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Developing Three-Dimensional Spatial Embodiment in Architectural Design Education: Underwater Experiences

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Bibliographic Details
Title:	Developing Three-Dimensional Spatial Embodiment in Architectural Design Education: Underwater Experiences
Language:	English
Authors:	Esen Gökçe Özdamar (ORCID 0000-0001-7189-3633)
Source:	Sport, Education and Society. 2025 30(6):698-714.
Availability:	Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed:	Y
Page Count:	17
Publication Date:	2025
Document Type:	Journal Articles Reports - Descriptive
Descriptors:	Architectural Education, Spatial Ability, Aquatic Sports, Kinesthetic Methods, Computer Simulation
DOI:	10.1080/13573322.2024.2333967
ISSN:	1357-3322 1470-1243
Abstract:	Three-dimensional thinking, observation, and practice have long been an important part of architectural education. Reduced awareness of corporeality and the senses can impair a student's capacity to create and develop an architectural environment holistically. Simulation programmes are an important tool to fill this gap, as they can broaden a student's perceptual framework. This article aims to understand the potential of underwater contact experiences to serve this purpose, especially underwater (UW) rugby which is one of the few sports that is three-dimensional. The article also aims to understand how simulation programmes, virtual reality, or augmented environments of UW rugby can contribute to design and architecture education by increasing student awareness. The article is grounded in the impact of this sport on the author and the author's perceptions based on personal experience as a former UW rugby player. It is argued that the simulation of UW rugby can contribute to design-related topics such as free form-finding, role-sharing and group collaboration, the development of awareness to sensorial design processes, risk- taking and action-oriented processes, designing with environmental uncertainty, and even design management, as these immersive environments provide a new agenda for future designers. Due to practical limitations, the article presents a theoretical argument as a first step toward developing a theoretical framework. Future studies with cognitive research methods and quantitative approaches in sports simulation design research will address these constraints.
Abstractor:	As Provided
Entry Date:	2025
Accession Number:	EJ1474761
Database:	ERIC
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FullText	Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwHAy72mwtchL5R_4_KgHnKiAAAA4zCB4AYJKoZIhvcNAQcGoIHSMIHPAgEAMIHJBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDNc4PxN6f_GRBEIisQIBEICBmw0VdlKZD-5S4neeEBmknozrQCQUUuW7oX6MiKZlci3E0cl2HqwAlCH2UVv-SkuO8-P38UpHfPgIMCo8zoaGtKDD6Gpq2ImKqXM9EaBQYnpBocCmRQwbWogcZ9Q1wUz6ckavPuussLtnAcpyF3s0P7kfmgXKrOnSQS9iiNVTV3dO4niRKvsa6kE7C_6Xv3RTW3CU_G1XNVPxbX_l Text: Availability: 1 Value: <anid>AN0186083038;0uv01jul.25;2025Jun24.02:24;v2.2.500</anid> <title id="AN0186083038-1">Developing three-dimensional spatial embodiment in architectural design education: underwater experiences </title> <p>Three-dimensional thinking, observation, and practice have long been an important part of architectural education. Reduced awareness of corporeality and the senses can impair a student's capacity to create and develop an architectural environment holistically. Simulation programmes are an important tool to fill this gap, as they can broaden a student's perceptual framework. This article aims to understand the potential of underwater contact experiences to serve this purpose, especially underwater (UW) rugby which is one of the few sports that is three-dimensional. The article also aims to understand how simulation programmes, virtual reality, or augmented environments of UW rugby can contribute to design and architecture education by increasing student awareness. The article is grounded in the impact of this sport on the author and the author's perceptions based on personal experience as a former UW rugby player. It is argued that the simulation of UW rugby can contribute to design-related topics such as free form-finding, role-sharing and group collaboration, the development of awareness to sensorial design processes, risk- taking and action-oriented processes, designing with environmental uncertainty, and even design management, as these immersive environments provide a new agenda for future designers. Due to practical limitations, the article presents a theoretical argument as a first step toward developing a theoretical framework. Future studies with cognitive research methods and quantitative approaches in sports simulation design research will address these constraints.</p> <p>Keywords: Underwater rugby; kinaesthetic perception; embodiment; three-dimensional space; design process; architecture and design education; design thinking</p> <hd id="AN0186083038-2">1. Introduction</hd> <p>Three-dimensional thinking, observation, and practice have long been an important part of architectural education. Since the Renaissance, architectural models have been indispensable parts of the design process as they express and realize three-dimensional perception (Smith, [<reflink idref="bib43" id="ref1">43</reflink>], p. 10).[<reflink idref="bib1" id="ref2">1</reflink>] During this period, architects, like Michelangelo, believed that the observer was in motion and it that it was essential not to visualize buildings from a fixed point. They made small-scale clay models and rarely made perspective sketches to study three-dimensional effects as it was believed that three dimensions were perceived mentally (Smith, [<reflink idref="bib43" id="ref3">43</reflink>], p. 25). In the 1900s, architects like Gaudi preferred to study geometric forms with scale model apparatuses made of plaster and suspended wire. He used these to resolve the complexity of advanced geometric forms, rather than doing so with representational two-dimensional drawings.</p> <p>In the early 1900s, the representation of motion was emphasized in architecture and architectural education. This occurred in parallel with the development of cameras and optical devices. The representation of synchronized motion and superimposition occurred in Marcel Duchamp's <emph>Nude Descending a Staircase, No. 2</emph> (1912) and <emph>Swifts: Paths of Movement + Dynamic Sequences</emph> (1913). Similarly, bodily movements were first recorded with overlapping photographic segments by Étienne-Jules Marey, who wished to express his thoughts on 'the body as an animate machine' (Braun, [<reflink idref="bib6" id="ref4">6</reflink>], pp. xvii–xviii). Following Marey, Max Wertheimer, Kurt Koffka, and Wolfgang Köhler (the founders of Gestalt psychology in the twentieth century) furthered the development and conceptualization of movement in architecture. Wertheimer's <emph>Experimental Studies on the Perception of Movement</emph> (1912) focused on the 'phi phenomenon' that addressed the problem of apparent motion (Mallgrave, [<reflink idref="bib30" id="ref5">30</reflink>], p. 87). In <emph>Principles of Gestalt Psychology,</emph> Koffka described the notion of an environmental field, and how environments are constructed in terms of visual organization, figure-and-ground, constants of shape and colour, and three-dimensional space. He defined the principal task of psychology as discerning the relationship between human behaviour and psycho-physical study (Mallgrave, [<reflink idref="bib30" id="ref6">30</reflink>], p. 88).