Neuroarchitecture uses neuroscientific tools to better understand architectural design and its impact on human perception and subjective experience. The form or shape of the built environment is fundamental to architectural design, but not many studies have shown the impact of different forms on the inhabitants’ emotions. This study investigated the neurophysiological correlates of different interior forms on the perceivers’ affective state and the accompanying brain activity. To understand the impact of naturalistic three-dimensional (3D) architectural forms, it is (...) essential to perceive forms from different perspectives. We computed clusters of form features extracted from pictures of residential interiors and constructed exemplary 3D room models based on and representing different formal clusters. To investigate human brain activity during three-dimensional perception of architectural spaces, we used a mobile brain/body imaging (MoBI) approach recording the electroencephalogram (EEG) of participants while they naturally walk through different interior forms in virtual reality (VR). The results revealed a strong impact of curvature geometries on activity in the anterior cingulate cortex (ACC). Theta band activity in ACC correlated with specific feature types (rs (14) = 0.525, p = 0.037) and geometry (rs (14) = - 0.579, p = 0.019), providing evidence for a role of this structure in processing architectural features beyond their emotional impact. The posterior cingulate cortex and the occipital lobe were involved in the perception of different room perspectives during the stroll through the rooms. This study sheds new light on the use of mobile EEG and VR in architectural studies and provides the opportunity to study human brain dynamics in participants that actively explore and realistically experience architectural spaces. (shrink)

Le texte aborde un cas particulier d’atmosphère, l’inquiétante étrangeté, dans son rapport à l’espace architectural, selon une inflexion phénoménologique soulignant la teneur d’atmosphère (Stimmung) du sentiment éprouvé. Effectuant une relecture du texte éponyme de 1919 de Freud sous cet angle, notamment l’épisode de la promenade dans la petite ville italienne, la réflexion s’engage ensuite dans une approche de la peinture de De Chirico, en particulier le tableau de 1913 La grande Tour. Les écrits du théoricien américain de l’architecture Anthony (...) Vidler viennent à l’appui de la réflexion. La conclusion fait retour sur la maison hantée, au regard d’expériences artistiques plus contemporaines. (shrink)

If we are to think about diagrams closely, we must register their cognitive significance as they direct work and establish networks of relationships among multiple symbolic fields. Diagrams do not engage a simple horizon of understanding but are part of an integrative process through which structures literally appear in the world. Rather than being hermeneutic in a strict sense, diagrams are heuristic because they are accompanied by an expectation that they participate in a process that turns words and experience into (...) structure. Because diagrams may shift in status, they may be thought of as relays that both create meaning and enable symbolic translation from one mode of representation to another. While a diagram may visually present or reinforce an idea one moment, the next it may provide a means for seeing something never seen before. After commenting on how recent architectural theory has approached diagram, I consider the relationship between diagram and metaphor before turning my attention to the ways that diagrams function within a process that includes design as well as building. Finally, I ask how the use of diagram within architecture points not only to a phenomenology of invention and practice but also to the networks which constitute architecture. (shrink)

During the last decades, many cognitive architectures (CAs) have been realized adopting different assumptions about the organization and the representation of their knowledge level. Some of them (e.g. SOAR [35]) adopt a classical symbolic approach, some (e.g. LEABRA[ 48]) are based on a purely connectionist model, while others (e.g. CLARION [59]) adopt a hybrid approach combining connectionist and symbolic representational levels. Additionally, some attempts (e.g. biSOAR) trying to extend the representational capacities of CAs by integrating diagrammatical representations and reasoning are (...) also available [34]. In this paper we propose a reflection on the role that Conceptual Spaces, a framework developed by Peter G¨ardenfors [24] more than fifteen years ago, can play in the current development of the Knowledge Level in Cognitive Systems and Architectures. In particular, we claim that Conceptual Spaces offer a lingua franca that allows to unify and generalize many aspects of the symbolic, sub-symbolic and diagrammatic approaches (by overcoming some of their typical problems) and to integrate them on a common ground. In doing so we extend and detail some of the arguments explored by G¨ardenfors [23] for defending the need of a conceptual, intermediate, representation level between the symbolic and the sub-symbolic one. In particular we focus on the advantages offered by Conceptual Spaces (w.r.t. symbolic and sub-symbolic approaches) in dealing with the problem of compositionality of representations based on typicality traits. Additionally, we argue that Conceptual Spaces could offer a unifying framework for interpreting many kinds of diagrammatic and analogical representations. As a consequence, their adoption could also favor the integration of diagrammatical representation and reasoning in CAs. (shrink)

