Imaginary Space Research Articles

Metaphorization of Space in Biblical Psalms

This work examines conceptual metaphors of space in biblical Psalms and in relation to the psalmist’s personal emotive and theological message which the psalmodic text intends to convey. Language of space and motion is in so many ways crucial for human existential as well as a religious experience. The psalmist reveals and presents his complex existential as well as his theological challenges through a set of conceptual metaphors of space. Orientational metaphors form a specific mental space where the antipodes of up/down and left/right enable the psalmist to express himself in spiritual terms as well. For the biblical psalmist situations of his disorientation are fairly frequent, whether caused by feelings of his sins or social injustices. After all, he yearns for a moral and spiritual re-orientation. While the Euclidean space is homogeneous, in that space biblical psalmist experiences discontinuity for certain parts of this imaginary space is qualitatively different. Namely, the divisions of such non-Euclidean space rest qualitatively on the division between the sacred and the profane. For the psalmist, such division of space rests on some key terms, such as Temple, Heaven, and Underworld. This is followed by the orientational metaphors as up/down. God is up (heavens), man is down below (earth). In eschatological terms, it is the sovereign heavenly judge who will act upon the dividing between the good and the evil ones, between the left and the right, on the horizontal plane. Since that which is above is better than that which is below and underneath, so is the right side better than that which is on the left.

Metaforizacija prostora u biblijskim Psalmima

This work examines conceptual metaphors of space in biblical Psalms and in relation to the psalmist’s personal emotive and theological message which the psalmodic text intends to convey. Language of space and motion is in so many ways crucial for human existential as well as a religious experience. The psalmist reveals and presents his complex existential as well as his theological challenges through a set of conceptual metaphors of space. Orientational metaphors form a specific mental space where the antipodes of up/down and left/right enable the psalmist to express himself in spiritual terms as well. For the biblical psalmist situations of his disorientation are fairly frequent, whether caused by feelings of his sins or social injustices. After all, he yearns for a moral and spiritual re-orientation. While the Euclidean space is homogeneous, in that space biblical psalmist experiences discontinuity for certain parts of this imaginary space is qualitatively different. Namely, the divisions of such non-Euclidean space rest qualitatively on the division between the sacred and the profane. For the psalmist, such division of space rests on some key terms, such as Temple, Heaven, and Underworld. This is followed by the orientational metaphors as up/down. God is up (heavens), man is down below (earth). In eschatological terms, it is the sovereign heavenly judge who will act upon the dividing between the good and the evil ones, between the left and the right, on the horizontal plane. Since that which is above is better than that which is below and underneath, so is the right side better than that which is on the left.

Colour, Abstraction and Fantastic Sunsets

This essay provides a study of colour as a dematerialised object through which to consider Blackness and art making. I ask how colour has been employed by Black artists as a critical component of their practices, proposing that a critical study of colour can help us understand how Black artists navigate the art landscape and create spaces of imagination, possibility, and life for themselves. Foregrounded by Darby English’s book, 1971: A Year in the Life of Color (2016), I consider Alma Thomas’ A fantastic sunset (1970), David Koloane’s Mgodoyi III (1993), and various exhibitions by Serge Alain Nitegeka. Although rooted in Black studies, I also consider British artist Marlow Moss’ painting Composition in yellow, black and white (1949). Here I’m interested in how colour can be usedto expand notions of intersectional identities through a queering approach. Colour is read as an effective tool of creation, resistance, and refusal. Through this text I consider Fred Moten’s riff on Fannie Lou Hamer, ‘Refuse what has been refused to you,’ as a potential approach and method, while considering colour as a method of refusal. That is to say, what does it mean when Black artists gravitate towards or away from a certain colour? How are these choices influenced by what they have been refused and what they choose to refuse?

Rendering Affective Atmospheres: The Visual Construction of Spatial Knowledge About Urban Development Projects

Renderings are digital visualisations of urban development projects in the field of urban design that aim to create spatial knowledge about future-built urban environments, which we also refer to as imaginaries. In our contribution, we ask how visual artists design renderings, how they try to influence spatial knowledge about future urban spaces, and in which processes renderings are produced. Using the cases of the Eko Atlantic City project in Lagos (Nigeria) and the Hudson Yards project in New York City (USA) as examples, it will be shown empirically how specialized visual artists try to make urban development projects appear convincing and appealing. The analyses show that visual artists particularly use design elements such as photorealistic aesthetics and lighting to make the presentations of the planned building projects desirable. They also attempt to make them appear coherent in their built environment by digitally collaging different imaginary elements. Interestingly, only a limited number of image types are used. They can nevertheless put the imaginary space of the planned building projects in a positive light, create pleasant affective atmospheres, and appeal to a wide audience. By visually constructing imaginaries about urban development projects and thus influencing the subjective spatial knowledge of stakeholders and a broader public, renderings develop power. The constructed—and widely shared—imaginary space can guide investment and influence planning processes and the materialization of the built project.