</p> <p>Understanding movement is also related to Çelik Alexander's notion of 'kinaesthetic knowing', a pedagogical term derived from the works of art historian Heinrich Wölfflin, architect August Endell, and artists and pedagogues such as Hermann Obrist, Wilhelm von Debschitz, László Moholy-Nagy, Wassily Kandinsky, and Paul Klee (Çelik Alexander, [<reflink idref="bib8" id="ref7">8</reflink>], p. 11). Kinaesthetic knowing is 'non-discursive and non-conceptual knowledge' gathered from the information and experience gained by the interactions between the body and the outside world (Çelik Alexander, [<reflink idref="bib8" id="ref8">8</reflink>], p. 32). However, kinaesthetic knowing lost its credibility during the Bauhaus education system, in which students were trained formalistically (Çelik Alexander, [<reflink idref="bib8" id="ref9">8</reflink>], p. 201). Students observed the relationship between form and effect and drew from the utilization of their bodies' free movements (Çelik Alexander, [<reflink idref="bib8" id="ref10">8</reflink>], p. 200).</p> <p>After Koffka's studies, the development of kinaesthetic and three-dimensional perception has also played an important role in the Bauhaus architectural pedagogy, which developed and strengthened three-dimensional perception. In this period, the origin of kinetic art and body works in architectural education were discussed in relation to Marey's descriptions of motion and the experimental works of Itten and Moholy-Nagy. In <emph>Von Material zu Architektur</emph> (1929) (Moholy-Nagy, [<reflink idref="bib34" id="ref11">34</reflink>]), Moholy-Nagy described the use of three-dimensional volumes inspired by nature and modernist sculpture in the education of the architect. Similarly, in <emph>The New Vision, Abstract of an Artist</emph> (1947), he described space as a relation between the positions of bodies – a definition found in physics. Moholy-Nagy argued that space is first perceived visually, and secondly by movement and touch (Moholy-Nagy, [<reflink idref="bib33" id="ref12">33</reflink>], p. 57). According to Moholy-Nagy, human beings perceive space through the senses of sight, hearing, equilibrium, and movement (Moholy-Nagy, [<reflink idref="bib33" id="ref13">33</reflink>], p. 58).[<reflink idref="bib2" id="ref14">2</reflink>]</p> <p>Merleau-Ponty's phenomenological ideas have shaped the sensory perception of the built environment in more recent studies. For Merleau-Ponty, perception is a form of communication or communion, and human perception results from the fusion of the body with things in the environment (Merleau-Ponty, [<reflink idref="bib31" id="ref15">31</reflink>], p. 373). This was echoed by the work of Juhani Pallasma, Peter Zumthor, and David Le Breton, whose sensory anthropology is grounded in physiological foundations and culture (Le Breton, [<reflink idref="bib27" id="ref16">27</reflink>], p. 3), as well as neuroarchitectural investigations. However, Le Breton also argued that the body is a riot of sensory experience. Through all the senses, stimuli are ingested while the body moves through the world and mixes with it. In a continuous weaving and an ever-present sensory continuity, human flesh and the flesh of the environment converge. Perception is a type of interpretation rather than synonymous with the real world (Le Breton, [<reflink idref="bib27" id="ref17">27</reflink>], p. 1).</p> <p>Another approach to understanding human movement is that of Rudolf von Laban and his student Irmgard Bartenieff, who analysed and recorded movement and developed a language of human movements that notated walking and dancing. Known as Laban Movement Analysis (LMA), the movement and its three-dimensional rotational axes were defined as a kinaesphere (an icosahedron and a programmatic reflection on the space as a representation of movement) that existed at micro and macro scales. From the joints to the whole body and to the bodies in space at a large scale (Longstaff ([<reflink idref="bib29" id="ref18">29</reflink>]); Whittier, [<reflink idref="bib55" id="ref19">55</reflink>], p. 236). These studies were later developed by many dance theatres or performers at the intersection between architecture and dance Nederlands Dance Theater (NDT) to Kibbutz and L.A. Dance Project (L.A. Dance Project ([<reflink idref="bib25" id="ref20">25</reflink>])). These projects focused on the interaction of the human body with spatial features such as walls, flat or inclined surfaces, or disks to explore, concentrate, and freely express the potential of moving bodies in space.</p> <p>The relationship between the body and sports has been explored by many architectural theorists with specific movement rhythms and patterns, such as walking, running, jumping, rotating, and skateboarding (see Iain Borden's ([<reflink idref="bib5" id="ref21">5</reflink>]) studies on skating as a sport and as an act of cultural, critical, and political re-reading of urban space and capitalism, corporate identity, and buildings). This relationship has been explored both in terms of metaphor and mappings in design. Some of the studies that integrate architecture and body movements include corporeal studies, cinematic presentations, and montages, chronotopes, and performance drawings in body art. Today, architectural models and three-dimensional learning have become a crucial part of architectural education, involving movement that has been demonstrably important to studios in practice. In architectural education, space is represented with various techniques, including visual mappings or the overlapping of visual, auditory, and kinaesthetic information. Many programmes and interfaces are used for three-dimensional thinking, such as augmented reality, virtual reality, and motion tracking for three-dimensional perception. These notate movement and allow one to explore the meaning of space and the ways it is used. Advances in technology have facilitated new analyses, including the tracing or tracking of the real-time movements of bodies in physical and simulated environments such as Machine Learning environments designed by the <emph>Universal Everything</emph> collective (Universal Everything ([<reflink idref="bib52" id="ref22">52</reflink>])).</p> <p>Ronit Eisenbach's collaborative workshop between architects and choreographers, <emph>Placing Space: Architecture, Action, Dimension,</emph> was a contemporary collaboration and interdisciplinary study concerning architecture, movement, and the body. It explored the embodied experience of place and architectural space and the real-time, improvisational movement of humans through plays and orchestrated situations (Eisenbach, [<reflink idref="bib17" id="ref23">17</reflink>], p. 76, 81). For Eisenbach, this collaboration allowed the viewers to explore what is missing in architectural education: experience as an embodied, ephemeral condition including time-based occurrences. It exposed students to an unexplored sensorial realm of architecture (Eisenbach, [<reflink idref="bib17" id="ref24">17</reflink>], p. 79).</p> <p>However, in these studies, the relationship between three-dimensional sports and architecture was not explored. Some recent studies in this field include phenomenological studies, especially on the effects of extreme sports on the human's 'being-in-the-world' and 'transpersonal or transcendental experiences' (Brymer &amp; Schweitzer, [<reflink idref="bib7" id="ref25">7</reflink>], p. 22). In regard of phenomenology, watching a game develops 'our intuition of the game', which according to Sokolowski ([<reflink idref="bib44" id="ref26">44</reflink>], p. 34) is, 'simply having a thing present to us as opposed to having it intended in its absence' (Brymer &amp; Schweitzer, [<reflink idref="bib7" id="ref27">7</reflink>], p. 22).