Author: Yi Ng

  • Olfactory Tour of China (I): Recovering Memories of Organic Odor from Cangshan and Erhai by Dali

    Our noses, not our eyes, are often the source of our most vivid memories of a place.

    I took an olfactory tour in Southwest China through Dali, Chengdu, and Chongqing as a creative exploring the connection between scent and emotional connection. My objective was straightforward: to collaborate with local small fragrance companies to identify and extract aroma markers that represent Chinese cultural identity and emotional resonance.

    My first stop was Dali, Yunnan.

    Despite its charming image, Dali is home to some of China’s highest biological richness. Nestled between Erhai Lake and the Cangshan Mountains, its montane environment and year-round sunshine support wild flowers, ancient high-mountain tea trees, and a diversity of botanicals. The clear, damp verdancy of the air makes it an excellent site to start searching for pure Eastern natural scents.

    I visited “Yong Qi Cong Ling” (Courage from Within), an independent local perfume workshop located in a serene courtyard in an old town.

    This business initially caught my attention due to its founding motto, “Dedicated to the scents of flowers, grass, trees, and wood.” The inventor clarified that their goal is to depict Dali’s unfiltered, raw floral life instead of the uniform, heavy compositions found in commercial perfumery. Their formulation workstation is like a little Yunnan forest, with fragrant ingredients derived from natural soil, moss, bark, and flowers.

    In the studio, where sunlight streamed through the window frames onto scent strips, I sat down with their team across a wooden table to talk about the main idea of my research: How can real, tangible scents of Eastern botanicals evoke emotional resonance and grounding for people who live far from home?

    After hours of olfactory testing, comparative research, and critical debate, we identified many fragrance profiles with distinctive Eastern cultural significance:

    Orchid: A serene and serene nobility

    Unlike Western perfumery, which often depicts flowers as sweet and opulent, Dali’s wild mountain orchids have a sharp, slightly bitter, and penetrating delicacy. The traditional Eastern esthetics of modesty, sturdiness, and seclusion are reflected in the “orchid in a secluded valley” cultural stereotype.

    Jasmine: Peaceful Memories of Daily Life

    Unlike black, indolic commercial extractions, Yunnan’s small-petaled jasmine has a delicate, green freshness reminiscent of early morning harvests. The soothing aroma of brewed jasmine tea and the handcrafted jasmine bracelets sold on sunny summer streets are only two examples of the centuries-old domestic memories it evokes.

    In addition to flowers, we tried blending alpine fir from Cangshan, the rich depth of Yunnan black tea (Dianhong), and petrichor from moist soil. By going beyond the conventional top, middle, and base notes, this technique turns the fragrance profile into a spatial, narrative-driven micro-landscape.

    This phase of Dali’s work grounded the broader Eastern nature philosophy in tangible materials, going beyond simple botanical formulation notes. With these fresh perspectives, I will move on to the next stage of my fieldwork.

  • Current research question

    How can Chinese people abroad, who feel homesickness, find comfort through objects?

    Simple explanation:

    This study looks into ways to alleviate homesickness and cultural displacement in Chinese individuals who have been living abroad for longer than six months. It investigates how people can externalize their sensory memories of “home,” fostering emotional resilience in transient situations, by infusing physical companions with tactile textures and region-specific scents (such native soil, tea, and chestnuts). 

  • Comparative Research: Originality and Differentiation

    Current Situation & Related Projects


    Environmental psychology, sensory design, and creative technology have all conducted extensive research on homesickness, spatial displacement, and sensory nostalgia in international students.

    Institutional & Campaign efforts (e.g., HSBC’s Sounds of Home, 2019): To assist international students connect with their home countries, corporate campaigns and university well-being efforts sometimes incorporate auditory soundscapes (e.g., local markets, transit noise, native languages). Although these programs recognize sensory boundaries, they frequently provide passive, widely disseminated information (like as pre-recorded tracks) without involving players in active spatial creation.

    Sensory and Olfactory Installations (e.g., CRASSH Scents & Imagination, 2025; RCA Olfactory Migration Projects): Olfaction as a sociocultural marker for identity, migration, and memory is the subject of recent practice-led creative study. Olfactory installations are used in projects like as Yati Sharma’s The Olfactory Dimension of Cultural Integration (Royal College of Art, 2024) to provoke memories of loss and spatial belonging among migrants. However, rather than being incorporated into participants’ private, residential spaces, these activities are mostly gallery-bound or curated in public exhibition contexts.

    Studies on psychological and experimental emotions (such as PMC Food Nostalgia Studies and Oliver et al., 2024): Numerous studies have examined how nostalgia mitigates spatial anxiety and disorientation. To induce state nostalgia, these investigations often use standardized visual or olfactory stimuli in controlled laboratory settings.

