Spatial Experience

Bu çalışmada, gözmerkezcil1 olarak tanımlanan algısal yönelimin mimari temsillerdeki baskın rolü çıkış noktası olarak ele alınmıştır. Çalışmanın çıkış noktasında sorulan "Çokluduyuşsal biçimde algıladığımız mekânın temsillerinin salt görsel biçimde üretiliyor oluşu, mekânın bütüncül algısını oluşturmaya yeter mi?" sorusu; mekânsal olanın çevre-birey birlikteliğinde nasıl algılandığı, zihindeki yansımalarının neler olduğu, bilişsel haritalardaki etkin duyumsama pratikleri ve çokluduyuşsal temsil biçimlerini araştırmayı amaçlamaktadır.

This paper represents a study of selected visualisation and investigative methods that facilitate the exploration
and expression of human emotions and perceptions within real world environments during the design
development stages of a project, repositioning exploration and visualisation in spatial design education. It puts
forward an outline for an iterative enquiry around human experiences in order to assess the value of alternative
cognitive tools for spatial design students in higher education.
Established tools such as orthographic drawings, axonometric projections or scale models equip spatial designers
with the consistency they need to investigate and represent physical attributes of space but don't always
constitute the best methods to explore the perceived environment, even though it is a key contributing factor to
the way we experience our surroundings. It is therefore in the interest of design educators to investigate
complementary interpretations that enable students to consciously explore less tangible aspects of design such
as emotions and multi-sensorial modalities. Projects developed using tools and techniques ranging from digital 2D
and 3D image making, photography, film, animation and performance provide an insight into the possibilities
offered by existing visual technologies as dynamic study devices of human experiences and contribute to the
generation of alternative processes in spatial design education.

Vernacularity is a quality or a state of being vernacular. This condition relates closely to authentic or traditional buildings at particular places. In real situations, vernacular architecture comes into being through different socio-cultural dynamics and from any existing building that provides sustainable solutions and sustainable characteristics containing material and immaterial values. The Peranakan houses in Lasem can be included in this category. They can last for generations and facilitate a variety of daily activities across generations with their own values. The varied activities can help identify the unique spatial characters, and create particular experiences. This qualitative study is based on the writer's experience and supported by spatial experience concept by Juhani Pallasmaa. This study sought to provide insights leading to an in-depth understanding of vernacularity through spatial experiences in Peranakan house-Kidang Mas in Lasem. The findings of the study unveiled that the dynamic changes of activities that involve family and non-family members inside the complex of Peranakan house-Kidang Mas is the justification of being vernacular.

It is known that landscape has a detrimental effect on the human psychology but to what extent it has not been figured out. The paper focuses on the study of the impact of green space and its effects on human psychology. It emphasizes on the aspects that are effected by incorporating green architecture inside the interior space and to what extent. The paper also deals with the various types of interior landscaping and how it can be integrated within a structure to enhance the spatial experience and create a positive impact on human behavior. The paper concludes with a set of design guidelines that will be useful in designing spaces where interior landscaping is an integral part of spatial design.

This paper aims to define a theoretical framework for conceptualizing on the placemaking potential of urban spatial experiences, mediated by pervasive and Internet of Things (IoT) technologies. For this purpose, it discusses the relation of human subjects with things and objects as well as with the spaces and places that they produce, while taking into consideration the latest technological advancements. The ultimate goal is to evaluate the hypothesis that the emergence of places in the aforementioned contexts is not necessarily an anthropocentric process but can largely be the outcome of material agency of non-living things and objects. To this end, the paper presents a public space, site-specific installation titled “Pollen” and discusses the manner in which this mediated environment interacted with the physical environment and with animate and inanimate actors within it.

