contains several corridors that channel students to walk in a hurriedly manner and to follow a certain path. Degen and Rose (2012:13) stipulate that it is through such "habitual practices and routine engagements that one is able to attach particular experiences and memories to places."  Ophelia's (2017) image below for displays her experience of walking through the corridors and reveals the dark, dinginess of the avenues while Savanna comments on walking through this area and her feeling of "claustrophobia" (Savanna 2017).  Degen and Rose (2012:14) mention that this type of space creates a tendency for it to be like a two way street and forms streams of traffic whereby people walking in this confined space are almost on "autopilot." Additionally, Savanna (2017) mentions that she frequently attended the piazza in her first two years of study but no longer visits this space; thereby linking to the concept of memory and how students have fond memories of their younger days whilst sitting or socializing under the trees. Therefore, this space is viewed differently to that of someone whom may be experiencing the piazza for the first time as "there are no perceptions without recollections" (Degen & Rose 2012:18).
  
  On the contrary, the walking practices in the open space of the piazza are more free flow and in a "spidery-like movement" as the area is bigger and allows for many pathways and directions to 'stroll' through (Degen & Rose 2012:16). There is a lack of uniformity in this environment except for the flow of students walking directly through the piazza from one entrance to another, following the straight path. Loretta (2017) describes walking through the piazza as her "fly through" of which Molly (2017) agrees with this as these students prefer to quickly pass through the area owing to the feeling of being watched or judged by onlookers or even viewed by surveillance. Other students, however, do not merely "fly through" this area to get to another destination but optionally choose to spend time in the piazza so to interact with friends or work on group projects together. JP's (2017) image reveals how this space produces a multiplicity of patterns of walk which, in turn, results in individuals reacting differently to forms of sensory stimulation (Degen & Rose 2012:16). It is the body and the space that come together through the process of walking. 
  
  The piazza can be considered in terms of a "touchscape" and a "smellscape" in which the space can be assessed through the sensuous experiences and the accompanying meanings embedded (Borer 2013:969). One of the positive experiences students had with the piazza, in terms of a touchscape, is the various grass areas and the feeling of the lush grass under one's feet or hands whilst being able to sit and enjoy the tranquility under the trees (Molly 2017). Molly (2017) further infers that while the grass areas are clean and relaxing, students refrain from touching any other aspects of the space as it appears "grubby."  
  
  These sensory engagements with the grass areas are also mediated by memories of other places that contain grass in which comparisons were made between the piazza grass area and the Engineering grass patch. Borer (2013:977) infers that "touch is more than the action of the fingers feeling the texture of surfaces, in this case the grass, as it involves the entire body reaching out to certain items and those items in the environment coming into contact with the body." This is evident in the circular podium that protrudes out and causes the body to come into contact with this environment and connects individuals to the larger spatial whole (Borer 2013:977). Jane (2017) states that this is one of her favourite features in the piazza as she finds the design and symmetry of the bricks aesthetically pleasing; linking to Degen and Rose's (2012) thoughts of how the "design of a certain area should enrich people's experiences." The circular podium is thus synonymous with the piazza space.
  
  The "smellscape" can be considered the most prominent sensuous experience of the piazza as every student commented on how the smell deters them away from the area. According to Borer (2013:972), smell is a "dissociating sense that creates divisions and distinctions between classes, cultural groups, races and even practices like smoking." Memory plays a key role within smellscape as many students remembered and recalled the space according to the overwhelming stench of hubbly bubbly and cigarette smoke as seen in Loretta's image.   
  
  Not only is there an overpowering smell of smoke but also the various smells of food cooking and being prepared. Linking to the above quote, smell evidently creates divisions as one is able to divide the space according to the smokers and various cultural groups that are sitting and eating, or waiting in the ques to purchase food (Borer 2013:972). Thus, smells are connected to certain places and particular types of people. This is evident in the cafeteria space as it has an extremely distinctive smell. Additionally, owing to so many people residing in this area, the bins are often overflowing which causes a stench of garbage and creates a lot of litter, ultimately resulting in a "disregard for others and the environment" (Louise 2017) . Thus, the smells associated with the piazza are almost entirely negative and will result in an odorous identity. It is apparent that students predominantly experience the piazza in terms of smell and sensory engagement.   
  