</p> <p>This article aims to find relationships between three-dimensional thinking in design, underwater rugby, and underwater experience to fill this gap. Depending on the body, space, gravity, and motion perception of UW rugby players, this article aims to understand the close relationship between underwater contact and how observing this game as a simulation in virtual, augmented or hybrid reality can contribute to design and architecture education. The article provides a theoretical framework through which to understand virtual reality and/or augmented reality simulations and how these can improve the skills of students of design and architecture.</p> <p>Especially in design education, sensory aspects of watching this sport can be used as a tool to develop design students' spatial awareness, bodily perception, three-dimensional perception, and understanding of physical laws such as gravity and friction, free-form finding, design processes, and designing with uncertainty. Therefore, the focus of this article is the body, space, and sensory awareness derived from the sport's effects on perception. Insights are derived from the author's personal experience as a former UW rugby player. The article proposes a new agenda for future designers and design researchers by discussing the possible role of VR/AR simulations of UW rugby for the improvement of students' skills.</p> <hd id="AN0186083038-3">2. UW rugby as a three-dimensional spatial embodiment</hd> <p></p> <hd id="AN0186083038-4">2.1. UW rugby as three-dimensional sports</hd> <p>UW rugby is a three-dimensional sport in which players can experience and exploit different buoyancies of the body. Players can swim, suspended underwater, and can feel a reduction in gravity. Not only are multiple bodily skills necessary for UW rugby, such as swimming, diving, performance power, speed, strength, agility, and spatial orientation, but strategic and tactical teamwork is also an important part of the game.</p> <p>As a physical contact sport, UW rugby was first developed in 1961 in Cologne, Germany by German Underwater Club member Ludwig von Bersuda. It then spread to many Scandinavian and Eastern European countries in the 1970s. CMAS (World Confederation of Underwater Activities), the governing body of underwater sports authorities, recognized UW rugby in 1978 (Wiesner ([<reflink idref="bib56" id="ref28">56</reflink>])). According to CMAS, UW rugby is the only 3D team-based sport in which the players and the ball can move in three dimensions (CMAS, [<reflink idref="bib12" id="ref29">12</reflink>]). It is played by two teams of up to 6 active players and 3 reserve players, wearing basic diving equipment such as masks, snorkels, and fins, in a 3.5–5-meter-deep pool using a negatively buoyant saltwater-filled ball. The aim of the game is to score goals by putting the ball into the opponent team's metal basket, which is placed at the bottom of the pool which the goalkeepers hold on their bodies (CMAS Underwater Rugby Game Rules, [<reflink idref="bib13" id="ref30">13</reflink>]). The different positions include two forwards (middle/right), two backs, and two left-wing/goalkeepers. Speed, agility, and apnea (suspension of external breathing) are part of the skills of the players. There are two referees underwater and one referee at the table outside the pool. Communication underwater is limited, so it is advantageous to observe predictable patterns of the players for passing the ball to one another (Tien, [<reflink idref="bib51" id="ref31">51</reflink>]). The game is shot with underwater cameras, which are displayed simultaneously on the screens outside the pool so that the audience can follow the game.</p> <p>Studies on UW rugby often focus on measuring the physiological characteristics and aerobic performance of players (Ateş et al., [<reflink idref="bib3" id="ref32">3</reflink>]). There is enough phenomenological research on affect and sensory experiments in play. By contrast, phenomenological research on UW sports focuses mainly on deep diving or scuba diving. For example, Allen-Collinson and Hockey ([<reflink idref="bib2" id="ref33">2</reflink>], p. 3) compared scuba diving to distance running in terms of haptic phenomenology. They explored embodied forms of phenomenology, embodied consciousness, perception, intentionality, and the experience of lived time–space in sports and movement (Allen-Collinson &amp; Hockey, [<reflink idref="bib2" id="ref34">2</reflink>], p. 3, 6). Another study by Forster and Hockey ([<reflink idref="bib20" id="ref35">20</reflink>], p. 6), used semi-structured qualitative interviews with players to study scuba diving phenomenology and depth perception, and the sensory aspects of movement, vision, hearing, and touch.</p> <p>Underwater physiology differs greatly from land or air sports. It is an environment where body movements are slower but more fluid due to water resistance and pressure. Niewiedział et al. ([<reflink idref="bib35" id="ref36">35</reflink>], p. 45) argue that any diving and underwater environment is unfavourable for an experienced swimmer's psycho-physiological activity. However, past studies including Stanley and Scott's research on deep divers such as scuba[<reflink idref="bib3" id="ref37">3</reflink>] and naval divers, have proven that human vision can adapt to varied optical stimuli. Similar principles can exist in UW rugby with less depth (Stanley &amp; Scott, [<reflink idref="bib48" id="ref38">48</reflink>], p. 1542).</p> <p>In UW rugby, the movements are rhythmic as certain body movements are repeated in a very short time. These movements can be defined as vertically or obliquely ascending and descending, suspending, bending, etc. Although the movements in UW rugby follow a pattern, compared to other sports the various movements in the game cannot be performed repeatedly or simultaneously by other athletes, except in sports like gymnastics or synchronized swimming. In UW rugby, body movements are not planned, and underwater movements are limited by factors such as control and breathing while in motion, swimming with the help of hip bones and fins, frequency, and speed of movement.</p> <p>A UW rugby player uses their own eyesight first, but the frame of the mask, hazy water from quick movements, and bubbles from underwater officials oxygen tanks impede their vision. According to Stanley and Scott ([<reflink idref="bib48" id="ref39">48</reflink>], p. 1542), the diving mask adds to this by causing an optical distortion between the size of an object and the distance underwater. Objects are perceived as larger and farther away by players. The player first perceives the underwater world through their skin, which is the first sensory organ that perceives the new environment, and the heightened stimulation of the vestibular and kinaesthetic senses ([<reflink idref="bib48" id="ref40">48</reflink>], p. 1542).</p> <p>Touch is an active sense that perceives pressure from the athlete's body in contact with the ground, objects, and occasionally other bodies, and provides feedback about the body's movement through space (Allen-Collinson &amp; Hockey, [<reflink idref="bib2" id="ref41">2</reflink>], p. 8). As Ross points out, the perceptual experience of human beings begins on land (Ross, [<reflink idref="bib40" id="ref42">40</reflink>], pp. 69–70) and underwater this is completely different. Underwater, the perception of an object's distance changes, and this may become more accurate as players or divers become more experienced. Ross describes this for deep divers who also use oxygen, which makes it a different experience because the 'cold, anxiety, and nitrogen narcosis' also play a role in underwater psychology and perception. Similarly, colour perception changes with depth, and colour separation becomes difficult. Depending on the sound phase factors (as well as colour), the perception of sound and directionality of sound sources deteriorates, and the difference in intensity between the two ears is reduced (Ross, [<reflink idref="bib40" id="ref43">40</reflink>], pp. 69–70).