Havalimanları yolcu terminalleri, karmaşık sistemli ve çok girdili yapılardır. Terminal tasarımında, tasarımcının durduğu konum, kullanıcı ve yönetim arasında, ikisinin dengesini sağladığı noktadadır. Bu yüzden tasarımcının tüm girdileri değerlendirerek ortaya koyduğu tasarım, aslında bir değer aktarımı problematiğine verilen cevaptır.
Yolcu için ise havalimanı terminalleri, yolda olma halinin, bir şehirle ilk tanışmanın veya son vedanın yapısal ifadesidir. Eksikleri ne olursa olsun, her bir yapı, kendi dengesine oturttuğu bir sistem yaratarak kullanıcıya hizmet eder. Yarattığı özgün sistemi içerisinde her havalimanın, kullanıcının deneyiminde farklı etkisi ve anlamı vardır. Fakat tasarım çalışmalarında kullanıcı gözünden öznel değerlendirmelere yer verilmediği ve kullanıcı deneyimini oluşturan katmanların bu yönüyle net olarak ortaya konmadığı fark edilmiştir. Buna yönelik olarak, havalimanı terminalleri ile yolcu arasındaki öznel ilişkinin tüm katmalarının ortaya çıkarılması, aktarılmasına yönelik olarak mekânsal deneyimi ortaya koyacak bir temsil yöntemi geliştirilmesi ve sonraki tasarımlara etkinliği sınanmış girdiler kazandırma amacıyla yola çıkılmıştır.
Çalışma süresince Türkiye’de havalimanı yolcu terminallerinin, tarihsel gelişim, mekânsal kararlar ve mimari özelliklerini içeren, üst ölçek kararlarını ortaya koyan kapsamlı bir çalışmanın eksikliği fark edilmiştir.  Bu anlamda Türkiye’deki tüm havalimanları kapsama alınarak, havalimanı yolcu terminal tipolojisini ortaya koyan ve yolcunun deneyimine doğrudan veya dolaylı olarak etki edebilecek üst ölçek kararlarını anlaşılır kılacak bütüncül bir analiz çalışması yapılmıştır.
Bu görsel yardımıyla karşılaştırılan üst ölçek özelliklerinde fark edilen ortaklıkları/ farklılıkları niteleyen sınıflandırmalar ise deneyim haritası çıkarılan havalimanlarında, bu özelliklerin etkisini tartışmak için bir platform oluşturmuştur.
Seçilen havalimanlarının mekânsal deneyim haritalarının çıkarılması, öznel bir mekânsal deneyimin aktarılma çabasının ürünüdür. Yolculuk, anatomisi gereği iki havalimanını içeren ve dolayısıyla mekânsal deneyimlerin ardışık olarak yaşandığı bir süreçte gerçekleşir. Kullanılan ilk terminalde başlayıp yine orada sonlanan bir yolculuk, havalimanları odağında dört farklı mekânsal akış içermektedir. Bu düşünceyle yola çıkılarak Sabiha Gökçen ve Adana Şakirpaşa havalimanları arasındaki yolculuğa odaklanılmış, her iki havalimanı da geliş ve gidiş akışlarıyla deneyimlenmiştir.
Bu akışlar üzerinden kurulan izlekte, fiziksel dünyanın referanslarının bir çizgide açılması, deneyim katmanlarının algısal boyutlarının işlenebilmesini sağlamış ve zihinde yer eden kodlamalar, öznel tepkilerle mekânsal deneyim haritalanmıştır. Yolcunun deneyimine etki ettiği düşünülen altı katmanın işlenmesi için oluşturulan metafor, yaşanılan deneyiminin bir ses kaydında zaman çizgisinin kaydırılması gibi okuması, hem anlık hem bütüncül olarak anlamlı tüm katmanlarıyla deneyimin kayıt edilebilmesini ve aktarılmasını sağlamıştır. 
Bir yolculuğu içeren bu mekânsal deneyim haritaları, farklı yolculukların kapsamına aldığı farklı havalimanlarındaki öznel deneyimlerin aktarılabileceği ucu açık bir başlangıçtır.

Until recently, architecture has been mostly evaluated over its stylistic and visual characteristics. Whereas, the architectural space is primarily vital and therefore, it should not be evaluated independently of its environment and users. Pallasmaa emphasizes on the significance of experience and connection with the environment in architecture. Phenomenology, which aims to create sensory perception, is about creating an abstract experience beyond tangibility. Sensing beyond physical entities in spatial experience deepens meaning. Buildings and cities, essentially provide the necessary view to understand and confront the human existence. It is, therefore, important for architecture to be seen as the subject of phenomenology. This paper explores the relationship between phenomenology and architectural space through experience, sensation, and meaning. It argues that the relationship between human and built environment will be strengthened to the extent that the mentioned features could participate in the space.

