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The urban environment is perceived through multiple senses in parallel, which means that visual understanding of space is aided and complemented by auditory, basic-orienting, and haptic stimuli – although mainly unconsciously. Sensory conditions are inherent attributes of urban places, but are often overlooked in research. To include these aspects in any way in analysis of the urban landscape, they need to be understood as properties of urban space, to be translated from attributes of the perceiver to attributes of the perceived. Using the relation between a designed garden and its suburban context in Bad Oeynhausen (DE) as an example, I will explore an alternative analytical methodology that takes the first-hand perspective view of the subject moving through the city as the starting point. The human body explores space by moving through it; walking is the most direct way to access, study, and research the physical qualities of the (urban) landscape, involving not only visual experience but also sound, rhythm, kinaesthesia, balance, and so forth. A notation technique that discloses the interrelation between visual qualities and their perception over time is the technique of ‘scoring’. Scores are symbolisations of processes, which extend over time. They can objectively represent non-visual qualities of space, communicating the relation between such processes and their spatial context to others in other places and other moments. These representations of movement expose the qualities of the surroundings that change as one moves through them, thus communicating the experiential aspects of urban landscape.

The affectivity is conceptualised in the literary work of phenomenological theories as a significant factor in urban environments studies that are related to change people's feelings. This article aims to present toolkits for creating affective urban atmospheres, which is based on communications between people and place.

To better comprehend the links between the felt body theory and reconstructing affective urban atmospheres in urban environments, this article has performed bibliographic investigations on the sensible approaches and presented Toolkit related to the multi-sensory experience.

This article breaks new ground to discuss the concepts of the felt body, vital drive and daily multi-sensory experience as a contribution to urban studies applications.

This article clarified the possibility of creating affective urban atmospheres through the concepts of affectivity as a process at a pre-design stage.

In conclusion, it is argued that work on multi-sensory experience in urban environments needs to address the felt body and vital drive to become a set of urban studies tools of perceptual dimension.

The purpose of this paper is to consider how biophilic urbanism complements and potentially enhances approaches for the built environment profession to holistically integrate nature into cities. Urban nature – also referred to as urban greening and green infrastructure – has increasingly been considered from many perspectives to address challenges such as population pressures, climate change and resource shortages. Within this context, the authors highlight how “biophilic urbanism” complements and may enhance approaches and efforts for urban greening.

The paper provides a review of existing literature in “urban nature” to clarify and discuss the concept of biophilic urbanism. Drawing on this literature review, the authors present a systematic clustering and scaling of “biophilic elements” that could facilitate responding to twenty-first century challenges.

Biophilic urbanism can be applied at multiple scales in urban environments, through a range of multi-functional features that address the pervasive false dichotomy of urban development and environmental protection. Biophilic urbanism can complement urban greening efforts to enable a holistic approach, which is conducive to comprehensive, intentional and strategic urban greening.

This paper situates the emerging concept of biophilic urbanism within existing research from multiple disciplines, providing insight for how this can be applied in practice, particularly to the topical challenge of “urban renewal”.

This chapter offers a theoretical appraisal of our contemporary hyper-regulated urban spaces situated against a backdrop of deindustrialisation, the shift to consumer economies and the rise of the creative city paradigm. While existing work has characterised urban space as dead and asocial spaces bereft of life. This chapter opts to think our city centres as ‘Zombie Cities’: cities which have been eviscerated the social but are forced to wear the exterior signs of life through the injection of economically productive but artificial modes of culture and creativity. This sets the stage for explaining why parkour is inconsistently included and excluded from urban space, and how it attains spatio-economically contingent legitimacy and inclusion into urban space that problematises existing theoretical perspectives around a revanchist urbanism.

This chapter develops Lefebvre’s concept of rhythmanalysis to investigate the ways super-diversity comes to life in the everyday city through the intersection of the spatial and temporal. The chapter explores the multicultural intimacies of streets in a London neighbourhood through a close ethnographic focus on rhythms and atmospheres using slow-motion video. The research contributes to an emerging field of visual ethnographic scholarship by presenting slow-motion video as a method to explore the ‘presence’ (Lefebvre, 2004) of super-diversity and conviviality on the street.

I argue that in slowing down the encounters of the street, slow-motion video shows the often overlooked sensible and affective elements of super-diverse urban space, the mundane interactions between bodies, materials and technologies that create a form of ‘convivial affect’. I argue that these everyday encounters are shaped by a situated politics of difference and yet are also mediated by wider rhythms and atmospheres, contributing to a sense of ‘social time’. I draw attention to both the human and non-human elements of the streets. These material and technological elements can uncover the wider discourses and circulatory regimes of atmospheres in urban super-diverse neighbourhoods, focussing on their relation to broader flows of capital, forms of postcolonial culture and translocality.

This research has implications for how we understand super-diversity and its manifestations in urban space. It encourages policymakers and academics to recognise the affective human and non-human encounters that are a crucial aspect of conviviality, the everyday ways we live together with difference.

The purpose of this paper is to propose a new framework on sensorial place brand identity.

This conceptual paper draws from sensory marketing and brand identity theories to propose an integrative model to develop sensorial place brand identity.

By relying on a broad spectrum of the literature, the study supports the notion that sensorial place brand identity is a bottom-up approach to branding that involves several enactment stakeholders and key influences as co-creators in the process of delivering sensory place branding messages based on a strong and unique place brand identity. This leads to the presentation of a provisional framework linking sensorial place identity, experiencescapes and multisensory place brand image.

This novel approach to place brand identity follows a holistic approach by considering several enactment stakeholders and key influencers as co-creators in the process of branding a place through the senses.

This paper aims to propose a set of flexible design principles for enhancing the flexibility of street furniture to deal with the diverse and changing urban environment. Flexibility is an important but less considered element of public design (otherwise called public environment and facility design), especially in regard to the street furniture that is encountered in everyday life. Taking Hong Kong as a case study, this paper gives an overview of the concepts of flexibility and flexible design, and identifies the current limitations and problems of the current street furniture design practices with respect to the diverse and changing urban environment.

Based on a review of the current literature and relevant documentation, interviews with government officers and different groups of users (including those with special needs), and field observations in Hong Kong’s urban areas over a period of four years, the policies relating to street furniture design in Hong Kong and its management and implementation were evaluated.

The results indicate that the current street furniture in Hong Kong is unable to adapt to or resist changes, can easily cause safety and management problems and is not adaptable to new developments. This paper proposes six principles for the flexible design of street furniture, namely, custom in use, multifunctional use, responds effectively to changing circumstances, easily and conveniently managed, universal in use and sustainable in use.

It is difficult to understand the diverse needs and preferences of different users in urban environments. The findings in this paper are based on intensive field work and broad industry experience. To deal with the rapid and ongoing urban change, this paper recommends a further long-term and in-depth study of street furniture.

Based on the findings, this paper proposes six flexible design principles for designing street furniture that is sufficiently flexible to meet the rapid and ongoing urban change and diverse users’ needs.

Different societies and urban areas faced different types and levels of changes. Therefore, a flexible approach to street furniture design is important and necessary.

The findings of this paper and the proposed six flexible design principles can provide insight and direction for government officials, design and planning professionals, developers, utility and management companies and communities on how to embed public design (i.e. policy, implementation and management) in the future.