    How My Project Differs

    This project presents a participative, practice-led design framework in contrast to traditional sensory campaigns that depend on single-medium products, passive gallery installations, or restorative nostalgia. The study involves overseas students as active co-creators in their own household micro-spaces by including a dual-sensory process that combines tactile transitional artifacts for instantaneous physical anchoring with olfactory cues to access memory. In the end, it moves the emphasis from passively yearning for home to actively fostering spatial belonging, emotional agency, and introspective nostalgia while residing abroad.

  • Design Intervention:

    The 5-Day “Micro-Comfort Zone” Challenge

    Following the refinement of my theoretical framework on homesickness and emotional comfort, I have officially launched the first wave of my research interventions!

    1. The Design of the Intervention
      Six adults (all over the age of eighteen) have been enlisted to participate in a five-day sensory experiment called the “Micro-Comfort Zone Challenge.”

    Instead of mailing complicated physical materials, I gave each participant a structured Sensory Challenge Card and instructed them to use their own personal belongings to create a modest, devoted “refuge” in their current living area.

    Two main sensory channels are the focus of the task:

    Tactile/Soft Elements: Adding tactile soothing and physical warmth by using stuffed animals, soft blankets, pillows, or other items.

    Olfactory Elements: Including pleasant or familiar fragrances (e.g., room sprays, scented candles, beloved perfumes, or clothing with a unique personal scent).

    For five days in a row, participants are instructed to gather these components into a specific nook (such as a rug, an armchair, or a corner of their bed) and spend ten to fifteen minutes a day interacting with this area while documenting their daily emotions, thoughts, and sensory reactions.

    1. Theoretical Foundation and Hypothesis
      My latest literature review and useful design research are closely connected by this intervention:

    Tactile Anchors (Transitional Objects): Plush toys frequently serve as transitional objects in developmental and clinical psychology (Winnicott, 1953). These tactile objects offer nonjudgmental consolation and physical anchoring to adult international students who are suffering spatial disorientation.

    Olfactory Memory Activation: Fragrances skip cognitive filters and enter the limbic system directly, causing instantaneous emotional memories (the Proustian phenomena).

    Psychological Agency: Participants exercise agency over their micro-environment by actively modifying their immediate surroundings to create a personal “safe zone,” so mitigating emotions of homesickness or spatial disorientation.

    I’m interested to see how this five-day routine affects their sense of spatial belonging and emotional health.

    1. Interview Guide for Post-Intervention
      I will conduct a semi-structured debriefing interview with each of the six participants for 15 to 20 minutes following the conclusion of the 5-day challenge.

  • What Does “Homesickness” Actually Mean?


    We frequently refer to homesickness as just “missing home” or feeling a little alone. However, homesickness is described as a particular distress reaction brought on by real or imagined separation from one’s primary environment in traditional psychological literature (Fisher, 1989; Van Tilburg et al., 1996).

    According to Fullilove’s (1996) application of Bowlby’s Attachment Theory to spatial contexts, homesickness results from the sudden disruption of our established “place attachments” and cultural anchor points. It is more than just a feeling; it appears as:

    Constant, bothersome thoughts about familiar spatial, sensory, or social environments are known as cognitive preoccupation.

    A brief lack of agency or familiarity in a foreign, unfamiliar setting is known as spatial disorientation.

    More notably, cultural analyst Svetlana Boym (2001) splits nostalgia down into two categories:

    Restorative Nostalgia: The longing to physically repair or return to the lost home.

    Reflective Nostalgia: A meditative, creative engagement with distance, memory, and spatial longing.

    For my project, I am focused on introspective nostalgia. Rather than trying to “fix” homesickness by literally sending individuals back, my interventions aim to provide a space where participants can reflect on their relationship with home using sensory cues.

    References

    • Boym, S. (2001). The Future of Nostalgia. New York: Basic Books.
    • Fisher, S. (1989). Homesickness, Cognition, and Health. London: Lawrence Erlbaum Associates.
    • Fullilove, M. T. (1996). Psychiatric implications of displacement: Contributions from the psychology of place. American Journal of Psychiatry, 153(12), 1516-1523.
    • Van Tilburg, M. A., Vingerhoets, A. J., & Van Heck, G. L. (1996). Homesickness: A review of the literature. Psychological Medicine, 26(5), 899-912.

  • Reflections on Tutorial with Zuleika:

    Refining Participant Demographics, Key Concepts, and Remote Interventions

    I’ve reached a number of significant turning points in determining the course of my study and how to carry out my impending research interventions after a very beneficial tutorial with Zuleika.