The theory of architecture has an inquisitory point of view through the design, production or the use of space. Thinking upon the space and its interrelations between other subjects, the main problematic of this research is the space as configuration: how it constitutes itself and relates with human. Thus, the point can be divided into two groups which are the physical formation of the space and the social experience of the person self. Relating these two subjects, the patterns of space and the patterns of culture comes up to the issue. Spatial configuration can be defined as a progressive process which connects the built environment and the human's spatial experience and behaviour. Nevertheless, apart from this connection the configuration of space has also a cultural meaning which relates with the everyday life living patterns. With this regard, firstly the theoretical background is being discussed through examining the physical formation of the space: shape and spatial configuration. Secondly, the social experience of the human is being discussed while understanding human's spatial experience and cultural living patterns. On the third part, the space syntax technique opened up to the issue, reading both the patterns of space and culture. It is aimed to see the possibilities of space syntax in order to understand the social logic of the space. Thus, some plans will be analysed using the space syntax diagrammes and comparisons are being made. The relation between the patterns of space and culture will be investigated. The findings will be discussed upon the space syntax research which defines spatial configuration as the understanding of social dimension in human environment. Introduction Description of the Subject Built form (shape) can be defined as a physical appearance in architecture. Nevertheless, it constitutes a space having configurational properties which also have social and cultural meanings. Spatial arrangements consist of several organizational units in which different living patterns occur. Thus it becomes important to make a connection between the physical arrangements and the cultural living patterns of the space. According to Rapoport (1980), environments are thought before they are built. The design of a space has a prethinking process. Architects configure the space as they use this prethinking and designing process. Then there is a process of producing and using the space as it is presented. Pearson & Richards (1994) examines this as ''We build in order to think and act. The relationship is essentially dynamic and reflexive. Winston Churchill said that-first we shape our buildings and afterwards our buildings shape us-''. So we can consider that there is a kind of interaction between the space we built and the built space that effects us. The conception of a space can be shallowly defined as a series of objects that exists and the organisation of them or in other words the way they come together. So the first part of the research subject can be examined the space and the spatial organisation. On the other hand, there is also a human who involve in the space and constitute a new kind of meaning in the space. Heidegger focuses on this point as ''What is being?'' and the word ''Dasein'' which refers to ''Being there''. For Heidegger, a building was built according to the specifics of place and inhabitants, shaped by its physical and human topography (Sharr, 2007). Thus, the second part comprises from the human as involving in the space with its internal experiences. In addition, the human spatial experience lead us to the cultural living patterns. The reason why there is a two-sided relation between the space and the human is that of the patterns of the space which affect the human and the patterns of the culture that influence the space. The third part of the subject is then understanding both the patterns of space and the culture.

So far there has been much research investigated the miniature art in eastern cultures. Some of them particularly focused on the narration of architectural spaces in miniature paintings. According to those studies the formation of spaces in miniatures is based on some geometrical rules. It is undeniable fact that miniatures are constructed on a geometric pattern which consists of some linear and diagonal lines and axes. This pattern gives miniature its shape and governs its overall composition. The depiction of architectural buildings and spaces are not independent from this geometric order. Although this research agrees this claim, it argues that as well as geometric norms the concept of time plays important role in the formation of architectural spaces in miniatures. Accordingly the time in miniatures is not momentary but durational and processual. Durational time gives attention not to the picture-like appearance of the spaces but experience of them. In this regard, miniature art suggests us to consider architecture not as an object-like reality but rather as an experiential reality. Within this frame work this article explores the two miniature works of Kamāl ud-Dīn Behzād (1450-1535).   
Keywords: Miniature Art, Durational Time, Space, Choreography, Spatial Experience

The concept of  Sense of Place  has been  used casually across disciplines to express the  people-place relations.  It has  different  definitions  according  to  each  discipline  and  there  is  no  consensus  about  methods  of  measuring  it. Sense  of  Place  is  a  complex  concept,  which  involves  psychological,  social,  and  phenomenological  perspectives. This  makes  the  essence  of  Sense  of  Place  open  to  wide  interpretation.  Understanding  the  way  Sense  of  Place emerges  and  changes  can  help  architects,  planners  and  policy  makers  in  the  decision  making  process;  the significance,  of  which  impacts  the  regeneration  and  development of  projects  internationally. This  thesis  explores  the  concept  of  Sense  of  Place  through  interdisciplinary  literature  and  concludes  with  a discussion  of  a  developed  typology of  Sense of Place.  Towards the end  of  the discussion,  a  concrete  example  of this  previous  theoretical  discussion  is  offered  in  the  form  of  a  significant  area  in  the  historic  core  of  Cairo,  Darb Elhosr.

Boredom is a ubiquitous feature of modern life. Endured by everyone, it is both cause and effect of modernity, and of situations, spaces and surroundings. As such, this book argues, boredom shares an intimate relationship with architecture—one that has been seldom explored in architectural history and theory.

Boredom, Architecture, and Spatial Experience investigates that relationship, showing how an understanding of boredom affords us a new way of looking at and understanding the modern experience. It reconstructs a series of episodes in architectural history, from the nineteenth century to the present, to survey how boredom became a normalized component of the everyday, how it infiltrated into the production and reception of architecture, and how it serves to diagnose moments of crisis in the continuous transformations of the built environment.

Erudite and innovative, the work moves deftly from architectural theory and philosophy to literature and psychology to make its case. Combining archival material, scholarly sources, and illuminating excerpts from conversations with practitioners and thinkers—including Charles Jencks, Rem Koolhaas, Sylvia Lavin, and Jorge Silvetti—it reveals the complexity and importance of boredom in architecture.