Why overseas? Vietnamese doctoral students’ motivations for a doctoral study abroad

This article reports a study that investigated Vietnamese doctoral students’ motivations to pursue their doctoral study outside their home country. Analyses of in-depth interviews with 19 participants revealed what made a PhD abroad imaginable to them, thus revealing the motivational factors for Vietnamese doctoral students to sojourn for their academic undertakings, including professional requirement and academic development, life enrichment and self-exploration, prior transnational experiences and funding availability. Using the conceptual tools of imagination and capacity to aspire, the study highlights not only the capacity to navigate the horizons of aspirations of Vietnamese doctoral students but also the unevenness of imaginative spaces among them. Going beyond the push-pull framework or the traditional binary of external-internal motivation, this study, with a particular focus on imagination and aspiration, emphasises the capacity of the doctoral students and the socio-cultural context that made a PhD abroad a possibility for them. It further illuminates how their capacity to aspire was different from one another, leading to dissimilarities in their imaginative space and maps of horizons.

An imagined space with an imagined time: Analysis of English language textbooks used in state schools in Pakistan

English textbooks in Pakistan are an important tool used by the state to construct pupils’ imagination of the time and space of the Indian sub-continent, Islam, Muslims and non-Muslims. This study used the qualitative content analysis method and analysed fifteen English textbooks produced by the state-managed institutions and provincial textbook boards. The analysis revealed Islam as the foundation of the imagination of time and space of Pakistan. This imagination of Pakistan found in textbooks negated the plurality of Pakistani society as the textbook authorities did not give any space to the minority groups (religious, ethnic and cultural) living in Pakistan. This study recommends that the textbook authorities include the often-ignored minority groups in the textbook discourses because the majority of pupils form their world-views and construct their imagination of Pakistan, its people and the world through these textbooks, which contribute to pupils’ construction of their national and cultural identity.

Captive Christmas: Unwrapping the third space

Every year, millions of people spend Christmas behind bars, yet very little scholarship examines the carceral Christmas. This research attempts to add to the literature by using over 70 years of prisoners’ writings to describe how this holiday season is physically and psychologically experienced by convicts. Drawing on third space scholarship, we argue that prisoners use the manifestations of the holiday season to temporarily ‘escape’ the carceral milieu. More specifically, we contend that the dominant discourses, while not completely refuted, become redefined and reconstituted during the celebratory period. The typical binaries found within the prison (free/captive, inside/outside, keeper/kept), are blurred as a more liminal space emerges. Ultimately, this new imagined space provides a mechanism through which prisoners survive a carceral Christmas.

Spatial Interaction and Hybrid Spaces

The notion of spaces constantly is growing with the advancement of technology. The spatial interactions using digital media provide new possibilities to bridge between physical and digital spaces. Location is not all about longitude and latitude, but all the added digital layers may change the idea of positioning. Over the last decades, studying space faced many conceptual perceptions. The approach of having/imagining the different worlds and spaces, such as cyberspace and physical space, has been mostly formed by distinguishing them. Adriana de Souza e Silva (2006) drew a chronology for these imaginary spaces from cyberspace to virtual and hybrid space. Hybridizing of space with the advancement of nomadic technology like mobiles become more popular and indicates how the interfaces are transparent in our everyday life. So, hybridity occurs when the interconnection of the spaces is reachable for the people who can interact with, through the devices, wearables, headsets, etc. In this respect, the physical space needed to be filled with data, as Manovich (2006, p.226) defined this as augmentation of the space through “overlay[ing] physical space with layers of data.” The question of reality may not be valid anymore since both are affecting each other. And, it is time to think about the interlinked worlds and their effects rather than separating and labelling them as real and unreal. Technology can play a crucial role in changing our interaction with space. The paper will investigate the concept of hybrid spaces in relation to the production of dis-locative space. The dislocation environment reveals the interconnected spaces and their realities through new ways of interactions and narratives. The realities are created under the influence of each other. The paper will use the art project Shadows from Another Place as a case study. It will explore the idea of dis-location through spatial interaction and digital technology. The paper will profit from the theories including Production of Space by Henry Lefebvre, Supermodernity and Non-places by Marc Augé, and Relational Spaces by Scott McQuire. Paula Levine is a scholar and media artist who experiments with maps, geolocation data, and the dynamic of spaces. Shadows from Another Place is a web-based project using transposed maps, including three artworks San Francisco <-> Baghdad, The Wall, and TheWall-TheWorld. In this series, she tries to challenge the reality of geographical distances by hybridization of the spaces. Shadows from Another Place is a series of artwork that examines the discussion around dis-locative space, and spatial interaction using digital technology. The paper investigates three questions of locations and dislocation, real and unreal, and intervening in the physical space by the virtual world and vice versa. Question of Location ‘where am I’? What is un/real? How virtual world affects the physical world and vice versa?

