ITP Shared Memory Space  

Model of ITP floor that can be explored in a browser or in Cardboard. Visitors can add objects/markers and record audio files of their memory of the space. 

Check out:


AutoDesk Revit

Things to think about



ITP floor map

With measurements

721 Broadway Fl.4/ ITP

Although the ITP was born in the same Bleecker Street space where the AMC started, it moved a year later, in 1980, to its current home: the fourth floor of NYU’s Tisch building at 721 Broadway. In its inaugural year, ITP accepted 20 students.

Burns’ office on the 4th floor of NYU’s Tisch Building has been in the same location since 1980. The rest of the floor started out as a completely open space—early students moved the furniture into the lobby so they could have more room to organize and experiment. By 1997, the program was growing and enrollment increased. To accomodate the growth, they busted down a wall to expand into the second half of the floor. Now around 110 students enter the program per year, making for a total of 220 students fighting for space to create their projects and get time with ITP’s visionary faculty. There are a few classrooms with doors, and they have floor to ceiling glass walls so they maintain an open feeling. There aren’t many offices for faculty, but there is an area dedicated to the required Physical Computing course.


start with bare minimum of the space (if no one has occupied it)


draw on floor plan


web sketch


Landing view (web)

Draw view (web)

Model view (web)

Model view (cardboard)

Model view: look down (cardboard)

Place/spatial based memory research

You are here: Personal geographies and other maps of the imagination

The Walk to South School by John Fulford

"I realize now what the Nicaraguan woman was saying when she told me to turn where the tree used to be. She was saying that she’s seen a lot of change – an earthquake, a revolution. And that the tree that used to be there, it was missed."

–Katie Davis Neighborhood Stories (Memory Map)

A New Yorker’s Idea of the United States of America

Giovanni Battista Piranesi

etchings of the past and from imagination

- share memories with people in second life: ask people about memory, older space

- psycho geographer: harvest works Mica (will self: placed based perception)

  - book: you are here

  - radical cartography: essays

  - PDpal: else-where

- what are the artifacts to bring back from VR shared world 

- sarah

maps: demographics/groups or personal/intimate

design inspiration

Taeyoon Choi drawing

Everything Sings. by Denis Wood

Hand drawn psychogeography maps found online:

Research & Readings

Sense of place

The term sense of place has been used in many different ways. To some, it is a characteristic that some geographic places have[clarification needed] and some do not, while to others it is a feeling or perception held by people (not by the place itself). It is often used in relation to those characteristics that make a place special or unique, as well as to those that foster a sense of authentic human attachment and belonging.

Places said to have a strong "sense of place" have a strong identity and character that is deeply felt by local inhabitants and by many visitors. Sense of place is a social phenomenon that exists independently of any one individual’s perceptions or experiences, yet is dependent on human engagement for its existence.


Space and Place : The Perspective of Experience

Yi-Fu Tuan, Cultural Geographer

  • From Space and Place:
  • What is a place? What gives a place its identity, its aura?

    These questions occurred to the physicists Niels Bohr and

    Werner Heisenberg when they visited Kronberg Castle in

    Denmark. Bohr said to Heisenberg:

    Isn’t it strange how this castle changes as soon as one imagines that

    Hamlet lived here? As scientists we believe that a castle consists only

    of stones, and admire the way the architect put them together. The

    stones, the green roof with its patina, the wood carvings in the

    church, constitute the whole castle. None of this should be changed

    by the fact that Hamlet lived here, and yet it is changed completely.

    Suddenly the walls and the ramparts speak a quite different language.

    The courtyard becomes an entire world, a dark corner reminds us of

    the darkness in the human soul, we hear Hamlet’s "To be or not to

    be." Yet all we really know about Hamlet is that his name appears in a

    thirteenth-century chronicle. No one can prove that he really lived, let

    alone that he lived here. But everyone knows the questions Shakespeare

    had him ask, the human depth he was made to reveal, and so

    he, too, had to be found a place on earth, here in Kronberg. And once

    we know that, Kronberg becomes quite a different castle for us.2

  • Space and place:
  • The relations of space and place. In experience, the

    meaning of space often merges with that of place. "Space" is

  • more abstract than "place." What begins as undifferentiated
  • space becomes place as we get to know it better and endow it
  • with value. Architects talk about the spatial qualities of place;

    they can equally well speak of the locational (place) qualities of

    space. The ideas "space" and "place" require each other for

    definition. From the security and stability of place we are aware

    of the openness, freedom, and threat of space, and vice versa.

    Furthermore, if we think of space as that which allows movement,

    then place is pause; each pause in movement makes it

    possible for location to be transformed into place.

    People are less dependent on imagery and on consciously held mental maps

    than they perhaps realize. Warner Brown’s experimental work

    suggests that human subjects can learn to negotiate a maze by

    integrating a succession of tactual kinesthetic patterns. They

    learn a succession of movements rather than a spatial configuration

    or map.7

    Space is transformed into place as it acquires definition and

    meaning. We have noted how strange space turns into

    neighborhood, and how the attempt to impose a spatial order

    by means of a grid of cardinal directions results in the establishment

    of a pattern of significant places, including the cardinal

    points and center.


  • Experience is a cover-all term for the various modes through
  • which a person knows and constructs a reality.
  • Emotion tints all human experience, including the high
  • flights of thought.
  • To experience is to learn; it means acting on the given and creating out of the

    given. The given cannot be known in itself. What can be known

    is a reality that is a construct of experience, a creation of feeling

    and thought.