Today, different actors in the design process have communication difficulties in visualizing and predicting how the not yet built environment will be experienced. Visually believable virtual environments (VEs) can make it easier for architects, users and clients to participate in the planning process. This thesis deals with the difficulties of translating reality into digital counterparts, focusing on
visual appearance (particularly colour) and spatial experience. The goal is to develop knowledge of how different aspects of a VE, especially light and colour, affect the spatial experience; and thus to contribute to a better understanding of the prerequisites for visualizing
believable spatial VR-models. The main aims are to 1) identify problems and test solutions for simulating realistic spatial colour and light in VR; and 2) develop knowledge of the spatial conditions in VR required to convey believable experiences; and evaluate different ways of visualizing spatial experiences. The studies are conducted from an architectural perspective; i.e. the whole of the spatial settings is considered, which is a complex task. One important contribution
therefore concerns the methodology. Different approaches were used: 1) a literature review of relevant research areas; 2) a comparison between existing studies on colour appearance in 2D vs 3D; 3) a comparison between a real room and different VR-simulations; 4) elaborations with an algorithm for colour correction; 5) reflections in action on a demonstrator for correct appearance and experience; and 6) an evaluation of texture-styles with non-photorealistic expressions.
The results showed various problems related to the translation and comparison of reality to VR. The studies pointed out the significance of inter-reflections; colour variations; perceived colour of light and shadowing for the visual appearance in real rooms. Some differences in VR were connected to arbitrary parameter settings in the software; heavily simplified chromatic information on illumination; and incorrect inter-reflections. The models were experienced differently depending on the application. Various spatial differences between reality and VR could be solved by visual compensation. The study with texture-styles pointed out the significance of varying visual expressions in VR-models.

Since internet has become widely available, various mediums have emerged that people could produce their content on. Through these mediums, an opportunity rose that was to communicate independently from the space and thus, information sharing behavior has been observed among colleagues, students, communities, and institutions. It was possible to observe that this behavior increased during the pandemic process. This study is mainly aimed to discuss how space and art became instrumental in these shares and to discuss the relationship between spatial configuration and shares through museums. Another aim of the study can be described as to reveal the differences of spatial elements shared on social media at the end of the real and virtual museum experience with space syntax analysis. In this context, data were obtained from the Frida Kahlo Museum. The data collected were listed according to the frequency of sharing, and spots were identified in the museum plan. Integration values of these points in the Space Syntax 2D software were determined. The relationship between spatial configuration and frequency of sharing has been revealed. As a result, it has been determined that the sharing status of the Frida Kahlo Museum's elements is associated to the spatial configuration in sharing contents of the real experience. Besides, it has been determined that the semantic features of the space are associated. In contrast, during the virtual experience, it has been observed that the spatial configuration is not directly associated to the sharing frequency. It was observed that objects of art and daily life directed more sharing behavior. In this study, which examines the behaviors of virtual and real museum visitors, the effort to reveal the connection of space with information sharing is the original idea of the study. Keywords: Information Sharing Behavior, Museum Experience, Social Media, Space Syntax, Frida Kahlo.

According to a certain kind of naïve or folk understanding of physical matter, everyday 'solid' objects are composed of a homogeneous, gap-less substance, with sharply defined boundaries, which wholly fills the space they occupy. A further claim is that our perceptual experience of the environment represents or indicates that the objects around us conform to this sort of conception of physical matter. Were this further claim correct, it would mean that the way that the world appears to us in experience conflicts with the deliverances of our best current scientific theories in the following respect: perceptual experience would be intrinsically misleading concerning the structure of physical matter. I argue against this further claim. Experience in itself is not committed to, nor does it provide evidence for, any such conception of the nature of physical matter. The naïve/folk conception of matter in question cannot simply be 'read-off' from perceptual appearances.

This study focuses on the methodological research and developments on the subjective spatial experience of airport passenger terminals as strict programmed buildings which derived from master thesis "Spatial Experience Mapping of Airport Passenger Terminals: One Journey, Two Airports" [1] The "scene" as a place that enables events and activities, the spatial coding of the mind, movement, spatiotemporal relation, transiently assigned attributes to the place and emotions of the user caused by the place seen as important layers in the spatial experience on airport passenger terminals. With regard to the transfer of these layers, a metaphor is created "Read the experience as if the timeline had been shifted in a voice recording" to express the relationship between the space and the subject and the fluidity of the coding in the mind. Multi-layered maps are generated by using this metaphor. The outline of this method is based on the literature review, the passenger-oriented values of designers as well as the qualifications that the passengers focus on; but with the information gained during the case studies, the transfer process constantly improved and became clear as "multi-layered spatial experience mapping". So the article includes the process of the methodological research as well as the method explanations using implemented case studies.

Teaching drawing in architectural education raises questions regarding the representation of spatial experiences: to what extent can sensory experiences of space be intensified through observing and drawing and, perhaps equally important, what those drawings would look like? In the context of their drawing classes, the authors started to inquire the discrepancy between conceiving and perceiving space, and the aptitude of representing spatial concepts upon a two dimensional surface. Through observation and translating observation into drawings, students discover that conventionalised ways of drawing, such as linear perspective, only reveal part of the story. While linear perspective remains the dominant way of representing space, obviously visible in photography, film, 3D-imaging and architectural impressions, the authors started looking for ways of drawing which inquire possibilities of expressing spatial experiences. Drawing as an activity which is able to enhance spatial understan...