Essays at the intersection of philosophy and architecture explore how we understand and inhabit space. To be outside allows one a fresh perspective on the inside. In these essays, philosopher Elizabeth Grosz explores the ways in which two disciplines that are fundamentally outside each another—architecture and philosophy—can meet in a third space to interact free of their internal constraints. "Outside" also refers to those whose voices are not usually heard in architectural discourse but who inhabit its (...) class='Hi'>space—the destitute, the homeless, the sick, and the dying, as well as women and minorities. Grosz asks how we can understand space differently in order to structure and inhabit our living arrangements accordingly. Two themes run throughout the book: temporal flow and sexual specificity. Grosz argues that time, change, and emergence, traditionally viewed as outside the concerns of space, must become more integral to the processes of design and construction. She also argues against architecture's historical indifference to sexual specificity, asking what the existence of (at least) two sexes has to do with how we understand and experience space. Drawing on the work of such philosophers as Henri Bergson, Roger Caillois, Gilles Deleuze, Jacques Derrida, Luce Irigaray, and Jacques Lacan, Grosz raises abstract but nonformalistic questions about space, inhabitation, and building. All of the essays propose philosophical experiments to render space and building more mobile and dynamic. (shrink)

Summary This paper deals with the development of Husserl’s and Merleau-Pontys analyses of the affective lived experience of body and space. Both the concept of „flesh“ (Merleau-Ponty) and „Hyle“ (Husserl) stand for a sensuous principle that underlies the original givenness and solidarity of body and world and I claim that this interaction and the concomitant intertwining of body and place make up the existential dimension of architecture, i.e. the, being-here-in-a-place’. In this connection, I argue that the fact that bodily (...) affective experience endows the world with sense has led to a double break: On the one hand with representation and on the other with perspectivity and compossibility of the realms of being in Husserl’s and Merleau-Ponty’s respective approaches. Finally, I will exemplify this break and the development of genetic insights – from an anthropocentric, organic and harmonious space conception to a topologic space made up of incompossibilities expressing an ambiguous sense – with paradigmatic works of architecture, so as to make evident the explanatory potential of phenomenology for architecture. (shrink)

There is fast-growing awareness of the role atmospheres play in architecture. Of equal interest to contemporary architectural practice as it is to aesthetic theory, this 'atmospheric turn' owes much to the work of the German philosopher Gernot Böhme. Atmospheric Architectures: The Aesthetics of Felt Spaces brings together Böhme's most seminal writings on the subject, through chapters selected from his classic books and articles, many of which have hitherto only been available in German. This is the only translated version authorised (...) by Böhme himself, and is the first coherent collection deploying a consistent terminology. It is a work which will provide rich references and a theoretical framework for ongoing discussions about atmospheres and their relations to architectural and urban spaces. Combining philosophy with architecture, design, landscape design, scenography, music, art criticism, and visual arts, the essays together provide a key to the concepts that motivate the work of some of the best contemporary architects, artists, and theorists: from Peter Zumthor, Herzog & de Meuron and Juhani Pallasmaa to Olafur Eliasson and James Turrell. With a foreword by Professor Mark Dorrian and an afterword by Professor David Leatherbarrow,, the volume also includes a general introduction to the topic, including coverage of it history, development, areas of application and conceptual apparatus. (shrink)

Port Cities are historically the places for paradigm shifts, radical changes, and socio-economic transitions. In particular, the interaction zone between the port infrastructure and urban activities creates liminal spaces at the forefront of many contemporary challenges. In these liminal spaces, the port's flows, form, and function intertwine with urban contexts and conflict with the living conditions. Conceptualizing the portcityscape and harborscape as liminal space and urban thresholds leads to (re)thinking about innovative participatory methods and technologies for building community resilience (...) in port cities. Additionally, inevitable constant development in port cities requires adaptability and resilience from the waterfronts to the hinterlands and city centers. Such confrontation of port infrastructures and urbanization is socio-politically and spatially challenging, specifically in historic port cities. Therefore, as the approach to exploiting energy and human resources changes over time, the physicality of the built environment in port cities and how we (re)use the resources need to be redefined. This research investigates key socio-spatial features and challenges of port cities by examining how the port's proximity to the city requires coordination, collaboration, transparency, and community dialogue. The introduction and background literature discuss three domains and notions of port city studies, building community resiliency through participatory frameworks, and parasitic architecture. By building upon this analytical framework, the paper presents case studies developed within the research-led design studio focusing on building resilient communities in four port cities, including Amsterdam, Constanta, Alexandria, and Rio De Janeiro. This research focus on the community-enabled application of emerging technologies, innovative approaches, and co-designing and co-building participatory methods. The selected case studies introduce an integrative and multi-scalar pedagogical framework for building resilient communities in liminal spaces of port cities. (shrink)