</p> <p>Sportsperson have experience and practice with touch, which is active, deliberate, and skilled in specific movement patterns (Allen-Collinson &amp; Hockey, [<reflink idref="bib2" id="ref44">2</reflink>], p. 8). This can also apply to expressive individuals such as dancers and actors, or to pantomime actors who use time as a spatial element. Therefore, people with increased bodily perception of movement and kinaesthesia are more likely to perceive space more effectively in three dimensions. They can even perceive the meaning of forms and shapes more easily (Figures 1 and 2).</p> <p>Graph: Figure 1. Diving into the three-dimensional space of the pool. Russell Charters, 2019 (Charters, [<reflink idref="bib10" id="ref45">10</reflink>]).</p> <p>Graph: Figure 2. Body movements in UW rugby: the pool as an architectural space for the players. Russell Charters ([<reflink idref="bib11" id="ref46">11</reflink>]).</p> <p>In the perception of three-dimensional space, 'Euclidean space is projected onto both concave surfaces of the retina in both eyes' (Grütter, [<reflink idref="bib21" id="ref47">21</reflink>], p. 30) and must then be converted into a three-dimensional perceptual space in the brain. The third dimension (i.e. depth) is important in this process (Grütter, [<reflink idref="bib21" id="ref48">21</reflink>], p. 31). As a scuba diver who needs to develop a good sense of spatial orientation underwater and adapt to this sense through the information gained by the visual, vestibular, and proprioceptive senses (Stanley &amp; Scott, [<reflink idref="bib48" id="ref49">48</reflink>], p. 1543), a UW rugby player must catch visual and vestibular clues to understand the gravity when in a hidden position.</p> <p>The kinaesthetic and vestibular systems use multiple sources to identify the position of body parts and perceived orientation at depth in a weightless environment. Divers must rely on tactile cues because there aren't sufficient visual cues or typical vestibular cue patterns to guide them. However, subjects retain accurate proprioceptive representations of their body configuration and accurate spatial representations of their surroundings (Stanley &amp; Scott, [<reflink idref="bib48" id="ref50">48</reflink>], p. 1543).</p> <p>The visual and auditory senses also degrade underwater, and proprioceptive information degrades or is distorted by loss of gravity cues (Stanley &amp; Scott, [<reflink idref="bib48" id="ref51">48</reflink>], p. 1543). However, the player is never weightless, as different parts of the player's body have different densities, and gravity continues to exert force underwater (Ross, [<reflink idref="bib40" id="ref52">40</reflink>], pp. 85–86). The player's judgments such as 'tactile size judgments', 'motor skills', and 'knowledge of the vertical' are based on information derived from underwater pressure and proprioceptive information from receptors located in the player's joints, as well as the 'vestibular system, the muscular control system and other internal receptors' (Ross, [<reflink idref="bib40" id="ref53">40</reflink>], pp. 85–86).</p> <p>Unlike deep diving, UW rugby players hold their breath as they dive for a few seconds to several minutes in active body movement. They hear and feel heartbeats more easily than on land. Furthermore, divers can speak momentarily with their mouthpieces and hear the others, to convey a plan to pass the ball or to score a goal. When a player is hit in the face underwater, when their mask is fogged, or when they are in contact with other players for a long time, they may not be able to discern their vertical orientation instantly as their sense of gravity is diminished underwater. This intense contact sport relies on the participants' breathing abilities as well as their endurance and flexibility. This experience is comparable to that in the womb in that they can naturally enjoy the protected and secluded underwater experience. The underwater experience is natural and potentially even regressive.</p> <hd id="AN0186083038-5">2.2. Author's experiences of UW rugby</hd> <p>This section discusses the experiences of the author as an amateur UW rugby player for several years. Having experience in scuba diving and UW hockey, the primary source of information is the author's personal observations, which places limitations on the research. Subsequent research should use quantitative methodologies.</p> <p>During the game, gravity is felt very little. There is a sense of an infinity of space apart from the rules of the games. These experiences make UW rugby a noteworthy sport to be analysed regarding sensorial perception of space. Firstly, the semi-visibility of the game can create a feeling of comfortable space for the player and make it an intimate experience, although the players are surrounded in direct contact with the bodies of other players and two underwater referees. Holding breath, and the clouding of the water with bubbles often limit visual perception, which can increase this sensation of intimacy. The player can sometimes be conscious that they are in a pool, surrounded by a larger area outside the pool, and therefore that they are in a nested, microcosmic space. The player feels both inside and outside a kinaesphere and juxtapositions of space (Figures 3–5). However, the kinaesphere is not grasped underwater as it is perceived in dance or land sports. This may be because underwater movement is unpredictable. Due to the refraction effect of water, and because of turbidity, extensions such as arms and legs are masked by other bodies.</p> <p>Graph: Figure 3. Overlapping multiple kinaespheres form in/visible boundaries in the Cartesian space of the pool.</p> <p>Graph: Figure 4. Longtidual section showing some of the perceptual parameters during the game (GK: Goal keeper, R: Referee).</p> <p>Graph: Figure 5. Cross section: Attacking the goal keeper (GK: Goal keeper, R: Referee).</p> <p>Due to the short intervals of play, this fast-paced and dynamic game is a sport whose sensorial dimension can hardly be perceived during the game, as in all other competitive and contact sports. The experience of floating, the buoyancy of the player, and the exchange of the roles allow the player to engage with variable and sudden moves and problems. The smell of the pool water and the underwater sounds, mixed with the half-muted voices of the audience heard underwater results in a perceptual experience for the player that is near, far, and from within the water. The player is invited to choose between their body as an isolated interface or as part of a collective flow with other bodies. It is a deeply phenomenological experience. The player may not be able to see due to turbidity, may swallow water, or may be struck by a temporary and momentary loss of sensation. In this way, the player may momentarily feel blind, visually impaired, may feel vertigo, or a loss of balance. In this sense, playing is not as sensory as improvisational movements in dance. However, after leaving the water, the limiting components of the physical space are perceived as relatively fluid and transitive. The wave of the water softens the hard physical surfaces within the pool. If one is not in direct contact with a wall it is both near and far. The organic flow between the physical boundaries and the human body is more flexible and transitive than that perceived on land.