A book review of Bruno Latour's Reassembling the Social: An Introduction to Actor-Network Theory (Oxford: Oxford University Press, 2005) published at <Architecture> 63(12), a magazine published by the Architectural Institute of Korea, December 2019

In this paper we look at the manner in which Carlo Scarpa’s design of the Castelvecchio art museum at Verona (1958-1974) constructs spatial meaning and functions as a complex symbolic form. We will argue that the design does not primarily communicate a historic or other narrative about art. Rather, it functions as a pedagogic device aimed at art as a particular mode of understanding problems, such as ways of seeing, visual perception and spatial arrangement. The paper discusses two galleries – the sculpture and the painting gallery- as well as the space of  museum ’s major display. The symbolic function of the museum bears on three aspects of spatial arrangement: building layout, the positioning of displays within the layout and the structure of occupiable space, which results from the manner in which visual displays project themselves to the gaze. In the sculpture galleries, visitors are immersed in a constructed field of intersecting gazes, projected by statues and people. They come to understand works of art not as  mere isolated objects, but as generators of spatial qualities that can almost be entered, that are appreciated not only through seeing, but also through moving. Conversely, architectural space is defined as a field of co-presence, sustained through the presence of people and art. In the painting galleries visitors come to perceive pictorial space, optical space and the spatial structure of movement as alternative frames of reference and understanding. Seeing is thus experienced as a construction, an apt introduction to the idea of painting as art. Architectural space comes to be perceived as a space of multiple dimensions, topological, projective and metric, implying that alternative frames of reference are possible. The relationship between these interlacing aspects of spatial arrangement and symbolic meaning is mediated by an intensively embodied experience of space, whereby the gaze acquires almost haptic dimensions through movement, and where movement becomes punctuated not merely through its interaction with physical boundaries, but rather by virtue of complex visual percepts staged through design.

There must be a reason why an experience feels the way it does. A good place to begin addressing this question is spatial experience, because it may be more penetrable by introspection than other qualities of consciousness such as color or pain. Moreover, much of experience is spatial, from that of our body to the visual world, which appears as if painted on an extended canvas in front of our eyes. Because it is 'right there', we usually take space for granted and overlook its qualitative properties. However, we should realize that a great number of phenomenal distinctions and relations are required for the canvas of space to feel 'extended'. Here we argue that, to be experienced as extended, the canvas of space must be composed of countless spots, here and there, small and large, and these spots must be related to each other in a characteristic manner through connection, fusion, and inclusion. Other aspects of the structure of spatial experience follow from extendedness: every spot can be experienced as enclosing a particular region, with its particular location, size, boundary, and distance from other spots. We then propose an account of the phenomenal properties of spatial experiences based on integrated information theory (IIT). The theory provides a principled approach for characterizing both the quantity and quality of experience by unfolding the cause-effect structure of a physical substrate. Specifically, we show that a simple simulated substrate of units connected in a grid-like manner yields a cause-effect structure whose properties can account for the main properties of spatial experience. These results uphold the hypothesis that our experience of space is supported by brain areas whose units are linked by a grid-like connectivity. They also predict that changes in connectivity, even in the absence of changes in activity, should lead to a warping of experienced space. To the extent that this approach provides an initial account of phenomenal space, it may also serve as a starting point for investigating other aspects of the quality of experience and their physical correspondents.

This study aims at searching for alternatives of architectural experiences in literature. Architecture is something abstract that can be scrutinized. Besides, architectural spaces are concrete spaces that can be experienced. Phenomenological readings will provide a base for abstract and concrete duality of spatial experience in conception of architecture. Specifically, architecture supplies spaces for people, and works of literature can give narrations of these spaces. Factual experience is possible by being in or around, moving through and observing spaces. It is not always possible to directly experience an architectural space represented in a photograph, film, or a book. Photographs and films put forth a visual source, whereas books give a textual source. These two sources do not provide real experience, but different kinds of perception (experience). However, what differentiates a textual source from a visual one is that it allows imagination of a space derived from words. In the case of a visual source, most of the time, an image of a particular space is presented as already constructed by having already passed through one’s mind and imagination; as a result, that image reflects the perception of a space from a certain viewpoint. An imaginary experience, on the other hand, is assumed to be achieved by reading words and translating them into an image of abstract spatiality. Therefore, a work of literature becomes a kind of domain where its reader is able to construct an image of the speculated spaces by his own interpretation. In the scope of this study, a novel written in Turkish, titled “Apartment Void (Apartman Boşluğu)” is chosen to look at architecture from a phenomenological perspective, because it offers spatial narrations that can be analyzed in the framework of phenomenological comparisons between the notions of space-place, temporary-permanent, inside-outside, and in-between situations. The author, Hakan Bıçakçı, is not a well-known writer; the preference of this particular work is solely due to its spatial narrative value.