Опера «Любовь издалека» К. Саариахо: к проблеме создания воображаемого пространства

Опера «Любовь издалека» К. Саариахо: к проблеме создания воображаемого пространства

The Study on the Aesthetic Style of Inner Mongolia Films from the Perspective of Geo-cultural

In a history spanning more than 70 years, Inner Mongolian films have long formed a unique aesthetic style and artistic form compared to other regional films. Therefore, it is particularly important to refer to Inner Mongolian films as "locality". The naming of Inner Mongolia films should highlight the "locality", that is, the concept must be distinguished from the perspective of nationality and geography. Natural space, social imagination space, and time space have jointly constructed the spatial landscape of Inner Mongolia films, while the northern nomadic culture and the multicultural complex of the local area outside the Great Wall construct the regional cultural mirror image of Inner Mongolia films. It can be said that the image system and narrative mechanism of spatial landscape and cultural mirroring image should become the basic principle and aesthetic standpoint of the semantic naming of "Inner Mongolia Films".

Lost in imagined space: A psychoanalysis of participatory design

Participatory design (PD) is a signature element of good design practice. However, enabling effective participation is often difficult to realise. This article highlights the value of applying psychoanalytic approaches to spatial thinking to better understand the deeper complexities and dynamics of the space-psyche relationship, and the challenges in the spatial thinking process that can inadvertently alienate participants in PD. Lacanian psychoanalysis is used to highlight how participants' lack of access to imagined space compromises their ability to establish a reciprocal relationship with space. The paper contributes to critiques of PD by exploring the relationship between spatial thinking, power, and agency in the PD process through Lacanian psychoanalysis. The paper argues the space that imagination seeks to access should not be gated or guarded by the designer's gaze, and that careful work is required to prevent such foreclosures from occurring.

Bandits, pirates et hors-la-loi au temps des Lumières. Par Lise Andries

This fascinating study explores the cultural phenomenon of the outlaw in the long eighteenth century in France. As the title suggests, it presents a typology of criminals as well as their privileged topographies. It constitutes an excellent overview of its subject, ranging historically from the mid-seventeenth to the early nineteenth century and taking in not only France but also eighteenth-century Britain. Issues of gender and criminality are also usefully addressed. The breadth of coverage necessarily leads to occasional repetitions and the overall structure of the study is not always clear, something made worse by the lack of a conclusion. Nonetheless, the extensive bibliography, handily divided into subsections, indicates insightful further reading both in key primary sources and the most relevant and recent critical literature on the topic. What emerges consistently is that eighteenth-century outlaws operated primarily in liminal spaces, across borders of various sorts, often in the half-light of dawn or dusk, and they came into their own in the equally liminal imaginative space between fact and fiction, where the bourgeoning press culture met the popular literary forms of the ballad, memoir, and novel. This is particularly the case in England, where a more open judicial system, court reports, greater press and publishing freedoms, and rapid urbanization gave the figure of the contemporary outlaw more realism as well as a more prevalent place in the social imaginary than was the case in France. The pirate in particular is an English outlaw archetype whose heyday was the late seventeenth century, although Lise Andries makes pertinent distinctions between the very different forms of piracy operative in the Caribbean and the Mediterranean at the time. What is true for both France and England is that the outlaw gives real and fictional voice to alternative social values, challenging those of the prevailing order, as Andries demonstrates with her interesting survey of criminal types in Robert Challe, Alain-René Lesage, Prévost, Diderot, and Sade. By the time of the Revolution, the outlaw in France had become an autonomous literary creation, only to be reinvented again in light of the more radical political and social upheavals of the 1790s. While Andries never loses sight of the nasty, brutish, short lives of eighteenth-century criminals — their violence matched, and often surpassed, by that of the state and its officials — she makes a strong case for outlaw collectives offering thrillingly attractive counter-societies for many of their contemporaries. From the real-life cours des Miracles to the fabled pirate republics, these alternative communities are more nostalgic of lost golden ages than they are revolutionary. The exception, however, was Louis Mandrin’s popular banditry against the hated tax officials of the Ferme générale. Indeed, the most intriguing, enlightening chapter in the book is devoted to outlaw economies. It argues perceptively that colonial and metropolitan smuggling was an important motor for the modernization and liberalization of the French economy, since it flooded the market with ‘de-taxed’ goods and increased their circulation substantially. This is one insight among many in this informative, wide-ranging study.

