How do digital media (mobile phones, GPS, iPods, portable computers, internet, virtual realities, etc.) affect the way we perceive, inhabit and design space? Why do architects traditionally design, draw and map the visual, as opposed to other types of sensations of space (the sound, the smell, the texture, etc.)? Architecture is not only about the solid, material elements of space; it is also about the invisible, immaterial, intangible elements of space. This book examines the design, representation and reception of the ephemeral in architecture. It discusses how architects map and examine the spatial qualities that these elements create and questions whether - and if so, how - they take them into account in the designing process. Karandinou argues that current interest in the ephemeral in contemporary culture and architecture is related to the evolution of digital media; and that it is related to the new ways of thinking about space and everyday situations that new media enables. With sound and video recording devices now being embedded in everyday gadgets and mobile phones, capturing sounds or ephemeral situations and events has become an everyday habit. New animation techniques allow designers to think about space through time, as they are able to design dynamic and responsive spaces, as well as static spaces explored by someone over time. Contemporary video games are no longer based on a simple visual input and a keyboard; they now involve other senses, movement, and the response of the whole body in space. This book therefore argues that the traditional binary opposition between the sensuous and the digital is currently being reversed. Subsequently, new media can also function as a new tool-to-think-with about space. Designers are now able to think through time, and design spaces accordingly. Time, temporality, ephemerality, become central issues in the designing process. The notion first claimed by Marshall McLuhan in the 1960s, that the emergence of new di

The notion of data is increasingly encountered in spatial, creative and cultural studies. Big data and artificial intelligence are significantly influencing a number of disciplines. Processes, methods and vocabularies from sciences, architecture, arts are borrowed, discussed and tweaked, and new cross-disciplinary fields emerge. More and more, artists and designers are drawing on hard data to interpret the world and to create meaningful, sensuous environments. Architects are using neurophysiological data to improve their understanding of people's experiences in built spaces. Different disciplines collaborate with scientists to visualise data in different and creative ways, revealing new connections, interpretations and readings. This often demonstrates a genuine desire to comprehend human behaviour and experience and to - possibly - inform design processes accordingly. At the same time, this opens up questions as to why this desire and curiosity is emerging now, how it relates to recent technological advances and how it converses with the cultural, philosophical and methodological context of the disciplines with which it engages. Questions are also raised as to how the use of data and data-informed methods may serve, support, promote and/or challenge political agendas. Data, Architecture and the Experience of Place provides an overview of new approaches on this significant subject and is ideal for students and researchers in digital architecture, architectural theory, design, digital media, sensory studies and related fields.

How do digital media (mobile phones, GPS, iPods, portable computers, internet, virtual realities, etc.) affect the way we perceive, inhabit and design space? Why do architects traditionally design, draw and map the visual, as opposed to other types of sensations of space (the sound, the smell, the texture, etc.)? Architecture is not only about the solid, material elements of space; it is also about the invisible, immaterial, intangible elements of space. This book examines the design, representation and reception of the ephemeral in architecture. It discusses how architects map and examine the spatial qualities that these elements create and questions whether - and if so, how - they take them into account in the designing process. Karandinou argues that current interest in the ephemeral in contemporary culture and architecture is related to the evolution of digital media; and that it is related to the new ways of thinking about space and everyday situations that new media enables. With sound and video recording devices now being embedded in everyday gadgets and mobile phones, capturing sounds or ephemeral situations and events has become an everyday habit. New animation techniques allow designers to think about space through time, as they are able to design dynamic and responsive spaces, as well as static spaces explored by someone over time. Contemporary video games are no longer based on a simple visual input and a keyboard; they now involve other senses, movement, and the response of the whole body in space. This book therefore argues that the traditional binary opposition between the sensuous and the digital is currently being reversed. Subsequently, new media can also function as a new tool-to-think-with about space. Designers are now able to think through time, and design spaces accordingly. Time, temporality, ephemerality, become central issues in the designing process. The notion first claimed by Marshall McLuhan in the 1960s, that the emergence of new di