    Experience is compounded of feeling and thought. Human

  • feeling is not a succession of discrete sensations; rather memory
  • and anticipation are able to wield sensory impacts into a
  • shifting stream of experience so that we may speak of a life of

    feeling as we do of a life of thought.

    Experience can be direct and intimate, or it can be indirect and conceptual,

    mediated by symbols. We know our home intimately; we can

    only know about  our country if it is very large. A longtime

    resident of Minneapolis knows the city, a cabdriver learns to

    find his way in it, a geographer studies Minneapolis and knows

    the city conceptually.

  • Time:
  • As we move mentally out to space, we also move either backward

    or forward in time.

  • Recollection of place:
  • In Santmyer’s recollection of her hometown, she contrasts

    vision with touch. Seeing, like thought, is evaluative, judgmental,

    and conducive to fantasy. If the sky were gray, she said, you

    would remark on "how ugly the town was, and how drab and

    dull." And if the sky were clear, you would pause at the gate to

    wish for escape and a bright future far away. Images and ideas

    discharged by the mind are seldom original. Evaluations and

    judgments tend to be cliches. The fleeting intimacies of direct

    experience and the true quality of a place often escape notice

    because the head is packed with shopworn ideas. The data of

    the senses are pushed under in favor of what one is taught to

    see and admire. Personal experience yields to socially approved

    views, which are normally the most obvious and public

    aspects of an environment.

    Within a human group experiences have sufficient overlap so

    that an individual’s attachments do not seem egregious and

    incomprehensible to his peers. Even an experience that appears

    to be the product of unique circumstances can be

    shared. The scene drawn by Isherwood, in which a teacher makes brief contact with two students sitting under a newly

    planted tree on a California campus, is highly specific. Its

    meaning, however, is not impenetrably private: all who read

    the passage and nod in recognition, whether or not they have

    taught in an American college or lived in California, share it to

    some degree.

    Narrative maps

    Their mission is more novelistic. Which I also love. What they chart isn’t Boylan Heights exactly but Wood’s feelings about Boylan Heights, his curiosity about it, and his sense of wonder at all the things about the place that are overlooked and unnamed. 


    Which brings me to the oddest thing about these maps. They describe human lives without ever showing us any people. Instead, we see the underground structures that humans build for waste and the paths they make for squirrels in the sky. We see which homes have wind chimes and which ones call the cops. We see the route of the letter carrier and the life cycle of the daily paper. Wood is writing a novel where we never meet the main characters, but their stuff is everywhere. I don’t know exactly how to describe the feeling that creates. It’s like walking around a world that’s been decimated by a neutron bomb and walking into all the houses. You miss the people who lived here, and you think about their daily routines. You can count the scraps of toast left on their plates and smell the bacon they were preparing right before they were vaporized. Their lives seem far away and utterly present, both at the same time. Which somehow makes our world seem fragile and very precious. Maybe it’s just me, but that seems like the opposite of the feeling ordinary maps give us, with their rock solid facts and their obsession with street names. They make the world seem anything but fragile. 

    Though, of course, the world is fragile. And fleeting. And so Denis Wood’s maps are a far more accurate depiction of Boylan Heights than any normal map could ever hope to be.


    EVERYTHING SINGS: Maps for a Narrative Atlas 

    Denis Wood

  • From This American Life:
  • Denis Wood neighborhood maps of Boylan Heights in Raleigh, North Carolina

    This American Life

    Neighborhood stories:


    Personal geographies


    You are here

    Psychogeography (urban geography)

    "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."

    Guy Debord

    Concept of place

    The main conceptualization of place as a particular location that has acquired a set of meanings and attachments began in the 1970s. It was the works of Martin Heidegger (1889–1976) that proved to be particularly influential on the work of humanistic geographers who developed the notion of place in the 1970s. Heidegger (1993) believes that human existence is existence in the world. This idea of being in the world was developed in his notion of dwelling and describes the way we exist in the world and make it meaningful. Since then, different theoretical approaches associate the concept of place with human nature and existence, and the manner of this existence is very crucial in each of these approaches.

    Phenomenologists such as Norberg Schulz emphasize the subject of ‘human being’s existence’ in explaining the concept of place. In Schulz’s (1975) approach, place is beyond an abstract location; it is composed of real things, and its components are materials, substances, patterns and colors. The collection of these elements defines an environmental character, which can be considered ‘the nature of place’. He believes that human beings experience the meaningful occurrences in place. Moreover, Relph (1976) introduces places as the most important focus for human being’s experiences. He argues that the main meaning of place, or, in other words, the nature of place has not originated from its ordinary environments, activities or communities. Although, all of these components are common and even essential aspects of place, the nature of places is based on the type of knowledge of place and perception which defines place.


    Building Dwelling Thinking

    Martin Heidegger

    Evolution of idea

    Virtual Environment

    a computer-generated, three-dimensional representation of a setting in which the user of the technology perceives themselves to be and with in which interaction takes place; also called virtual landscape, virtual space, virtual world

    Drawing representations (personal/intimate)

    Our shared space

    - ITP: physical reality vs. personal reality

    Stuffs to look at

    Michael Asher — Santa Monica Museum of Art

    Susan Hiller

    Composite Group Dream Map

    Kim Dingle

    United Shapes of America