Architecture and the imaginary: text stimulus to improve students' creativity with nonlinear design process

PurposeThis study aims to examine whether a text stimulus could enhance students' imagination and thus enhance their creativity in the architectural design studio. The assumption is that adopting the text stimulus in the conceptual design stage would support students' imagination through a nonlinear design process, and ultimately produce the creative values of design outcomes.Design/methodology/approachA curriculum that adopts a text stimulus was developed and used for first-year university students. The aim was to implement an architectural setting to stimulate students' imagination with a framework for creativity evaluation. The study focused not only on the design process that characterizes the generation of concepts and ideas, but also on the processes related to the creative practices that students need for developing their own expression methods to solve problems they encounter.FindingsThe results show that design education that emphasizes the imaginary could enhance students' creative thinking, thus leading to creative design. As a training tool in the design studio, the diversity of interpretation following the text stimulus was revealed to provoke a nonlinear design process and to eventually enhance students' originality, differential and inventiveness, which are associated with the creativity criteria for evaluation.Originality/valueThe study explores the translation of imaginary spaces from text into spatial design as a conceptual tool in order to characterize and support creativity throughout design education in the architectural design studio.

Visual Space System Design in Digital Media Art Design

With the development of the economy, graphic design has become one of the main forms of commercial advertising. Designers design different graphic design schemes for different layouts and design requirements, which puts forward new requirements for graphic design process work. With the advancement of technology, graphic design (or visual communication design) supported by digital media technology is not limited to print media, and network media is also included. This research mainly discusses the visual space system in digital media art design. It can be said that the reconstructed space under virtual reality is based on interaction, has an immersive and imaginative space, and is combined with narrative to a certain extent to create a new form of expression for the information expression of space design. This paper first interprets the concept of “space” from psychology, painting art, and film art produced. Then explain the particularity of digital media art design, and it uses the design works to explain the content of the exposition. Connecting digital technology can bring people the uniqueness of aesthetics. This paper makes related theoretical research on the design practice of visual space. In this paper, visual perception in psychology is introduced into design thinking. The concept of visual space is not only expressed in art and culture but also involves the concept of space and time in physics and the scientific research theory of visual perception in psychology. It breaks through the level of perceptual cognition of space in art design. 31.85% of the respondents think that visual space design is attractive. Now is the era of new media interaction. The development of interactive technology and devices has brought infinite possibilities to visual communication design. We cannot accurately say its future development and changes. Because of the emergence of new technologies and media, visual communication design is also expanding its own types of works, and it is constantly developing and improving through the study of people’s emotions and the combination of design and technology. This research has positive significance for the development of the visuospatial system. The advancement of digital media technology has enriched the means of expression in space design creation and expanded people’s living spaces. Through the combination of modern digital media technology at multiple levels and multiple channels, various new spaces can be created to further meet the new needs of contemporary people.

The Eternal City and Eternal Love in the Rose "Roman Holiday"

The authors present the movie "Roman Holiday" (USA, 1953) in unusual way, namely the consideration of the relationship between characters not only in the movie but also in life. We focus on the relation between Audrey Hepburn and Gregory Peck. They became lifelong friends through "Roman Holiday". What is love? What should love look like? For thousands of years, countless people have practiced and explored, but no one has found a standard answer. This "love story" with seemingly imperfect endings are always more moving and attractive than stories with perfect endings, and they have a kind of infinite space for imagination. The authors don't interpret the friendship between two people as love wishful thinking, it may be slightly wrong to these two people of the century who are respected by the audience. But from a certain point of view, touching and beautiful love stories are widely circulated, and it can also make many young people understand that love that is destined to be unfulfilled requires restraint and will become better because of restraint. The authors describe the rose "Roman Holiday" (1966), and give biological characteristics of the rose "Roman Holiday".