The paper suggests that architectural making , a process of research in practice , and itself a bridging between the space of experience and the horizon of expectations , corresponds to phenomenology as a method of inquiry. This includes architectural phases parallel to epoché, phenomenological reduction, free variations, transcendental intuition of the essence, and description . The paper describes the in-between, its two edges, experience and expectations, and their mutual influences through the process of architectural making. (...) Examples from the design studio and professional literature illustrate the argumentation. The in-between is presented as structured, notably having a depth—the ineffable origin of creativity. In conclusion, the paper suggests that the edges and the in-between are temporary configurations in flux, wherein the architect makes use of his/her most inner resources, as a contribution to the metamorphosis and revitalization of his/her culture. (shrink)

How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. (...) Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Affective Spaces: Architecture and the Living Body by Federico de MatteisJasna SersicAffective Spaces: Architecture and the Living Body BY FEDERICO DE MATTEIS New York, NY: Routledge, 2021What is architectural space? For architects, urban planners, and all involved in the design and transformation of the environment, space is a central subject. However, despite this fact, nobody accurately states what space is all about. As a (...) result, the concept of space remains ambiguous, challenging to transmit, and a point of fundamental misunderstandings, with consequences on how we move, inhabit, and transform the world around us (1).In the attempt to provide order in today’s theory of space in architecture, De Matteis’ Affective Spaces invites the reader to explore the question of space from the subject’s point of view by asking what the encounter with architecture is like, and how do I feel, here, now?, borrowed from Eugene Minkowski (7). De Matteis offers an interconnected yet clear and instructive way to explore further what first-hand, direct experience with architecture can tell us about the effects it produces on us. Through this exciting intellectual journey, De Matteis thus shows how architecture, generally understood as an art of building space, does not regard the built environment alone. As people are also emotionally affected by the (built) world they live in, this book can ultimately be read as a quest to understand the relation between the feelings and moods arising from the bodily, corporeal experience of the built environment and the way they invite us to respond and act within environments we inhabit and modify (130).To accept De Matteis’ invitation to join him on his quest entails two things. The first is to take the position that the root of the emergence of sense and feelings is the subject’s corporeity. We must thus acknowledge the primacy of feeling (130). The second, by extension, is to put aside preconceived notions and conceptual tools for representing space inherited from modernity, as they are grounded in dualistic contraposition between physical reality, which is seen as objective (9). In contrast, experience and feeling are seen as subjective (9). Consequently, [End Page 142] they cannot adequately grasp the non- measurable dimensions of the lived space and thus the experience that the subject makes of it.Instead, De Matteis argues that one cannot describe space as a thing separate from us and that we are always a part of the space we inhabit. For this purpose, the book derives its theoretical model of space from phenomenology, which considers the felt body as a sounding board for the built environment and human experience of the world.The book is arranged into fourteen chapters that show the thematic progression of the argument, and is structured in three parts that explore space, the living body and corporeal dynamics, and the experiential character of some specific families of space. Titles of the chapters provide clear signposts to the reader about where the story is going and are much appreciated in this unique exploration. They also show that the author carefully weaves the conceptual intersections between phenomenology and its model of space with investigations in several fields of knowledge. Drawing across a multitude of disciplines, ranging from geography, anthropology, psychology, philosophy of mind, and aesthetics to neurosciences, and offering many examples from art, literature, film, and everyday life, the book helps the reader visualize the content discussed. This panoramic character and accessible language and format make it an engaging read for experts in the field and to a broader audience interested in topics addressed in the book.Perhaps one of the most compelling arguments the book brings forward is that the corporeal dynamics of space enable understanding of space as a thing that is not separate from us. It is from the coming together of persons and things that atmospheres arise. They are not objective, yet they exist as the natural qualities of things; neither are they subjective, yet they belong to sensing beings. This understanding implies a possible workable definition with no boundary between the subject and object. However, it also clearly points out that the book emerged in response to our modern understanding and critique... (shrink)

In Contagious Architecture, Luciana Parisi offers a philosophicalinquiry into the status of the algorithm in architectural and interaction design.