</p> <p>The body of the UW player is constantly oriented by the visual, tactile, auditory, and physical state of the space of the pool. The rhythmic movements of underwater swimming form a mathematical rhythm or a kind of gestalt-like pattern, and, together with all the other ascending and descending movements, result in an experience of the team as one body and also of the two teams as one body. This pattern of play involves the use of 3D space, similar to design and gestalt principles of openness and privacy, such as proximity, similarity, common fate, continuity, shape/ground, symmetry, and order. Encountering these patterns enables the player to perceive and be aware of a body's postural condition in space.</p> <p>Although players hold certain positions, depending on whether physical contact occurs, each player can be an attacker, a forward, a backward, or a goal defender when necessary. The arbitrariness of each player's position requires an embedded observation of underwater conditions, where a mix of auditory, kinaesthetic, vestibular, and all the other senses fuse into a synaesthetic experience. This is accompanied by auditory acuity, which includes both hearing the breath stored in the player's lungs and shouting to team players, or hearing the referee's whistle. It might be a combination of all these facts, and the sensory feedback gained from the use of all senses that makes UW rugby both a sensorial game.</p> <p>When it comes to the perception of underwater space, UW rugby observation or simulation can provide insights. It can answer questions or provide information about a more phenomenological approach to built design or thinking about space and how a building stands on the ground. This experience can also provide an understanding of the effects of gravity and can develop an understanding of how objects and forms meet each other in space. From an architectural perspective, taking various postures and making quick decisions depending on the game and position can help architects improve their decision-making and action skills. Especially in site planning and construction processes where the designer must deal with many arbitrary problems and must find urgent solutions to fix a problem, the play/sports experience can enhance taking efficient and time-sensitive solutions to fix a problem and manage risk. In another approach, this experience may help designers re-think their transitory positions in design, particularly in participation-based or multi-actor-based design or planning processes. This game experience can also be applied to problem-solving in architecture and the design process at the early stages of a design, in which the designer collaborates with other actors, particularly in cross-disciplinary and transdisciplinary projects. As a result, the designer can develop empathy or manage participant-designer relationships that require synergy. By experiencing different roles in a single game, the designer can understand a design challenge situation through the eyes of diverse actors in a more effective and efficient manner. The simulation or the experience of watching this sport can improve and develop students' design skills and creativity, especially in conditions where uncertainty must be managed.</p> <p>UW rugby stimulates all these perceptions at the same time and can cause players to be conscious of their perceptions of their enclosing space and their own bodies. UW rugby can offer new ways of experiencing space, especially to designers. The arbitrariness of bodily movements is very important to the experience of different ideas, trials, and errors, both in sculpting, hand-made architectural models, and even in sketching activities in the design studio.</p> <hd id="AN0186083038-6">3. The relationship between UW rugby and design process</hd> <p>As Mark Paterson argues, watching dance or sports allows one to imagine the feeling of the movements that the dancers and athletes perform. These feelings involve proprioceptive and kinaesthetic sensations. Therefore, an empathetic observation of the movements can include similar kinds of feelings (Paterson, [<reflink idref="bib37" id="ref54">37</reflink>], p. 485). Based on this notion, incorporating simulations of underwater sports experiences using augmented reality and VR headsets have the potential to broaden design students' kinaesthetic and physical sensations, particularly during form-finding stages.</p> <p>Computer technologies and virtual environments have enabled possibilities for practicing and experiencing sports in remote places (Sánchez Pato &amp; Remilllard, [<reflink idref="bib41" id="ref55">41</reflink>]), as well as enabling the application of behaviours to actual circumstances (Soltani &amp; Morice, [<reflink idref="bib45" id="ref56">45</reflink>]). Many experiments realized in sports psychology show that the effects of VR technologies have a positive impact on the performance of target-based sports. Virtual reality-based imagery (VRBI) training programmes can positively impact shot performance and the visualisation skills of athletes (Bedir &amp; Erhan, [<reflink idref="bib4" id="ref57">4</reflink>]). It can furthermore improve the quality and level of physical education and training (Li &amp; Li, [<reflink idref="bib28" id="ref58">28</reflink>]; Tang, [<reflink idref="bib49" id="ref59">49</reflink>]) and can facilitate sports rehabilitation (Fang et al., [<reflink idref="bib18" id="ref60">18</reflink>]).</p> <p>As Landweer ([<reflink idref="bib26" id="ref61">26</reflink>], p. 134) argues, team sports and art enable and develop complex forms of corporeal interaction. For him, 'incorporation' as a kind of corporeal integration and communication, as put by the phenomenologist Hermann Schmitz, is both 'antagonistic' and 'solidary' (Landweer, [<reflink idref="bib26" id="ref62">26</reflink>], p. 134). Spatial perception is an active process that involves mobility, exploration, sensory perception, and the sensorimotor interaction of the individual with the physical world, argued by Voigt. The body's awareness of itself and the bodily sensations that affect perception serve as preconditions for a sense of space (Voigt, [<reflink idref="bib53" id="ref63">53</reflink>], p. 139). The perception of gravity affects kinaesthetic sensation, and, in conjunction with visual cues, enables one to discern vertical orientation. Human beings are constantly stimulated by gravity and the way their bodies are positioned. They perceive gravity in accordance with kinaesthetic perception (Grütter, [<reflink idref="bib21" id="ref64">21</reflink>], p. 34).</p> <p>Architectural design teaching is related to experimentation, both in terms of designing forms, but also tools, materials, ideas, values, or principles. Teaching is associated with experimentation with styles of teaching, educational instruments, and means to be utilized, teaching tactics to be implemented, learning outcomes to be accomplished, and values to be adopted by students (Spiridonidis, [<reflink idref="bib47" id="ref65">47</reflink>], p. 13). Contemporary approaches and changes in architectural education are based on learning by designing and exploring together. However, today, as Spiridonidis argues architecture schools can be resistant to this radical experimenting and regard dynamic processes as 'unknown and fearful' (Spiridonidis, [<reflink idref="bib47" id="ref66">47</reflink>], p. 14).