In the current times, the world context is focused on trying to incorporate hybridity into various industries. There is a certain research gap between architecture and soft robotics where inflatable architecture has been implemented and architectural robotics has also been implemented but a combination of pneumatic robotics has not been explored much. In this aim, my thesis explores the possibility of integrating Soft robotics into an architectural design approach leading to the symbiosis of digital and physical. The goal of the thesis is to develop a computational design approach for integrating spatial experience into design. The Intersection of robotics and spatial design explores a new tangent in architecture where the relationship between the human and space is constantly challenged and enhanced using sensors, actuators, responsive materials and ambient intelligence. The design represents an ever-changing living environment where human social behaviour not necessarily with spac...

Vernacularity is a quality or a state of being vernacular. This condition relates closely to authentic or traditional buildings at particular places. In real situations, vernacular architecture comes into being through different socio-cultural dynamics and from any existing building that provides sustainable solutions and sustainable characteristics containing material and immaterial values. The Peranakan houses in Lasem can be included in this category. They can last for generations and facilitate a variety of daily activities across generations with their own values. The varied activities can help identify the unique spatial characters, and create particular experiences. This qualitative study is based on the writer’s experience and supported by spatial experience concept by Juhani Pallasmaa. This study sought to provide insights leading to an in-depth understanding of vernacularity through spatial experiences in Peranakan house-Kidang Mas in Lasem. The findings of the study unvei...

¿Cuál es la diferencia entre los sentidos de la vista y el tacto si las propiedades espaciales que perciben estos sentidos son, al parecer, las mismas? ¿Cuál es la diferencia entre ver y tocar formas? Este es el tema del artículo “Sight and touch” (1992) de Michael Martin. En este breve texto, es mi propósito concentrarme en algunos desarrollos de Martin sobre el sentido del tacto y poner esos desarrollos en relación con dos experiencias táctiles particulares. La idea principal en la que quiero concentrarme es la del contraste interno-externo como la característica de la conciencia corporal que “proporciona lo que necesitamos para un sentido del tacto” (Martin 1992 203). Las experiencias táctiles particulares con las que quiero relacionar esta idea son la de la ingesta de alimentos y el estar anestesiado. Pretendo ver si estas experiencias pueden constituir algún tipo de objeción a dicho contraste interno-externo. |
What is the difference between the senses of sight and touch, if the spatial properties perceived by these senses are apparently the same ones? What is the difference between seeing and touching shapes? This is the subject matter of Michael Martin’s article “Sight and touch” (1992). In this short text, my purpose is to focus on some of Martin’s developments on the sense of touch, and to put those developments in relation with two tactile experiences. The main idea I want to focus on is that of the inner-outer contrast as the characteristic of body consciousness that “provides what we need for a sense of touch” (Martin 1992 203). The tactile experiences with which I want to relate this idea are those of food intake and being anesthetized. I try to see if these experiences can constitute some objection to this inner-outer contrast.

This paper is to unveil undiscovered innovations related to the unprecedented structural arrangement and spatial experience in Studio Vacchini, designed in 1984 by Livio Vacchini. Using two different types of structural system, an exceptional tube structure standing on the top of a beam less column-slab structure, Vacchini demonstrated how load-bearing structural organization could simultaneously achieve multiple objectives: regulating light and motion, defining a function, and ultimately leading to the enriched user experience. Such delicate dependence of ‘structure,’ ‘program’ and ‘architectural space’ demonstrates conscious pursuit of leading architects in this century.

Teaching drawing in architectural education raises questions regarding the representation of spatial experiences: to what extent can sensory experiences of space be intensified through observing and drawing and, perhaps equally important, what those drawings would look like? In the context of their drawing classes, the authors started to inquire the discrepancy between conceiving and perceiving space, and the aptitude of representing spatial concepts upon a two dimensional surface. Through observation and translating observation into drawings, students discover that conventionalised ways of drawing, such as linear perspective, only reveal part of the story. While linear perspective remains the dominant way of representing space, obviously visible in photography, film, 3D-imaging and architectural impressions, the authors started looking for ways of drawing which inquire possibilities of expressing spatial experiences. Drawing as an activity which is able to enhance spatial understan...

This study was based on a discussion of the relationship between mimesis and architectural design. Mimesis was accepted as one of the oldest and most basic concepts of artistic and literary efforts, a method to learn and produce a representation of reality from ancient periods to today. However, mimesis is not simply used as imitation, even in ancient periods. Mimesis has a strong relationship with various parameters like the physical material reality of the world, the era, the things the era brings, and the worldview, knowledge, and experience of the designer. In this context, this study is based on the theorem of the internalization of the objective world in the designing process and the mimetic approach in the designing process by including individual approaches in the creation process. To test this theorem, a workshop, conceptualized as &quot;Archi-Mimesis,&quot; and accepting mimesis as creative designing doctrine, was organized. We describe Archi-Mimesis as mimesis or re-repre...