Dialoguing With Images: An Expressive Arts Method for Health Research

Despite the increasing integration of arts-based methods within qualitative research, few expressive arts methods have been studied to understand their process, rationale and impact on the inquiry process. We conducted a grounded theory study on family experiences of paediatric HSCT where we simultaneously adapted and studied a ‘dialoguing with images’ (DI) expressive arts process as method. Fifteen family members participated in two interviews, drew an image and were guided through the DI method. We articulate the social process shared by researchers, participants and the images as they co-constructed knowledge through the DI method. The four distinct phases of the method include: 1) containing the imaginative space within an outer and inner frame, 2) creating an embodied image: image work is an expressive, generative process, 3) a shared, participatory aesthetic interpretation and 4) crystallizing stories of illness. The findings are grounded in expressive arts theory and philosophy, hermeneutics and analytical art psychotherapy theory.

Mobile educational space and imaginative travellers in-situ: A case study of a UK international branch campus in China

ABSTRACT This paper problematizes the neglect of spatiality and materiality of international branch campuses in extant studies and challenges the predominant representation of transnational education students merely in terms of their corporeal immobility. Based on a case study of a UK international branch campus in China, this paper incorporates interview narratives and ethnographic observations to reveal the students’ experiences and imaginations, and to delineate the unique texture of the spatiality of the campus. In examining the dynamic interrelations between imagination, materiality, and (im)mobility in transnational educational spaces, this paper highlights the students’ imaginative process, in which spatial imagination and imaginative space (re)produce each other and are complicated by the various sources of power at play. The international branch campus thus functions as an infrastructure of im/mobilities, which is both locally embedded and transnationally connected; it enables students’ imaginative mobilities, transforming them into ‘imaginative travellers’ who have never physically been abroad but whose being and belonging are constantly negotiated by their everyday experiences in a mobile educational space.

Civil Vengeance: Literature, Culture, and Early Modern Revenge by Emily L. King

Reviewed by: Civil Vengeance: Literature, Culture, and Early Modern Revenge by Emily L. King Adam Hansen Civil Vengeance: Literature, Culture, and Early Modern Revenge. By Emily L. King. Ithaca, NY: Cornell University Press. 2019. xiii+170 pp. $53.95. ISBN 978–1–5017–3965–1. This is an enjoyably ambitious, sophisticated, and subtle rethinking of the ways in which revenge permeated and preoccupied early modern English culture. Emily L. King aims to show how we might think beyond the 'spectacular theatricality of onstage revenge acts', to perceive 'vengeanceʼs uncanny permutations', in texts and contexts 'beyond the high-pressure cooker' of the early modern theatre (p. 3), in 'conduct manuals, scientific writing, elegiac poetry, religious sermons, imaginative letters, and parliamentary acts' (p. 12). King perceives these permutations as part of the ever-ambiguous 'civilizing' process, with 'revengeʼs integration into the social fabric' becoming 'civil vengeance': 'retribution in the guise of civility' (p. 4). As King elaborates: 'civil vengeance makes legible interactions of covert aggression and animosity, especially ones that substitute for death' (p. 9). It is, as she memorably puts it '[r]evenge with a smile' (p. 53). King is surely right to note that treating early modern revenge as the preserve of the stage is a flawed and self-fulfilling [End Page 276] prophecy: we keep finding it there because we keep looking for it there, which means 'the basis on which we organize the genre [of early modern revenge tragedy] becomes conflated with how we understand revenge as a concept' (p. 7). By instead scrutinizing a 'wide and sometimes obscure archive' (p. 12), King explicates 'the quiet retribution inhabiting early modern English culture' (p. 146). This prompts some counterintuitive analyses: rather than prohibiting vengeance outright as a way to respond to the Reformationʼs impact on volition, many religious texts of the period permit it by showing how 'intersubjective violence is recoded as godly retribution' (p. 50). Ranging from the earliest incarnations of revenge on the English stage to the vengeful moments of the Commonwealth and Restoration allows King to show how Margaret Cavendish, for one, can 'disrupt the revenge machine' by challenging 'linear time' in a liminal, imaginative space (p. 134). Elsewhere, King suggests vagrants were subject to 'preemptive retaliation' (p. 80), that is, set up as a threat only in order to be exhibited and repressed as 'scapegoats' (p. 109). While this evaluation might be seen to reproduce long-standing tropes of transgression containment, and be insufficiently attentive to the nuances and ambiguities of writing about Englandʼs 'peripatetic population' (p. 109), via a reading of Thomas Nasheʼs The Unfortunate Traveller King does offer a novel way to conceive such figures and their representation in relation to national identity. An even longer view of tragedy and revenge might have complicated Kingʼs argument that 'revenge has traditionally been understood as a discrete event' (p. 3)—classical tragedy continually makes audiences question the causality of the events that make revenge inevitable. That is, you have to ask: where does tragedy, and thus revenge, begin (or end)? In turn, one might query whether there was something particularly early modern and English about how 'spectacular vengeance' occupies the 'realm of the extralegal' while 'civil vengeance' 'wraps itself in courtesy and flourishes under law' (p. 10): isnʼt that exactly what happens in the course of Aeschylusʼs Oresteia, with all the attendant exclusion and repression King notes in the texts and contexts she does discuss? Equally, any discussion of tragedy and violence might be enhanced by mentioning Francis Barkerʼs The Culture of Violence: Essays on Tragedy and History (Manchester: Manchester University Press, 1993)—not cited by King—which makes the comparable and challenging case that what happens on stage obscures the reality of social violence rather than drawing attention to it. From the opening discussion of Hamlet, which manages to illuminate that most studied of texts in new ways, King repeatedly offers amazing close readings of texts familiar and unfamiliar, culminating in a detailed account of Cavendishʼs use of the subjunctive. This attention to textual detail is underpinned by a theoretically astute approach, which is eclectic but coherent and encompasses at different points...

