Exploring narrative driven architecture.Architecture has been used as a physical medium that goes beyond providing shelter, but also to tell stories or document historical epochs. The architectural structures of old were designed to give its visitors an experience steeped in narrative such as biblical scriptures or even engender feelings of awe as they passed through a space. This is evident in the well established culture of architecture being something you experience, not merely a thing viewed through images. A building can not speak to you without you being beside or inside it. Architecture is an experience, an adventure and it is storytelling. “ Understanding nor organising are not enough nor necessary” (John Hejduk). This project was an opportunity for me to go after my dreams and passion of exploring storytelling through architecture. My love for film and cinema, fairytales, magic and myths. To somehow connect architecture to my passion of storytelling, whilst being challenging, has taken me to places unknown and helped me rediscover architecture, space and the human itself. The project is not about creating space for purpose, or purpose out of space, it is an experimentation of how space and design can be formed solely based on a narrative and the narratives view and understanding of the world. Is it not a psychoanalysis but merely an adventure where I invite you to feel and understand a person and his feelings through the help of architecture and design. The space will tell you everything that you need to think about.

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<p>Ovaj rad ima za cilj da ispita prisutnost i značaj videoigara u<br />kontekstu scenske arhitekture i da ukaže na rastući značaj jedne mlade<br />discipline, a to je kreiranje prostora u videoigrama. Teorijski i<br />naučno-istraživački deo rada ukazuju, svaki na svoj način, na već<br />postojeće i nove moguće oblike primene koncepata prostora i vizuelnih<br />percepcija iz oblasti arhitekture i urbanizma u oblasti kreiranja<br />videoigara. Od Vitruvijevog trojnog načela, preko trojnog načela<br />ključnih odrednica videoigara i problematike prostornih situacija,<br />do uloge i položaja korisnika/igrača u kontekstu sadejstva sa datim<br />prostorom, u radu je predočen niz načina na koje elementi<br />arhitektonskog teorijskog nasleđa, pre svega elementi i principi<br />scenske arhitekture, mogu biti implementirani u proces kreiranja<br />prostora u videoigrama.</p> / <p>The goal of this thesis is to examine the presence and significance of<br />videogames in the context of scene architecture and to indicate a growing<br />importance of a young field &ndash; level design in videogames. Theoretical and<br />scientific research portions of the paper point, each in their own manner, to<br />existing as well as new modes of applying concepts of space and visual<br />perception from the domain of architecture and urbanism in the field of<br />videogame design. This paper offers a significant number of methods of<br />implementing aspects of architectural theory heritage, primarily elements and<br />principles of scene architecture, in the process of designing space in<br />videogames - starting with Vitruvius&rsquo;s triple principle, followed by the triple<br />principle of key features of videogames and the issue of spatial situations, to<br />the role and position of user/player in the context of cooperation with a given<br />space.</p>

This research strives to characterize the means by which video game players experience and understand the space of the game city during the course of play. Three-dimensional video game cities are neither static environments nor stationary views; rather, they are experienced through movement, action, and play. Our experiences of new places are not developed at a glance. Instead, they are cultivated through use over time. This work utilizes games that take place in constructed versions of New York City as a case study. By focusing on the ways players navigate spaces, we can understand how they construct spatial awareness and how this space is transformed into a meaningful place of play. In order to come to this understanding, this study asks a series of questions: How are these spaces arranged? How does the player move through the space and how does the game teach spatial navigation? What actions are performed in the space and how is gameplay adapted for the city environment? And how do of narrative environments contribute to a player's identification with the space? These questions are examined within a framework of urban, cultural, and game studies. I examine techniques that are employed by video game city designers to help players navigate space and make it meaningful. Additionally, this research poses areas for future expansion and experimentation with game cities.

Denna uppsats undersöker hur den materiella spelvärlden i The Witcher 3: Wild Hunt konstrueras och presenteras, med fokus på medialiserade figurationer, rumslighet och transmediala berättelseelement. Med utgångspunkt i posthumanistisk teori och materiell semiotik kartlägger studien hur den virtuella miljön i spelet också fungerar som en aktiv deltagare i spelupplevelsen, snarare än en passiv bakgrund till huvudberättelsen. Genom att tillämpa Espen Aarseths variabla modell analyserar studien hur spelets design och interaktiva objekt fungerar som semiotiska agenter. Resultaten visar att spelvärldens rumsliga element, såsom väder, topologi och arkitektur, spelar en avgörande roll i att forma spelvärldens rumsliga upplevelse och narrativ. Vidare visar analysen att interaktiva objekt och sidokaraktärer, trots olika begränsningar avinteraktionsmöjligheter, erbjuder visuella och audiella ledtrådar som bidrar till spelvärldens tillblivande. Studien visar att spelvärlden i The Witcher 3: Wild Hunt är ömsesidigt konstituerad med spelarens handlingar, där varje interaktion formar och omformas av den dynamiska och performativa spelvärlden. / This thesis explores how the material game world in The Witcher 3: Wild Hunt is constructed and presented, focusing on mediatized figurations, spatiality, and transmedia narrative elements. Grounded in posthumanist theory and material semiotics, the study maps how the virtual environment also functions as an active participant in the gameplay experience, rather than just a passive backdrop to the game story. Utilizing Espen Aarseth’s variable model the analysis investigates how the game’s design and interactive objects act as semiotic agents. The findings reveal that the spatial elements of the game world, such as weather, topology, and architecture, play a crucial role in shaping the spatial experience and narrative of the game world. Furthermore, the analysis shows that interactive objects and side characters, despite varying levels of interaction possibilities, provide visual and auditory cues that contribute to the coming into being of the game world. The study demonstrates that the game world in The Witcher 3: Wild Hunt is mutually constituted with the player’s actions, where each interaction shapes and is shaped by the dynamic and performative game environment.