Hauptreferat, Internationales SoundArt Symposium: "Raum durch Klang", Hochschule der Künste Bern, Schweiz, 26-28 März 2015.

'Expanded and embedded: Spatial Experience in Sound Art'.
Keynote Paper at the international SoundArt-Symposium „Space through Sound" at the Bern University of the Arts [HKB], Switzerland, 26-28 March 2015.

The interior design of a building has an influence on the creation of communal activities conducted in the building. These communal activities will give 'spatial experience' to anyone who is in the interior of the building. A different individual may have a different interior spatial experience of the building. On the other hand, the cultural values and the condition of the environment surrounding the Masjid Agung Banten complex may also have influenced the interior design. The spaces in the buildings within the complex of the historic Masjid Agung Banten are the major important elements because they and the people in them give impressions, messages and sacred atmosphere when either religious activities or traditions are conducted there. The complex of Masjid Agung Banten contains historical values. Being in spaces of historical significance always brings back a glimpse of history, recalls the history and the history was through imagination, hence the strength of the past will be able to be experienced in the present. Various activities that occur in the spaces have purposes as a tribute and interpret the history. Although many studies on the historic buildings within the complex of Masjid Agung Banten have been done, they only provide general knowledge. This qualitative research has the objectives of giving an overview of spatial quality through someone’s ‘spatial experience’, understanding, assessment and interpretation, to share the meaning and sensation of feelings as a result of interaction from activities that happen in the Masjid Agung Banten complex.

This article examines popular music listening in light of recent research in auditory perception and spatial experience, record production, and virtual reality, while considering parallel developments in digital pop music production practice. The discussion begins by considering theories of listening and embodiment by Brandon LaBelle, Eric Clarke, Salomè Voegelin and Linda Salter, examining relations between listening subjects and aural environments, conceptualising listening as a process of environmental ‘inhabiting’, and considering auditory experience as the real-time construction of ‘reality’. These ideas are discussed in relation to recent research on popular music production and perception, with a particular focus on matters of spatial sound design, the virtual ‘staging’ of music performances and performing bodies, digital editing methods and effects, and on shifting relations between musical spatiality, singer-persona, audio technologies, and listener. Writings on music and virtual space by Martin Knakkergaard, Allan Moore, Ragnhild Brøvig-Hanssen & Anne Danielsen , Denis Smalley, Dale Chapman, Kodwo Eshun and Holger Schulze are discussed, before being related to conceptions of VR sound and user experience by Jaron Lanier, Rolf Nordahl & Niels Nilsson, Matthew Lombard & Theresa Ditton, Mel Slater, Tom Garner and Frances Dyson. This critical framework informs three short aural analyses of digital pop tracks released during the last 10 years - Titanium (Guetta & Sia 2010), Ultralight Beam (West 2016) and 2099 (Charli XCX 2019), presented in the form of autoethnographic ‘listening notes’. Through this discussion and reflection on personal popular music listening and virtual spatiality, a theory of pop listening as embodied inhabiting of simulated narrative space, or virtual story-world, with reference to ‘aural-dominant realities’ (Salter), ‘sonic possible worlds’ (Voegelin), and ‘sonic fictions’ (Eshun), is developed. By examining personal music listening in relation to VR user experience, this study proposes listening to pop music in the 21st century as a mode of immersive, embodied ‘storyliving’, or ‘storydoing’ (Allen & Tucker).

ABSTRACT The proposed paper presents an ongoing research project that focuses on re-defining the relationship between people and public space by bridging the physical environment with the digital realm. The project negotiates the parameters of this relation through an Augmented Reality tool that employs the technological features provided by enhanced reality glasses combined with a wearable computer and a wearable gesture-control device. The user has the ability to create virtual manifestations of a personal version of the surrounding urban environment and intervene digitally by painting, writing, posting and even designing within public space. The proposed AR tool provides users with the ability to creatively produce spatial &amp;#39;tags&amp;#39; and comments upon a building&amp;#39;s facade, a street&amp;#39;s urban equipment, even within open spaces, helping them to release their imagination, express their own view about public space and shape a new type of spatial experience. Public space transforms into a canvas for personalized expressions of creativity and appropriations of the usual uncanny aspects of a city. The results of this interaction are artistic, architectural and/or social, but they primarily retain the personal view of the users&amp;#39; spatial perception. Aspects that are usually connected with private space are externalized, facilitating familiarity, initiative and fun. The aforementioned digital interventions can either remain personal or shared within a public cloud accessible by other users that forms a second layer of understanding the urban reality.

This study aims to analyse how spatial design affects experiences and meaning making in museums. The overarching question is what the spatial elements and forms within museums communicate to those who visit them. This is specifically explored in five museums in Rome: Museo dell’Ara Pacis, Palazzo Doria Pamphilj, Palazzo Massimo alle Terme, Centrale Montemartini, and MAXXI. The method used for analysing the museum spaces was based on observations that followed a method plan consisting of visiting the spaces on several occasions and describing the spaces and my own experiences of them with a focus on spatial aspects such as layout, disposition of exhibitions, material, volume, light, and colours. This also included conversations with first-time visitors, one in each of the five museums, about their experiences of the visit. My own experiences and the five visitors’ descriptions are analysed in dialogue with theoretical perspectives. The theoretical framework consists of perspectives f...