  This project is extremely relevant as it places emphasis on the importance of analyzing urban spaces according to walking practices, memory, touch and smell: the sensory experiences. I found the nature and value of the project meaningful as it enabled and encouraged me to experience the space through a multi-sensory process and not primarily through sight which, in turn, created an awareness of my surroundings and how I interact with the environment. By fully immersing myself into the multi-sensory process I found new insights, likes and dislikes, and aspects of the space that enlightened my overall view of the piazza as well as building on my previous memories or perceptions that mediated my experience. I became aware of the process of walking, my awareness of presence and touch, as well as the odorous impressions. I found the photo documentation and elicitation effective as both methods capture the essence of what one aims to convey: the atmosphere and sensorial qualities. I enjoyed using these methodologies and implementing them into a group, visual archiving project on a new platform: Scalar. 
  
  Therefore, from the above essay it is clear that students at The University of Pretoria do indeed experience the piazza space in terms of their senses: namely walking practices, the role of memory, touch and smell. It is furthermore clear from the inputs of the theorists Degen and Rose (2012) and Borer (2013) that urban spaces do allow for multisensorial experiences which ultimately enhance one's encounter with the space, its environment and its design features. Thus, the UP piazza contains an experiential dimension. 
  
  
  
  BIBLIOGRAPHY:  
  
  Borer, M. 2013. Being in the City: The sociology of urban experiences. Sociology Compass 7(11) 
                           :965-983. 
  
  Degen, M & Rose, G. 2012. The sensory experiencing of urban design: the role of walking and 
                            perceptual memory.Urban Studies 49(15):3271-3287. 
   
• 1 media/Ophelia Q8.1.jpg 2017-09-18T04:42:59-07:00 Molly 21 Interactive Reflection Essay image_header 2018-03-16T09:46:32-07:00 The following essay is a reflection on the data gathered from the participatory archive. The data collected is based on a group of honours students and their sensory experience of the Piazza at the University of Pretoria. The students were asked questions pertaining to this space and gathered their research by responding through voice recordings and photographs which they then uploaded onto the online academic platform, Scalar.  The essay not only explores the visual aesthetic of the space but primarily the sounds, the smells, the touch and even tastes that emerged in the data analysis. The way in which the students walked in and around the Piazza and their bodily mobility is analysed because walking is a way in which one establishes new meanings and experiences of a space (Borer 2013:977).  According to Degen and Rose (2012:6) sensory experiences are intertwined with memories which mediates certain experiences in different ways. Therefore, a section of this reflection will investigate the senses that evoked particular memories for the students. 
   
   
  The Piazza officially opened in 1995 as a student oriented space which provides various activities such as the ones mentioned by Molly (2017). Louise (2017) stated that before the Piazza was built, she recalls that there was a busy road that divided the campus. This was her own memory of the space where Degen and Rose (2012:18) state that many people often rely on their memories in order to make sense of a specific space where they either compare it to a different space, how that space has changed or it looked like previously. Both Poppy and JP (2017) describe the space as an “oasis” supported by images of palm trees, jacaranda trees and green grass.  The jacaranda buds on the ground in the Piazza evoke a memory of getting stung by a bee for Savanna (2017). Memories influence ones perception of a space, this was a bad memory for Savanna (2017) therefore her experience of the space could result in a negative one  (Degen & Rose 2012). One could assume that this evoked a tactile sense, and automatically reflected back to a bad memory.
  
  There was very negative feedback regarding the student’s sensorial experience of the Piazza that is conveyed through the voice recordings, the imagery and the photo elicitation discussions. Multiple students, such as Chloe (2012) and Jane (2017), state that the Piazza was dirty and several students presented images of litter and rubbish.
  