Walter Benjamin pointed out the affinity of cinema and architecture, and argued unexpectedly that tbese art forms are both essentially tactile arts. The tactility of the material art of building is not difficult to grasp, but the idea that a cinematic projection could result in fundamentally tactile experience certainly meets objections. However, the philosophical as well as neurological studies ofthe past few decades in perception, emotion, and thought, as well as in artistic expressions, suggest that these two arts, or poetic (...) images at large, address ali our senses, including our synthesizing existential sense, all at once. The arts communicate through the “fiesh of the world”, to use a notion of Maurice Merleau-Ponty. The acts of perception, feeling, thinking, and memorizing cal! for the reality and sense of embodiment. We identify ourselves unknowingly with constructed architectural spaces as well as projected cinematic situations with our empathetic capacity. So, Benjamin ‘s argument could be re- -formulated: cinema and architecture are embodied atis in which the externa! and the internal are fully intertwined and fused. “The world is wholly inside, and 1 aro wholly outside myself’, as Merleau-Ponty enigmatically argues. (shrink)

This chapter contains sections titled: Endnotes.

Italian critical theorist Giorgio Agamben is well known for his rigorous attempts to redefine political, aesthetic, and theological concepts through messianic categories. For Agamben, the messianic is not concerned with perpetual waiting for a savior to come and redeem the world. Rather, it concerns the radically open potentiality for action within the contemporary moment. While the temporality of the messianic moment has been emphasized both by Agamben and by the vast secondary literature that has provided ample reflections on his body (...) of work, the important concept of messianic space has not been given equal treatment. Space and time must be thought together if we are to appreciate the unique qualities of .. (shrink)

This paper discusses the concept of climate in relation to architectural space. By elaborating on the notion of atmosphere, that today permeates a wide range of architectural research, I intend to expand its relevance by outlining a relationship between atmosphere and climate analogous to what occurs in meteorological studies. While climate represents a rather stable (if evolving) cycle of recurring conditions, atmospheric events are fleeting and less predictable. Equally, architectural spaces can establish a general climatic scaffolding (...) that increases the possibility of particular atmospheres to unfold, without however evolving into a deterministic cause-effect relationship. By addressing and comparing philosophical notions and architectural questions, I intend to formulate a novel theorisation as a useful tool for both criticism and design. (shrink)

This paper discusses the concept of climate in relation to architectural space. By elaborating on the notion of atmosphere, that today permeates a wide range of architectural research, I intend to expand its relevance by outlining a relationship between atmosphere and climate analogous to what occurs in meteorological studies. While climate represents a rather stable (if evolving) cycle of recurring conditions, atmospheric events are fleeting and less predictable. Equally, architectural spaces can establish a general climatic scaffolding (...) that increases the possibility of particular atmospheres to unfold, without however evolving into a deterministic cause-effect relationship. By addressing and comparing philosophical notions and architectural questions, I intend to formulate a novel theorisation as a useful tool for both criticism and design. (shrink)

In this study I investigate several questions related to adaptive restoration, i.e. when a functioning piece of architecture operates with a different purpose to its original one, as well as the role of aesthetics in re-purposing, and the importance of the special forms of experience such a conversion provides. The questions connected to these architectural projects are not only theoretically inspiring, leading to diverse and broad fields of research in architecture, art and aesthetics, but are also crucial on a (...) practical level, and hence require caution and precise consideration, given the impact the final results of such projects may have, as well as in terms of the effect and efficiency of the new space. Creative and adaptive re-purpose, modification or complete change of function can have wonderful potential, as well as, obviously, presenting serious hazards to avoid. What is equally important, however, is that this will also contribute to a strengthening of awareness of architecture and its aesthetic qualities, hence further promoting the idea of safeguarding and care of edifices and of tangible heritage. (shrink)

This book explores the shared experiential ground of cinema, art, and architecture. Pallasmaa carefully examines how the classic directors Alfred Hitchcock, Stanley Kubrick, Michelangelo Antonioni, and Andrei Tarkovsky used architectural imagery to create emotional states in their movies. He also explores the startling similarities between the landscapes of painting and those of movies.