</p> <p>Today, architectural teaching pathways are limited and rarely explore the boundaries of architecture as a discipline. Design studios are thought to be student-centred and inquiry-based, with an expectation that students will discover themselves (Roberts, [<reflink idref="bib39" id="ref67">39</reflink>], p. 9). As argued by Healey, design teaching is considered as research-based (Roberts, [<reflink idref="bib39" id="ref68">39</reflink>], pp. 9–10). Design as thinking and research is a 'mode of enquiry' (Coleman, [<reflink idref="bib14" id="ref69">14</reflink>], p. 208). Many students, have little tolerance for diverse (or deeper) educational techniques that defy convention (Coleman, [<reflink idref="bib14" id="ref70">14</reflink>], p. 209).</p> <p>Experiencing the haptic experience of all kinds of plastic arts, from sculpture and ceramics to traditional arts, and textile art, the designer becomes a technician in control of a machine. This helps the designer create, design, and think freely with the speed and volume. Without experiencing the sensations and effects provided by touching and interacting with materials, and instead emphasizing the representation or image of reality on the digital screen, the work of students is weaker. This weakness is especially apparent in first-year design studios.</p> <p>There are many components to the student's three-dimensional thinking exercises. Students imagine complex shapes and innovative design forms with the three-dimensional models they make and observe spatial problems that are difficult to work more comprehensively and effectively in three dimensions (Smith, [<reflink idref="bib43" id="ref71">43</reflink>], p. xviii). The integrated or vertical architectural design process is essential in architectural education and in the studio setting. It serves as an effective knowledge-catalyser, a potent multiplier of architectural creativity, and a framework for thinking about, comprehending, and practicing architecture (Spiridonidis, [<reflink idref="bib47" id="ref72">47</reflink>], p. 12).</p> <p>Although not investigated in this research, there is a close relationship between motor sensory development and the design process. Cognitive neuroscience research has concentrated on the strong relationship between perception and motor action in aesthetic experience and creative output, as well as the link between users' visuospatial experience and locomotive behaviour (Kwon &amp; Iedema, [<reflink idref="bib24" id="ref73">24</reflink>], p. 2). The role of simulation programmes is important in reducing this lack of experience, contributing to design activities, expanding the perceptual framework, and gaining a broader outlook.</p> <hd id="AN0186083038-7">3.1. Simulation and VR in sports</hd> <p>As Wang mentions, a simulation is a copy, imitation, or imitation of 'of real-world objects and settings' (Wang, [<reflink idref="bib54" id="ref74">54</reflink>], p. 349). It is the use of another system, particularly a computer software created specifically for that purpose, to represent the characteristics or behaviour of one system (Wang, [<reflink idref="bib54" id="ref75">54</reflink>], p. 350). Simulations allow for the externalization of the imagination, allowing for the preservation of imaginative experiences long enough for them to be analysed and revised, and for students to interact with others (Sorvig, [<reflink idref="bib46" id="ref76">46</reflink>], p. 91). A simulation is the representation of one system's behaviour or properties using another system, particularly a computer programme built for the purpose. It is a copy, imitation, or imitation of existing real-world objects, settings, and environments. Simulations can take the form of earthquake simulation, learning to fly, or developing a metropolis without incurring the costs of actual construction (Sorvig, [<reflink idref="bib46" id="ref77">46</reflink>], p. 349).[<reflink idref="bib4" id="ref78">4</reflink>] Designers use simulations and e-tools to model complex forms that cannot be easily modelled by hand or need more time to build a physical model or prototype, and to develop their three-dimensional thinking. However, the advancement of digital technologies can enhance traditional aspects of space and architecture perception and can simulate abnormal sensations (Tepavčević, [<reflink idref="bib50" id="ref79">50</reflink>], p. 91). Using digital tools and interfaces, designers communicate not only with a wider audience or engage in collaborative processes but also discover new problems that cannot be easily prototyped or produced in real life due to production issues, space and time constraints, or economic reasons. Designers make many errors and trials to find form quickly with the help of digital technologies. However, there are still differences between the use of digital interfaces and the use of the body. Using hands in the design process results in a haptic experience.</p> <p>Virtual reality is utilized in sports for training objectives to promote motor-skill development, create training in strategy and tactics (Miles et al., [<reflink idref="bib32" id="ref80">32</reflink>], p. 714; Hughes &amp; Franks, [<reflink idref="bib22" id="ref81">22</reflink>]), prevent athletes from becoming injured during training, and overcome numerous barriers (Putranto et al., [<reflink idref="bib38" id="ref82">38</reflink>], p. 294). In a study on rugby immersion as a defensive sport, a group of participants wore a head-mounted displayed unit (HMD) (Cybermind Visette) and a wireless device with a control box in the bag on their backs to capture the experience from the attacking player's point of view. The Intersense head tracker was affixed to the top of the headset, and two wired hand trackers were linked to a pair of rugby gloves, allowing the position and orientation of the head and hands to be captured in the virtual environment. The location of the head tracker controlled the viewpoint in the virtual environment in real time, with a 4 ms latency between movement and visualization. According to Correia et al. ([<reflink idref="bib15" id="ref83">15</reflink>], p. 311), spatial mapping enables immersion in virtual environments, and they found that integrating the visual and haptic sensations of hand and ball movement enhances a person's perception of presence. Although virtual reality is widely utilized to train perception, its usefulness in providing a controlled study environment is limited. A fascinating study employs stereoscopic three-dimensional films and a throw accuracy measurement device (TAM) as research tools. A piece of conventional human motion tracking equipment is used to capture kinematic data for examining player technique (Croft et al., [<reflink idref="bib16" id="ref84">16</reflink>], p. 5).</p> <p>Current computer games that simulate underwater environments and which stimulate visual and sonic senses do not typically create an immersive environment because they do not adequately stimulate kinaesthetic experience or thermal sensations (Jain et al., [<reflink idref="bib23" id="ref85">23</reflink>], p. 730). The <emph>Terrestrial Diving Simulator</emph> is a remarkable application on this subject, attempting to replicate the experience of scuba divers directly. Buoyancy and temperature are perceived by divers using a process that uses VR simulation, gloves, and masks worn by the participants. It integrates elements like breath control (Jain et al., [<reflink idref="bib23" id="ref86">23</reflink>], p. 729) with visual and auditory feedback. The Oculus Rift head-mounted display (HMD) and headphones are utilized to offer visual and acoustic feedback. Gloves equipped with sensors and IMUs are used to detect motion and simulate temperature (Jain et al., [<reflink idref="bib23" id="ref87">23</reflink>], p. 730). Furthermore, it causes viewers to feel impacts such as kinaesthetic sensation, balance, and force, as well as kinaesthetic sense (proprioception), temperature (thermoception), touch (tactioception), and balance (equilibrioception) (Jain et al., [<reflink idref="bib23" id="ref88">23</reflink>], p. 738).