    1. Demographic Scope & Participant Ethics: Changing to 18+
      Because the educational institution I am working with naturally operates within that age range, my project’s initial goal was to include participants who were 16 years of age or older. But our conversation about institutional compliance, ethics, and safeguarding made clear how difficult it is to work with children.

    Involving under-18 volunteers necessitates lengthy approval procedures, including written agreement from Central Saint Martins (CSM) ethics committees and parents/guardians. I have formally chosen to change my target participation demographic to individuals 18 years of age and older in order to retain momentum and practical viability while upholding ethical integrity. This change enables me to keep a strong participant base while avoiding procedural bottlenecks and concentrating on the essential study outcomes.

    1. Dissecting Fundamental Theoretical Ideas
      We also discussed the basic vocabulary supporting my project during the tutorial. In particular, we pointed out that important concepts like comfort and homesickness need a stronger, more precise academic foundation:

    What exactly does homesickness mean? Beyond mere nostalgia, how does it appear in modern diaspora and design contexts?

    What does comfort mean? Is it material, psychological, spatial, or sensory?

    In the future, I will devote a concentrated literature analysis to providing an academic foundation for these ideas and dissecting the ways in which spatial nostalgia, olfactory triggers, and emotional comfort interact in design research.

    1. Organizing the Remote Execution and Interventions
      I need to develop my practical action plan in addition to theoretical framing. Specifically, what is the structure and experience of my interventions?

    I am currently unable to return to China as planned in order to conduct on-site fragrance explorations and obtain firsthand contextual references due to health issues. Although this causes a short-term delay in China’s actual field research, it has created an interesting new methodology: remote interventions.

    I’m currently developing digital and remote engagement models that let people communicate, think, and share their sensory reactions while they’re far away. In addition to overcoming existing physical limitations, this pivot offers a useful testbed for the activation of emotional comfort and sensory memory across geographical boundaries.

  • Tutorial Input: Refining the Project

    The smell is the key to achieving the ideal balance for this endeavor. The idea is to investigate how various scents might evoke amazing memories in people. Everybody has a unique memory profile, though. One person’s sense of “home” may be quite different from another’s.

    The next stage in addressing this is to investigate a variety of carefully chosen scents. The inquiry will concentrate on flexibility rather than a single fixed fragrance. The objective is to investigate whether it is possible to create a companion doll that allows users to effortlessly switch out scents according to their individual experiences.

    Examining existing scent-retention technologies is necessary to achieve this. In particular, high-density cedar wood chips and volcanic rock will be tested. The goal is to assess how volcanic rock’s extremely porous nature may both quickly absorb and gradually release scents. Simultaneously, tests will be conducted to determine how cedar wood chips use natural fiber absorption to passively absorb scents from the surroundings while adding a delicate, warm, woodsy quality.

    The goal of the research is to determine how the doll can develop into an evolving sensory anchor by experimenting with these materials. This approach maintains the research’s openness, personalization, and foundation in continuous material testing.

  • Tutorial Input: Refining the Project

    The project is being reset in accordance with the most recent tutorial input. The initial study question was overly specific and lengthy. Before the process even began, it assumed the answer. It is now simpler to concentrate on how Chinese living abroad might manage cultural displacement with the use of tactile and olfactory physical partners. The main concept investigates how ordinary smells might be passively absorbed by physical companions made of natural materials. As a result, abstract recollections of “home” become tangible. Hard data is becoming more important in order to demonstrate why people need this. We are now doing focus groups, interviews, and qualitative surveys with the real target audience. Looking at the market, the majority of the solutions available now are either traditional aromatherapy or digital apps.

    This study is unique in that it focuses solely on the long-term storage of fragrance in a physical object. People will learn from this study how the Proust phenomenon might actually reduce the stress associated with migration. It demonstrates that a screen is not the only source of emotional solace. The emphasis is on ongoing testing loops rather than a perfect final result. Stakeholders will be able to directly influence the design through interactive workshops. Right now, it is vital to use sensory mapping to record every single test, observation, and quotation. To demonstrate how the project has changed, all of this new, data-driven preparation is being crammed into an organized presentation.

  • Reflective Log:

    Relinquishing Premature Forms for Unrestricted Material Empathy

    1. The Creative Setback & Critical Realization

    I’ve reached a crucial turning point in my action research when I consider my original WHAT-WHY-HOW-IF structure and the insightful criticism I received during Monday’s presentation and tutorial. I came to see that my earlier approach fell victim to an epistemological trap: I was pushing my study too quickly to converge into a fixed aesthetic form (the particular fox/shiba-inu plush companion). Although actual first stakeholder talks and primary interviews gave rise to such concrete character, interpreting it as the final “outcome” was unintentionally eliminating countless possible paths. I was limiting the agency of the folks I wanted to empower by defining how homesickness should seem by establishing the sensory enclosure so early.