In Powers of Horror,1 the psychoanalyst Julia Kristeva presented the first explicit, elaborated theory of ‘abjection,’ which she defines as the casting off of that which is not of one’s “clean and proper”2 self. According to Kristeva, abjection is a demarcating impulse which establishes the basis of all object relations, and is operative in the Lacanian narrative of subject formation in early childhood via object differentiation. Abjection continues to operate post-Oedipally to prevent the dissolution of the subject by repressing identification (...) with that which is other, and particularly that which is only tenuously other: the abject. Though Kristeva’s theory is braided into problematic Freudian premises, this essay will argue that abjection remains operative independent of the Oedipal model. (shrink)

The author suggests to view the architectural planning of the human environment as „directing” the phenomena and events that occur in human surroundings. In her reflections on human existence she juxtaposes the concepts “environment” and “space”, which both accentuate different aspects of the human environment. The author views “environment” as the objective existence of human surroundings, and “space” as the effect of environmental envisionment and experiencing the environment by means of rationality and valuation.The author also focuses on (...) interactions between the paradigm of thought and the paradigm of the order which humans bring into the space they design, and describes related examples. She notes that the links between architecture and the “how” and “what” of our thinking are visible not only in accounts of bygone eras, but also in the influence on architecture of two contemporary thought trends—post-modernism and ecologism. She goes on to suggest that ecological architecture should be understood as spatial design patterned on the structure of eco-systems. Thus understood, ecological architecture is neither structuralistic, nor “atomic”, nor collectivistic. The author also sees the difference between post-modern and ecological architecture in the ability of making use of the opportunities provided by difference. (shrink)

With the rising influence of digitalization and its immense penetration intoeven everyday life, the last decade of the 20th 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 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 inte- gration 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 of NOX Architecture by Lars Spuybroek into question to reveal the essences of thecontemporary transformable-evolvable architectural spatiality. (shrink)

Architecture is the key mediator between time or duration and production. Creating architecture consists of spacing, leaving intervals, dilating. Space contributes to the construction of time, just as time contributes to the construction of space. This mutual construction of space and time by the means of architecture offers a new approach of the transcendental aesthetic, a transcendental aesthetic which determines the conditions of the productive system to promote the sustainable development.

Introduction -- Henri Lefebvre : the production of theory -- Research : from practices of dwelling to the production of space -- Critique : space as concrete abstraction -- Project : urban society and its architecture -- Afterword : toward an architecture of jouissance.

Habermas's conception of deliberative democracy could be fruitfully supplemented with a discussion of the "institutional design" of civil society; for example the architecture of public spaces should be considered. This paper argues that Hegel's discussion of architecture in his 'Aesthetics' can speak to this issue. For Hegel, architecture culminates in the gothic cathedral, because of how it fosters reflection on the part of the worshiper. This discussion suggests the possibility that architecture could foster a similar kind of intersubjective reflection. To (...) make his thoughts more pertinent for current debates, Hegel's views are adapted to fit three contemporary secular institutions. (shrink)

Following Theodor W. Adorno’s reading of architecture as a purposeful art, the article explores how the social dimension is inscribed into the purposes ascribed to architecture by establishing a relation between what Adorno calls a sense of architectural space and the distribution of the sensible as defined by Jacques Rancière. Considering Rancière’s understanding of the political dimension of different “regimes of art”, the article attempts to show how similar observations can be made regarding architecture. What implications do these (...) regimes of architecture have for the constitution of a common world, given architecture’s vast spatio-temporal presence? (shrink)

The first collection devoted to Merleau-Ponty's contributions to our understanding of architecture and place.

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th century (...) and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images. (shrink)

Global era is an era of acculturation which may surface difficulties due to the tendency of becoming global chaos that may influence people’s thought. Everyonehas their own views and has made changes with their own worldview perception; hybrid and heterodox. Changes without wisdom will eliminate local elements.This phenomenon has influenced myriad forms of visual composition and architecture of Bali Madya dwelling. Balinese culture has gone through various changes since Rsi Markandeya in the 9th century, Empu Kuturan in the 10th century (...) and Danghyang Nirartha in the 14th century. They changed many dwelling arrangements in architecture. Changes do not mean that one has to demolish the local indigenous elements but, instead, should attempt to develop various indigenous elements with the intention that the visual interior and architectural compositions have their own distinctive characters. In relation to that, aesthetic image and traditional space concept will be arranged in various kinds of acculturation in global visual forms. The dwelling space of Bali Madya concept was acculturated from the Bali Aga’s space concept during the era of Majapahit. This research is based on aesthetic and historical approach that stressed on the artistic aspects and design that are associated with aesthetic appeal. The analysis was done using observations of form and function including the meaning of space composition which was arranged to produce a proportionate composition with local images. (shrink)