This article explores the role of mediating artefacts in children's encounters with a museum of natural history. Using actor network theory it explores how a specific artefact shapes the way users relate to exhibited objects and how the artefact guides users' movements in the exhibition. The mediated performance of an exhibition is explored through an empirical case. keywords Mediation • Artefacts • Performance • Museum The boy looks for answers. He plunges deep into the blue, blue. Hears the eerie sound of huge underwater mammals. Singing. Howling. He swims, he climbs, he crawls. Nostrils loaded with a rancid smell of whale he steps on land. Walks the shore. Feels the soft texture of Brown Bear between his fingers. I am The-Bear-You-May-Touch. Find me in the exhibition and feel how silky my fur is. I like to eat both animals and plants. Find me on the computer and mark what I eat. Plants. Ants. Dead animals. Deer. Berries. Rocks. During winter it is difficult for me to find food, so I find a warm cave and sleep. Can you draw me in my cave? Later he sneaks, his body clad in animal. Soft. Foxy, fur toupee. He approaches her from behind. Sister sweet. Long, blond hair. She is absorbed, she looks through the lens, zooms in, catches a bear. CLICK. He jumps. Sharp carnivore fangs.

How to cite this work:
Connie Svabo. “Artefacts and the Performance of an Exhibition.” Nordic Journal of Digital Literacy 3 (2008): 113–129. Web.

Seeing happens effortlessly and yet is endlessly complex. Among the most fascinating aspects of visual perception is its stability and constancy. As we shift our gaze or move about the world, the light projected onto the retinas is constantly changing. Yet the surrounding objects appear stable in their properties. Psychologists have long been interested in the constancies. They have asked questions such as: How good is constancy? Is constancy a fact about how things look, or is it a product of our beliefs and judgments about how things look? How can the contents of visual experience be studied experimentally? Philosophers have long been interested in characterizing visual experience and have become widely interested in the constancies more recently. As psychologists and philosophers have interacted, new questions have arisen: If experience is not as of retinal stimulation (proximal mode), but does not always exhibit constancy (or at least not in all respects), how shall we describe this intermediate state? Also, should we regard any departure from constancy as a failure of the visual system, or might it be a reasonable or adaptive response? In what circumstances is seeing highly conditioned by cognitive factors such as background assumptions, and in what circumstances not? Our volume focuses on size constancy and color constancy. It considers methodologies for studying conscious visual perception, efforts to describe visual experience in relation to constancy, what it means that constancy is not always perfect, and the conceptual resources needed for explaining visual experience.

The concept of &#39;experience&#39;, which is redefined and positioned in search of a solution to the social needs of the 20th century, has a privileged value in the work of creative disciplines. Nature of the experience has a personal attribution caused the subject to relate to identities and became the basic dynamics of brand strategies in communication between design and user. In order to evaluate the experience spatially, the retail design area with a rich content was chosen as a sample; only part of the extensive study with a larger sampling is included here. Multi-channel design content in this area requires the interior architect to expand his perspective to analyze the relationship between space and experience. Retail design is a design area that is updated daily by nature, almost as the determinant of today&#39;s lifestyles. It is also known that interdisciplinary study models are used effectively in order to maintain up-to-date and dominance in this field. The role of inte...

The present paper refers to the possibility of conceiving a way of embracing the phenomenon of dynamic perception of space. Morphology’s workshop, in the first level of architecture career, is characterized by the massive and diversity of its members. Students are in an initial implementation process, both with regard to the concept of space as a representation that the creative process needs. It is constant evidence the difficulty in manifesting the spatial experience. Hence the creation of procedures and mechanisms for a more immediate approach to the creation of spaces is required, incorporating the variables of time, tangible and intangible materiality and movement of the observer.

"Anger can be perceived as a kind of alchemy. The rude and primitive is transformed to something useful and intellectual. The artistic perception acts like a human cell. Elevator pushes this line to the edges of this cell by seeking for a way of connection between the meanings of beauty and disgusting, between the known and the unknown, between the flower and the thorn, between outer an inner – ‘eso’. Why anger then? 'Elevator' is an immersive/interactive audio-visual installation of provoked, expressed and converted human anger to artistic visual output."

(Bill Psarras / Excerpt from Elevator DVD documentary)

Concept-Creation: Bill Psarras
BA Thesis ‘ Elevator ‘, 2008-2009, Ionian University, Greece
Copyright ©  Bill Psarras
Language: Greek
Abstract: English and Greek

Supervisors
Associate prof. Andreas Floros (Programming, Sound)
Prof. Marianna Strapatsakis (Art)