「情緒花園」是以情緒為主題、花園為容器的設計創作。表達(Expression)與呈現(Representation)分別是對內在狀態與外在物象進行描述或論述，本論文是嘗試對一個客觀對象進行形式觀念的表達創作。創作的觀念會在表達與呈現之間往返。
「情緒」是心理內在狀態的表露、是普遍而熟悉的現象，同時又非常複雜，揭露了自我與外界的各種「失衡」的處境。以情緒為創作對象，是表達內在的狀態，也是呈現外在的處境。「花園」是一面鏡子、投射出人對自身的想望，以及對自然的想像。外在景觀反映人的內在世界；人的內在即為一座花園。
關於藝術的表達，常見的觀點是妙藥理論(magico-medical theory)，本論文的創作採用的是另一種表達觀點，即替代理論(token theory)。設計創作包含三個部份。首先對情緒的空間觀念進行詮釋，以掌握核心的表達元素；接著解析形體系統來創造空間造型，並以有效的形式語言來表達情緒的核心觀念。最後，以台南縣新化鎮鹽水大埤為基地進行花園的設計，演練情緒形式觀念的表達。

Garden of Emotion explores formal ideas about the motif of emotions by a garden design. As representation portrays the externals of object, expression reveals the inner states. The thesis is about giving form to theme, which requires a methodical process shifting frequently between representation and expression.

Emotion is a quite usual experience of revealing one’s inner psychological state, it nevertheless demands very complex explanations that can account for all situations resulting from unbalances between the inner and the outer. The design that deals with Emotions is inevitably dealing with the challenges of relating the expression of inner state with the representation of outer situation. Garden, in a metaphorical sense, is a mirror reflecting one’s desires and the nature of which the desires are made. As garden reflects; the inner is a garden.

The magico-medical theory is well received in discussions about artistic expression, the thesis however practices an alternative view- the token theory. The design consists of three parts. First, emotions are formally interpreted to grasp the essential ideas of expression; secondly, to formulate an effective expression language by a series of formal analyses and exercises; finally, the garden is designed to demonstrate the ideas on the site located in Yan-Shuei reservoir, Shin-Hua, Tainan County.

Charles Bell, (1824), Essays on the Anatomy of Expression in Painting. London.

Charles Darwin, (1890), The Expression of the Emotions in Man and Animals. Paris: C. Reinwald.

Ekman, P. (1984). Expression and the nature of emotion. In K. Scherer & P. Ekman (eds).Approaches to Emotion. Hillsdale, NJ: Erlbaum, pp. 319-344.

E. M. Gombrich, (1963), On Physiognomic Perception. Meditations on a hobby hose and other essays on the theory of art. London: Phaidon Press.p.451~55.

E. M. Gombrich, (1978), Image and Code: Scope and Limits of Conventionalism in Pictorial Representation, lecture given at International Conference on the Semiotics of Art. Michigan :Ann Arbor.

E. M. Gombrich, (1980) , Four theories of artistic expression, AAQ, vol.12, no4. S.l. : s.n. p.14~19.