  The participants senses were evoked predominantly inside the Piazza and when entering the food court. Both JP (2017) and Adeline (2017) state that they felt claustrophobic in the food court and that the smells of all the different foods were overwhelming. Calliope (2017) even describes the smell of tomato sauce that seemed to bother her sense of smell. A few of the students mention the smell of smoke especially by the benches which influenced a negative perception and experience of the space. The smell of the cigarette and hubbly smoke contributes to the idea of dirtiness and “griminess” (Adeline 2017) in the space. Predominantly, the odour and sense of smell influenced the way in which the space utilized and experienced by the students. According to Borer (2013:972) odours are constructed by cultural values "and employed by societies as means" of defining and interacting with the world. Borer (2013:972) refers to Simmel (1997a, 119) who argues that the sense of smell is a "dissociating sense" in order to create a division between classes, races, ethnic groups and genders. He discusses the "stigmatization" (Borer 2013:972) of odours such as smoking and how it too creates division in the space. 
  
  
  The inside of the Piazza was very noisy, according to the students, which disrupted and bothered them. The food court was especially noisy due to the high ceilings and the emptiness upstairs which created an echo contributing to the loud buzz in the space.  According to Borer (2013:971), when people label a space as "noisy", the space is usually regulated by authorities which is supported by the photograph of the surveillance camera. "Noise" (Borer 2013:971) is considered a major problem suggesting agitation and annoyance in the space. The empty space above the food court up the stairs was extremely dusty and one literally gets the sensation of feeling dirty themselves.
  
  
  
  The body has become a necessary tool for interpretation (Borer 2013:976). Not only is the body a "physical mechanism for engaging"(Borer 2013:976) with the sensuousness of the space, the body also functions as a form of communication for different impressions and interpretations (Borer 2013:976). The texture of the grass was explored in the photo elicitation discussions where Chloe described the grass as “prickly” when she kneeled down to take a photograph. Ophelia also discusses the textures of the stones on the ground all over campus. She describes the texture as “ruggered as well as very smooth”. Due to the time of year, the grass is green and luscious according to Molly and invites students to sit on it instead of the benches which are described as smelling like smoke.  
  
  
  Borer (2013:974) explores the experience of taste in the experience of a urban space. He states that food and drink is an “important characteristics of urban cultures because taste” is used in order to identify “particular urban locales” and that taste has the ability to make personal and private connections to the material world. Therefore ones impression of the food sold in the Piazza contributes to our experience and perception of it. During the photo elicitations a student mentioned that their coffee was revolting and because it was one of the first senses that was evoked during this experience, the rest of her experience in the space was disappointing and negative. Savanna and Loretta Brown compare the food sold at the Piazza to the food sold at Tribecca and Aloha, stating that the quality of food at the piazza is worse than the food sold at Aloha or Tribecca. I have had my own personal experience of the food sold in the Piazza which resulted in a very negative perception of the space and never wanting to purchase food from there ever again.
  
  
  The basic bodily movement of the participants walk through the piazza is also striking when analyzing the data. A few of the students felt like they were constantly being looked at which changed the way they presented themselves. Students such as Jane and Loretta Brown described how they would prefer to walk around the Piazza instead of straight through it. A few students mentioned how they walk through the Piazza to get to class either at a fast pace if they are late for a class or a normal to slow pace. Degen and Rose (2012:14) explore the practice of walking through and around a space and how all "the senses are integrated by the way the living body moves (Degen & Rose 2012:14).
  
  The nature of this project is valuable because it allows one to experience a space as an embodied one, instead of just analysing it with regards to the physical appearance and design of the space. This project introduces a completely new and interesting way of researching. All of our sensorial experiences contribute to our perception of a space and forms the idea of whether we like the environment or not. I have come to realise that people would do anything to avoid certain odours and a noisy environment even if it means that they have to walk an extra few metres or even drive around to avoid it. Through the analysis of the data, it is evident that the students of the University of Pretoria, experience the Piazza as an embodied and sensual one, namely through walking practices, their multisensorial engagement with the space and the senses that evoke particular memories.
  