    2. Interrogating the Research Question

    This insight profoundly alters and improves my analysis of my main study question: How may Chinese populations that have been temporarily displaced find solace through tactile and olfactory familiarity? The object becomes a passive product for consumption rather than an active, specially constructed somatic anchor if I dictate how the physical companion should look. I must abandon my role as an authoritarian designer and take on the role of facilitator of an open experimental framework in order to fully comprehend the psychological variations in how “home” appears in people’s thoughts.

    3. The Framework of Absolute Freedom

    My approach will change from product design to systemic infrastructure design as I continue my summer fieldwork around China. Any predetermined visual storylines are being eliminated. Rather, my next interventions with the extended pre-departure cohorts and the Shenzhen Foreign Language School International Department (SWIS) network will function under just two essential, non-negotiable boundaries:

    A calming touch.

    A scent trigger that brings back memories of home.

    Participants will have complete flexibility within this dual-boundary perimeter. I’ll provide a blank canvas filled with unshaped elements, including neutral scented carriers, different weights of fillings, and raw textiles.

    4. Expected New Knowledge & Future Impact

    I will collect rich, primary qualitative data on cognitive and emotional diversity by recording how various people naturally shape, compress, weigh, and infuse these materials based only on their inner desires.

    This innovative change turns my project into a participatory repository of user-generated pluralism rather than a single therapeutic novelty. It demonstrates that genuine emotional health and a feeling of community cannot be mass-standardized; instead, they must be independently formed by unpredictable, unprocessed human memory.

  • Project Six Network Building Report:

    The Olfactory Mapping Ecosystem

    Introduction & Rationale

    In order to examine how non-automated sensory anchors reduce emotional precarity among transient Chinese populations, this study creates a multi-layered participative and somatic network. Beyond general stakeholder mapping, this network particularly connects industrial production, regional scent extraction, and international education pipelines to create a mutually beneficial action-research ecosystem.

    (a) Existing Networks and Gatekeepers

    A highly focused pre-departure and post-return student network serves as the foundation for the primary data gathering. I work with the Shenzhen Foreign Language School International Department (SWIS), which administers the IB curriculum for children in kindergarten through high school, as well as a specialized off-campus international education facility in Shenzhen that houses more than 100 students from prestigious international schools. This network is an essential place for incubation. Students getting ready to leave, current international students, and returning alumni are the main forces behind this. For the purpose of testing localized sensory displacement, they are the perfect active actors. These cohorts will take part in touch-and-smell workshops to externalize their subjective emotional alignment both before and after relocation, using my open-ended experimental framework (unrestricted freedom limited only by tactile calming and homeland aroma).

    (b) Emergent Networks and Co-curators

    In order to document the material and geographic aspects of the “smell of home,” I am extending my network across China’s summer across four different geopolitical quadrants. In this field study, human actors give way to non-human, natural actors (such as native organic soil, Eastern roasted tea, and local botanicals). To standardize extraction techniques, I will work closely with regional botanical distillers and artisan perfumers. Additionally, in order to critically examine the ideological distinctions between intimate, nostalgic cultural scents and generic commercial scents, I will engage with well-known private perfume collectors in China. This closes the gap between highly personal psychological archiving and mass sensory production.

    (c) Plan for Engagement and Transformation

    The network’s last node links research to industry execution in order to convert these sensory insights into tangible objects. I am collaborating with a senior scent designer with experience in industrial design and an agile product design firm. I offer a validated somatic framework based on the theories of Classen and Van der Kolk, as well as empirical qualitative data from more than 100 foreign applicants. Because user-shattered designs are very unpredictable and structurally fragile, industrial producers may first operate as a “restraining” force; but, our collaborative iteration will build an adaptive toolbox. In the end, this network makes it possible for decentralized, user-led emotional empowerment to replace inflexible designer-led manufacturing.

    Bibliography

    Classen, C. (1993) Worlds of sense: exploring the senses in history and across cultures. London: Routledge.

    Hedva, J. (2016) ‘Sick Woman Theory’, Mask Magazine, (January). Available at: http://www.maskmagazine.com/not-again/struggle/sick-woman-theory (Accessed: 21 May 2026).

    Serres, M. (2016) The five senses: a philosophy of mingled bodies. Translated by M. Sankey and P. Cowley. London: Bloomsbury Academic.

    Van der Kolk, B.A. (2014) The body keeps the score: brain, mind, and body in the healing of trauma. New York: Viking.