</p> <p>As Gibson argues, information is inextricably linked to affordances, because perceiving an affordance entails perceiving the information that defines it. Players in team sports are surrounded by a plethora of stimuli that carry information that influences decision making and action during goal-directed activity. Immersive and interactive virtual reality (VR) environments, in addition to preserving reciprocity, enable exact control of previously unmanageable variables, such as the informative arrangement of the surrounding world. In addition to manipulating the information shown to the observers, accurate records of the resulting behavioural responses can be made. This type of technology provides consistency across experiments. This setting provides an excellent context for manipulating task constraints while providing players and nonplayers with sport performance scenarios from an egocentric perspective (updated in real time) and ensuring perception-action coupling (Correia et al., [<reflink idref="bib15" id="ref89">15</reflink>], pp. 306–307).</p> <p>Although virtual reality (VR) is widely utilized to train perception, its usefulness in providing a controlled study environment is limited. A fascinating study employs stereoscopic three-dimensional (3D) films and a throw accuracy measurement device (TAM) as research tools. A piece of conventional human motion tracking equipment is used to capture kinematic data for examining player technique in a case study.</p> <p>Slater and Wilbur claim that a technology's features determine how immersive a system is. For instance, a highly immersive, low-latency, high-resolution display system can impart the impression of being in a lively and immersive virtual environment (Slater &amp; Wilbur, [<reflink idref="bib42" id="ref90">42</reflink>], pp. 603–616). According to Slater and Wilbur ([<reflink idref="bib42" id="ref91">42</reflink>], p. 604), presence refers to the user's state of consciousness that goes along with immersion and is connected to the sensation of being in a place (Jain et al., [<reflink idref="bib23" id="ref92">23</reflink>], p. 730).</p> <hd id="AN0186083038-8">3.2. Simulation and VR in integrating UW rugby experience into architecture and design educat...</hd> <p>In the digital age, people move less and rely more on exploring the natural and built environment through digital interfaces instead of their bodies. Similarly, the use of digital interfaces, devices for perceiving the environment, and approaches to understanding multiple realities, is increasing in studios and design education. However, as distance learning formats and virtual field trips have been transforming face-to-face experiences, they cannot completely replace face-to-face experiences and immersive experiences in a real environment. While distance education provides some advantages and potential creative results, it also disables some sensory experiences, such as physical touch in the architectural studio environment. The decreased haptic perception and loss of hapticity experienced by all actors in architectural design studios forced to do distance education prompts a rethinking of approaches to architectural education models.</p> <p>To overcome some of the problems that may arise in traditional or distance education, computer-generated technologies can provide a rich variety of spatial sensing. Computer games and simulations have an educational role and provide a multidimensional understanding of abstract design concepts and models in design education. They also provide knowledge of computing in architecture and design, and they use digital media tools for design (Willey, [<reflink idref="bib57" id="ref93">57</reflink>], p. 204). As Chandler et al. ([<reflink idref="bib9" id="ref94">9</reflink>], pp. 235–252) argue, technology-enhanced learning environments can increase the student's capacity to perceive, understand, and integrate.</p> <p>Experimentation, critique, confrontation, exchange, reasoning, debate, and even imposition are all methods of transmitting architectural knowledge (Spiridonidis, [<reflink idref="bib47" id="ref95">47</reflink>], p. 12). The ways and methodologies by which the student encounters, discovers, and applies knowledge are even more important. The training of the sensory organs develops not only in the design studio but primarily through the multifaceted bodily interaction of the individual with the world. Computer-generated animations, and especially virtual simulations, can increase a student's awareness of corporeality, as they provide a new agenda for future designers. This might be used to simulate and portray zero gravity and underwater settings (Ferreira et al., [<reflink idref="bib19" id="ref96">19</reflink>], p. 139).</p> <p>Today, ways of thinking about design in architecture incorporate a wide array of modes, from hand drawing and modelling to digital technologies, from robotic productions to virtual reality applications. Digital modelling, and augmented or virtual reality are important pedagogical tools in understanding and designing with a multidimensional approach. The discovery of applications and models that cannot be realized in physical life in such environments helps to inspire new design ideas and facilitates a fundamental change from traditional pedagogical methods.</p> <p>Therefore, simulations of three-dimensional sports such as UW rugby in architectural education enable, first, the real-life experience of natural laws regarding space. Although architecture students understand the laws of nature, such as gravity, both by experiencing them physically and by observing or modelling small objects or a building, they may not relate it easily to real-size structures. One way to overcome these difficulties is to increase awareness of kinaesthetic, vestibular, optical, and haptic perceptions, such as in courses such as design for all, in which students can experience how it feels to perceive the world like a visually impaired person, or an orthopedically disabled person. However, these experiences can be insufficient in exploring the potential of body-space interaction in a three-dimensional time–space at different scales. At this point, it would be beneficial for the designer candidate to experience other performance arts, such as dance, theatre, pantomime, and theatre to develop deeper awareness.</p> <p>The use or inclusion of simulation methods and the real-time physical behaviour and actions observed through immersive virtual simulation can be stimulating. In these scenarios, the user experiences complete inclusion in the augmented or simulated environments through devices, and this can improve the student's understanding of real-world settings. It can also provide awareness of how one's perception of the environment is shaped. This sport can be mind-opening for designers in terms of time–space use, as in other three-dimensional forms of dance and sport, such as contact improvisation and skydiving. When used in accordance with other corporeal studies and practices in architecture, the understanding of this three-dimensional sport can enhance mapping movement in space, at both building and urban design levels, including the use of public space by crowds, timing of project design, and can increase ambiguity in the design process. Figure 6 shows a possible model for implementing UW rugby in an architectural studio.</p> <p>Graph: Figure 6. A model for implementing UW rugby in an architectural studio.