  
  Borer, M.I. 2013. Being in the City: The Sociology of Urban Experiences. Sociology Compass, 7(11):965-983.
  
  Degen, M.M. & Rose, G. 2012. The sensory experiencing of urban design: the role of walking and perceptual memory. Urban Studies, 49(15):3271-3287.
  
  Simmel, G. 1997a. Sociology of the Senses: Selected Writings. Sage Publications: London.
• 1 2017-10-31T08:01:02-07:00 JP 5 plain 2018-03-16T09:29:00-07:00 Multisensory experiences of Spaces
  
  The experience people perceive of the spaces they inhabit is highly mediated by the design and interaction of these spaces.  Degen and Rose in The sensory experience of urban design: the role of walking and perceptual memory (2012: 1) offers a justification of this avowal by stating that “experience is conceptualised in both academic and policy circles as a more-or-less direct effect of the design of the built environment”.  The multisensory experience of spaces by individuals were clearly observed in the manner in which a group experienced the Piazza of the University of Pretoria.  The interaction resulting from the experience hinted at the manners in which individuals mediate the space in mention and clearly ties to shared experiences (especially in participants that closely relate in milieu and background) through the considerations of the patterns that was perceived from the conversations.  It also deserves mentioning that although there were reoccurring patterns, the individual experiences were not exactly alike and many of the participants experienced the space, again mediated through individual interactions.
  
  The most perceivable patterns that were visible in this engagement was first and foremost filth.  There were many discussions on how dirty certain parts of the Piazza was, specific reference was made to an area of benches where smokers gathered.  The group was in agreement that this space heavily mediated their opinion of the space in a very negative fashion.  In Chloe’s recording a contributor is quoted in saying “There is a disgusting smell of cigarette smoke mixed with food that will prevent me from eating there”.  Another contributor in this recording mentions that the smell makes the whole place “feel dirty and disgusting”.  In Jane’s recording the rhetoric is furthered regarding the corner when contributors to the discussion comments on the people occupying this space saying “the people there seems unwelcoming and engaged in their own groups” and “to me this seems like the slackers corner”.  Although the comments in Jane’s recording are visually based there is an argument to be made that the contributors made use of multisensory modalities to draw these conclusions.  The specific mention of the smell of smoke and food links to one of the three features neglected in most accounts of sensory urban experiences as outlined by Degen and Rose (2012: 4-5). 
  
  The specific area referred to here, being the multi-sensory modalities individuals make use of when experiencing urban spaces (the second feature (Degen and Rose 2012:5)).The contributors in this recording uses their multi-sensory experience of the dirty visual as well as bad smell to draw conclusions regarding the individuals that utilised the space, thus a mediation of contributors opinion of other individuals through the use and design of the space.  There are many more of these occurrences that can be picked up from the patterns referring to the feeling of surveillance (as mentioned in the recordings of Calliope, Adaline and JP).  In the discussion on surveillance a contributors states “I don’t walk through the middle of the Piazza because I feel that people are looking at me” another contributor stated that “people are looking by trying not to look” in the explanation of people sitting in the Piazza.  The conversation of surveillance engages the topic of “the Importance of Walking” (Degen and Rose 2012: 12, 29) where the authors makes mention of the influence that the way of walking has on the experience of the areas, as well as the effect the experience of the areas had on the manner in which people walk.   Another pattern was the reference to the movement in the piazza that featured in the recordings of JP and the images of Savanna, Poppy and Diversity.
  
