Memory space can be explained in terms of transformation processes of a given anthropic environment. This type of environment can be an urban small scale or urban great scale.
Presentation and production of memory space occurs under the following key areas such as architecture, surveying, urban modeling, environment, design, internet and value-added. In fact, the studies on the birth of the modern architecture in territories like Naples were carried out in order to gain the necessary knowledge which at the end will enable somebody to create and enjoy environmental factors related to the environment. (MITRAŠINOVIĆ, 2006).
To explain further, representation is very essential in architecture as it is used to establish many dialogues during the designing process. During the establishment of these dialogues, it is important for someone to choose one type of representation which will at last influence the outcome of the project.
Representation can be reduced to express a visual appearance which acts as an image taken from ones experiential dimensions. In the study we explored the opportunities and shortcomings of representation that we initially borrowed from the film (MITRAŠINOVIĆ, 2006).
We are also urged to know the significance of film. The film allows the expression of emotions. In addition, we did suggest that the emotive place is one which is not accounted for by designers’ but also the partisanship of the user who remembers the very place as conveyed by his or her own emotions (MITRAŠINOVIĆ, 2006).
This experience aims at articulating the representation of various things the students studied when they were ardent to users. Through various methods taken from borrowed disciplines like films, we were able as students to not only understand the values and emotive place of the locals but also on the same note we were able to have positive emotions in regard to memories and familiarity (MITRAŠINOVIĆ, 2006).
Some issues in modern time do permeate the debates on immaterial culture and even the social memory. There are several forms of production and transmission of cultural manifestations both in religion, arts and narratives.
When talking about memory space, one should be able to know by asking themselves the following questions; what it means when one says rediscovering the past or reencountering the past with the current issues. One should also know the meaning of local and regional traditions (WAKITA, 2003).
However, memory can best be understood from the concept of science. Memory is the act of remembrance and memorization which when viewed accordingly can act as a positive way to cope up with the social life among people.
Human memory is conceived as an elongated process that comes from our interactions with other people which at long last constitutes our cultural activities. Similarly, memory is developed from oral and written words or by the use of images sculpted or drawn. So memory can be anchored in text form, oral communication, sounds and even images, etc (WAKITA, 2003).
According to BRONFEN, (1999), the ability to remember something is associated with unconscious transformations due to individual and collective interest and even feelings.
This only happens if people are part of that defined group. In summary form, memory is a social construction that is produced by people out of their relationships, values and even from the experiences gained while living together. Representation begins in a subject (collectively or individually). (BRONFEN, 1999).
List of references
BRONFEN, E. (1999). Dorothy Richardson’s art of memory: space, identity, text. New York, Manchester University Press.
MITRAŠINOVIĆ, M. (2006). Total landscape, theme parks, public space. Aldershot [u.a.], Ashgate.
WAKITA, O. A., & LINDE, R. M. (2003). The professional practice of architectural working drawings. New York, NY [u.a.], Wiley.