Augmented Space

Being attributed as one of the most significant examples of Modern Architecture, Barcelona Pavilion emerged as a prototype in terms of immateriality and the virtual dimension of space, as well as a distinguished case that juxtaposes the discourse and praxis of its epoch, which still remains as an inspiring example in today's debates. However, the pavilion was constructed in the glowing years of Modern Period, with its outstanding affiliation to International Style, this paper focuses on the pavilion as a milestone in which the intangible characteristics of the spatiality have influenced the constitution of architectural space. While declining the closed-box ideology of the conventional spatiality, this paper aims to discuss the emergence of an architectural embodiment through corporeal and incorporeal becomings (the transitive existence of architectural space as well as the interaction of subjects). This paper also interacts with spatio-temporal multiplicities, and appraises their transforming capacities in space, that enable the proliferation of the spatial relations by constituting the multiple actualization processes of endless potentials of the virtual. Besides the processes of deterritorailization and reterritorialization appear within the procedure of territorial shifts in the transition of architectural becoming and the immaterialization of the embodiment. Moreover, this paper also brings inside and outside relations into debate as well as notions of floating space and spatial continuity; visual continuity, reflection and surveillance, and furthermore the imperative affect of the image in spatial relations. In addition to all, this work is also keen at discussing these cited conceptions resonating with the concepts of contemporary theory, while speculating on the significant effect of the pavilion in contemporary architecture.

"Following the paradigm shift of the digital revolution, architecture becomes infused with new media. Digitally augmented spaces are now used in exhibitions and commercial buildings, indoor and in urban public spaces. The way these spaces are devised, manifest, evolve and relate to users and society in all their complexity is the challenge facing architects today.
The virtual did not replace the physical but became strongly embedded in it, providing new kinds of interactions. Highly contextualized, media architecture has a special connection with the public, urban spaces it augments, both outdoor and indoor. Media architecture is not a precisely defined product; it doesn’t have a specific scale or design solution, it manifest where elements of space are charged with digital information.
This paper discusses different approaches by analyzing notable works in the field of media architecture: SPOTS, Crystal Mesh and C4 from the realities:united studio, Touch and Chronos installations by Lab[au], the Wax Wall, Mediamesh and Illumesh from ag4 mediatecture company as well as the refurbishment of the BMW Museum in Munich done by ART+COM and Atelier Bruckner by underlining the technologies involved in these installations as well as the resulted effects. The selected media architectural works display an intimate relationship between architecture (or important parts of it, like the facades) and media becoming the promoters of a new language, the mediatecture.
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In the digital age, we create new technological forms and media artworks that de ne new relationships between the environment and us. Artists and actors are increasingly using their own mobile computing devices and AR to create artworks. When we experience an artwork in an “Augmented Space”, we can consider it as an interactive event. As a result, we can treat interaction, immersion and realization as three components of the events within augmented space. In this paper, by using the dynamic event concept and through analyses of famous mobile AR artworks, we reach three major conclusions of aesthetic experiences in AR artworks: the event of real time interaction is the aesthetic manner; the immanent event of the fuzzy boundary immersion is the aesthetic distance; and the immanent event of augmented realization is the aesthetic purpose.

This paper explores narratives through a wider community having access to

technology, which provides instantaneous positioning and real time information; this

has led to breaking of boundaries enabling mapping and user interactions to expand

these narratives into enhanced immersive experiences.

I explore these narratives through specific user interactions of augmented reality, or as

I adopt augmented spaces, Manovich (2002). Then I describe how they become

egocentric subjective narratives, Nold & Boyd-Davis (2009) providing a totality view

of an environment allowing a user to “enter it”, Grau (2003).

I explain how these egocentric subjective narratives can potentially be enriched

through real time externalising of self using biometric data and how they could

influence the user’s behaviour through a qualculative sense, Thrift (2004) as well as

helping improve well being.

I progress to examine narratives that are explored through future wearable computer

prostheses and discuss potential narratives relating them to how they could enhance

immersion for an electronomad, (Matsuda, 2010) user in the environment with

feelings of joy and satisfaction.

I then relate these overall ideas to those of hyperreality and examine how they could

serve to build what Bachelard (1958) calls a “poetic image”, a space within a dwelling

to which users can use for escaping to a daydream, or a connection to the real world

and that of a fantasy or a dream.

With the rising influence of digitalization and its immense penetration into even everyday life, the last decade of the 20 th Century addressed to a critical threshold in the successive transformation process of the spatiality in its long-term run. The advanced digital technologies of ubiquitous computing and generative design, as well as the invention of smart materials in late 90's (particularly the nano-technological materials that emerged as the programmable matters with their ability to evolve continously) have all provoked the fluid characteristics of spatiality, and strengthen the transformative capacities of the architectural space through the emergence of computer-augmented territories. Additionally, while they are becoming as the body extensions, the advent of novel apparatuses and gadgets further enhanced the integration of the corporal and incorporal bodies with the spatio-temporal multiplicities, where the hyperdimensionality of the space has been triggered to its outmost range, in relation to the "soft and smart technologically augmented immanent millieu", in Spuybroek terms. Thus, like Spuybroek points out as the "haptonomist" presence of the body merges itself with these diverse bodily extensions on one hand; and on the other hand, as the rising influence of nomadic view of the world further stimulates the unboundedness and endless fluidity of space, so that the spatiality becomes a landscape of successive transformations, a topology of emergence or a plane of becoming, which is merely defined by lines of forces, and occures as an alive territory rather than a limited space of predefined boarders. Therefore, this evolvable territory which is affectable and being affected by the lines of forces-inner and outer forces-, emerges as an animated existence, an interactive organism. So, by interacting with the Deleuzian Philosophy and their notions like lines of forces, folding, becoming, smooth space, territory, spatium, this article aims to reveal the relevance of these notions in architectural discourse, as well as the emergence of the smooth space in the contemporary architectural practice, by magnifiying one of the very initial examples of its kind; in terms of unfolding the Fresh Water Pavilion

We present a mean-field study of the magnetic phase diagram of
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the internal energy part of the free energy are obtained from a
first-principles calculation. We try to understand why spin-glass phase
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... If Manovich (2005) suggested in the conclusion of his essay “Poetics of Augmented Space” that “the next logical step [is] to consider the 'invisible' space of electronic data flows as substance rather than just a void”, I would push this idea further and consider the potential status ...

With the advent of new technologies and augmented spaces (AS), I intend to examine how the electronomad is enabled with new kinaesthetics, to perform games within the urban environment where it is no longer maps within games, but games within maps.

From billboards to urban screens and now to media facades, the augmentation of our cities has expanded, changing behaviours and public space consumption. Smart buildings are being developed and, much like the smartphones, these hybrids are not only in sci-fi movies anymore. One of the main promoters of media facades and media architecture has been the advertising industry. But artist and designers showed the potential for different approaches, experimenting with digitally augmented spaces both indoors and outdoors. Going beyond the commercial aspect of being an advertising and branding tool, these hybrids offer a variety of uses.
Questions of how and where do we use them and how can they improve our life quality are discussed here underlining that we developed a media behaviour, adjusting our relation between nature and information environment. I examine some of the most notable experiments outside the advertising sphere offering a base for future development of augmented spaces and opening the discussion over the language of new media architecture.