  Degen and Rose (2012: 7-9, 20) describes the opposing experiences that individuals reported when making mention of the same spaces.  The same occurrence took place in the Piazza experience where individuals with less or no past interactions with this space like Calliope and Louise had experiences mediated with what they perceived from their visit, where the experience of individuals like Chloe was mediated more with their past experiences of the Piazza.  Chloe shares an experience of her interaction when she stated “we sat on the grass to relax on study breaks or between classes in first year”. A notable element here is the memories that had an influence on the experience.  Degen and Rose (2012: 19-22) substantiates the influence of memories on the experience of Bedford and Milton Keynes.  This principle is observed within the Piazza experience where Chloe, through her positive memories of the space can be perceived to have a more neutral, even positive experience of the Piazza (this is clear when listening to the engagement where Chloe takes part as well as the images shared by her in many of the questions) compared to the more negative inclinations of Jane and specifically Calliope throughout the discussions.
  
  The multi-sensory experience of a space is clearly apparent to thus far.  The distinct engagement of the space with specific senses however still deserves mentioning.  Although the space was engaged with a combination of senses, the discussions in particular through question 9’s photo elicitation discussions clearly brought forth that the group engaging with the Piazza experienced the space more with certain senses than others.  Above clear notes the effect of vision through the consideration of “people looking at you” and  mention is made of smell, from the cigarette smell to the “smell of tomato sauces” as described by one of the contributors of the photo elicitation discussions mediated the experience of the Piazza.  Other senses than seeing was also significantly involved.
  
  The sense of taste was engaged in describing the environment.  In Poppy’s recording mention is made of the “smell of the Piazza effecting the taste of food” consumed there, this is furthered in a contributor stating that “I can’t stand the taste of food when someone smokes around me”.  A more explicit consideration of the influence of taste in experiencing the environment comes from Louise’s image and the discussion of the taste of the coffee that was incited when discussing the initial experience of the Piazza by some of the contributors.  From Molly’s image and the discussion the most notable discussion of taste is made.  This discussion was based in the taste of the doughnuts in the image and how it is mediated by the visual display and surrounding smells.  The discussion however cantered around the manner in which the presentation “made even chocolate not look good” and was furthered in to how the perception of display differs in consideration of the space in which something was presented. 
  
  The above mentioned discussion on taste led to the perceived health effects of food that comes from the a specific environment and finally led to a comparison of the taste of food and the perception formed by the environment when the Piazza was compared with other restaurants on campus in a different (better perceived) area.  Degen and Rose (2012: 24) makes mention of this comparison in the influence expectation has on the individual’s experience.  This is further strengthened with Borer’s statement in Being in the city: The sociology of Urban experiences that “the nuances of urban experienced has significantly been altered by the understanding of sensory scholarship” (2013: 965).
  
  In conclusion the embodies mediation of individuals through a multi-sensory experience has an absolute impact on the experience of an environment.  Individuals will consider many aspects other than the visual in the engagement of their world, thus significantly empowering the effect designer can have on a population through the spaces they engage with.  This Piazza experience will therefore stand to prove the statement by Degen and Rose (2012: 1) “experience is conceptualised in both academic and policy circles as a more-or-less direct effect of the design of the built environment”.
  
  Reflection:
  In a world that is so heavily concerned with perception and mediated with persona it stands to reason that it is exceptionally difficult to navigate the visual overload that we experience on a daily basis to make sense of the world we live in.  Through understanding the effect that the design of the environment can have on us, it positions the individual in a better space to understand him/herself in connection with the world they live in.  Acknowledging the multisensory perception of our world in a very practical manner considering a space that is so integral to my direct environment I am provided with a diverse array of tools to make sense of my world.  I have thus strengthened the understanding that it is easier to make sense of the world and to verbalise my understanding of such if I maintain an understanding that it is not only what I see that creates the effect of the environment on me, but also what I smell, hear taste and feel.  This provides significant value to me as this allows a more encompassing way of articulating experiences, strengthening my ability to assist others and myself in considering the world we live in.
  
  Sources consulted:
  
  Borer, Michael Ian (2013). Being in the city: The Sociology of Urban Experiences. Social Compass, 7(11) pp. 965-983.
  
  Degen, Monica Montserrat and Rose, Gillian (2012). The sensory experience of urban design: the role of walking and perceptual memory. Urban studies, 49(15) pp.3271-3287.