The ‘Real’ Pakistan in Uzma Aslam Khan’s The Geometry of God (2007): A Testimony of Blasphemy

Since their widespread implementation and amendment in the 1980s by Muhammad Zia-ul-Haq, blasphemy laws have been used in Pakistan to supress freedom of speech and to create an environment of terror, fear, and subjugation. Islamist political parties on the right side of the spectrum in alliance with the military establishment ensure that resistance against these laws both judicially and socio-politically becomes almost unfeasible. Those who do have a chance to be released from the charges are faced with death threats and often become prey to homicide or mob lynching. In such a scenario, literature can and must offer an alternative imaginative space where constructive dialogue is made possible and where some form of healing is offered to the victims. It, therefore, becomes incumbent to understand the way in which Uzma Aslam Khan’s The Geometry of God (2017) offers an alternative to the state led official narrative regarding issues of blasphemy, freedom of expression and creative thought in relation to Pakistani identity. The Geometry of God deals with Pakistani history in the 1980s and ’90s under Zia-ul-Haq’s influence and legacy from three different narrator-perspectives and the (mis)use of blasphemy laws in Pakistan with respect to Zahoor, a palaeontologist. The book challenges the mainstream narrative about blasphemy as well as Pakistani history as it unfolds, and presents, instead, an alternative ‘real’ image of modern Pakistan which is more complex, polyphonic, and diverse. In this respect, this article demonstrates how Khan creates a larger alternative literary testimony within the novel through three narrator-characters as well as by employing various stylistic features. Indeed, the novel both mirrors and challenges the ‘official’ court testimony where Zahoor is silenced by false accusations against him in the name of blasphemy. Through a detailed analysis of the three narrators, this article shows how memories of past events are represented, including the way in which the literary form of the novel foregrounds the act of testimony.

ARCHITECT A SOCIAL REFORMER?

Architects’ Perception of space is loaded with multiple living layers that are articulated as bits and pieces of a variety of events that might have taken place over a range of time periods. The recollections are assembled in an imaginative plane in the form of a collage done in a virtual space grid. The perceptive layers expressed in tangible media are very intricate in nature. The nature of the complexity of these realistic, experiential, associational, hyper-realistic, and idealistic layers is jumbled up in the form of perceived augmented reality. The article is an inquiry to identify some of the potential layers that bang or should preferably resonate with the designers’ thought process. The basic motivation for the article is a study of theoretical discourses carried out by architects, and academic and design theorists. The method adapted for the study is to load a neutral space grid with two kinds of perceived scenarios; One scenario is rendered by doing a collage of selective social happenings on different planes in real time reproduced on the same plane in a hyper-realistic space grid, while the second scenario is created by loading the same space grid with a wholistic space configuration taking place within an existing overcrowded street. The comparative analysis is carried out to highlight the gap between ‘imagined space’ and ‘adapted space’. The article's objective is to engage designers in a conceptual dialogue – an inner speech to come up with more sensible and aware responses while taking design decisions. For this purpose, certain space settings are created for architects to critically expand their design horizons and their understanding of design issues to reimagine space configurations offered by the existing set of realities. Keywords: Space Perception, Space Grid, Cultural adaptation