</p> <p>Although tools such as the <emph>Terrestrial Diving Simulator</emph> provide more impressive immersive exposure and allow for more accurate and precise assessments, adopting such systems in some architecture education environments can be costly. A more cost-effective and practical method might be to introduce students to this sport by watching various video materials, internet recordings of games, and underwater federation training videos online for two weeks before gaining experience with a specific group of students using a head-mounted displayer. Subsequently, various 3D perception scales can be utilized in conjunction with embodied learning design (see Abrahamson &amp; Lindgren, [<reflink idref="bib1" id="ref97">1</reflink>]; Palatnik &amp; Abrahamson, [<reflink idref="bib36" id="ref98">36</reflink>]), where in-depth interview techniques are employed to assess students' design skills, affordances, and perspectives on their individual and collective learning styles.</p> <hd id="AN0186083038-9">4. Limitations and future research</hd> <p>The main limitation of this study is that it is theoretical and based on the author's personal observations, having UW rugby experience, and given that this experience contributed positively to the author's experience of space. However, every architecture or design student has a different learning style, and therefore, future research could incorporate a participant-based experiment to observe the cognitive abilities of students who learn by experiencing not only UW rugby but also other underwater sports and 3D sports to develop their skills such as environmental perception and depth perception. Future research should furthermore investigate and compare various design skills of students and their reflections on their architectural designs, in the design process, modelling, and free-hand sketching.</p> <p>Integrated forms of research should explore how the sensorial experience of movement in space will shape and transform the physical or virtual spaces of the future, supported by in-depth interviews with different players, coaches, and sports experts and using various scales in measuring the experiences of different players, coaches, and sports experts. Considering the physical constraints of UW rugby, economic constraints, and limited access to sports fields, simulation can be more effective in allowing students to grasp the complexity of space.</p> <hd id="AN0186083038-10">5. Evaluation and final words</hd> <p>Three-dimensional sports such as UW rugby can be used in two ways in design education. Simulations can be instrumental in increasing the bodily and perceptual awareness of students and designers. Forms can interact differently with each other, not only in terms of their shapes, but also from a holistic point of view, on the ways in which various representations of space come together in the city, just as different parts function together as a team or body. Another benefit is that time-dense on-site planning or co-designing with different disciplines in inter-, cross-disciplinary, and trans-disciplinary approaches can encourage instant decision-making with different actors, roles, and dynamic and diverse planning formats. It can make a positive contribution to the way designers deal with ambiguity. Beyond instrumentality, it can help increase one's general awareness to environmental stimuli and behaviour. This can also open opportunities for different design, in a world where mobility is typically limited by body movements defined only in an orthogonal environment. It can assist students in comprehending the experiences of visual or sight-impaired individuals in the world.</p> <p>The use and perception of three-dimensional space in UW rugby can provide significant benefits to designers, especially for students in design education, in terms of how the human body moves in space. This can improve the organization of space and can assist designers in dealing with uncertainty in the design process. Underwater rugby can be interpreted as a free-form finding process. In this context, the most effective simulation method of this game can be applied to virtual reality (VR), or alternatively, an interactive computer game can be designed for use by designers and anyone who wishes to experience underwater movement. UW rugby can provide an integrated experience of human movement in space and can provide design benefits in grasping space and expanding their perception of the world. However, further understanding the benefits will require more research, supported by in-depth interviews with different sports players, experts, and students. Future applications include the creation of dedicated and sophisticated UW rugby simulators. These will require testing by professional UW rugby players.</p> <hd id="AN0186083038-11">Disclosure statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0186083038-12"> <title> Notes </title> <blist> <bibl id="bib1" idref="ref2" type="bt">1</bibl> <bibtext> Before the Renaissance period, <emph>paradeigma</emph> as a type of architectural scale model rather than small-scale models was important, as the basic form of a Greek temple had already been defined in the Greek period. A <emph>paradeigma</emph> was a specimen or specimen for study where certain architectural elements, such as triglyphs or capitals, and carved or painted ornaments required a three-dimensional design (Smith, [43], p. 94).</bibtext> </blist> <blist> <bibl id="bib2" idref="ref14" type="bt">2</bibl> <bibtext> The limitations of bodies and dynamic fields of force both contribute to the construction of space on the measurable and non-measurable planes, respectively (Moholy-Nagy, [33], p. 62). He also points out that, aside from dancing, sports, and acrobatics, forms of human expression like painting, sculpture, music, and poetry do not exist in space as a deliberate departure (Moholy-Nagy, [33], p. 63).</bibtext> </blist> <blist> <bibl id="bib3" idref="ref32" type="bt">3</bibl> <bibtext> The player's movements in this game are somewhat similar to the experience of scuba divers, with different combinations of bodily sensations caused by body orientation and movement, the angle of the head and torso, the positioning of arms and extentions, and cadence of the legs and feet, fin movement, breath, and buoyancy control, the combination of which all differ in forming differing assemblages of corporeal sensations and resulting in 'somatic mode of attention' of the diving body. 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Header	DbId: eric DbLabel: ERIC An: EJ1474761 AccessLevel: 3 PubType: Academic Journal PubTypeId: academicJournal PreciseRelevancyScore: 0
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Items	– Name: Title Label: Title Group: Ti Data: Developing Three-Dimensional Spatial Embodiment in Architectural Design Education: Underwater Experiences – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Esen+Gökçe+Özdamar%22">Esen Gökçe Özdamar</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0001-7189-3633">0000-0001-7189-3633</externalLink>) – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Sport%2C+Education+and+Society%22"><i>Sport, Education and Society</i></searchLink>. 2025 30(6):698-714. – Name: Avail Label: Availability Group: Avail Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 17 – Name: DatePubCY Label: Publication Date Group: Date Data: 2025 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Descriptive – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Architectural+Education%22">Architectural Education</searchLink><br /><searchLink fieldCode="DE" term="%22Spatial+Ability%22">Spatial Ability</searchLink><br /><searchLink fieldCode="DE" term="%22Aquatic+Sports%22">Aquatic Sports</searchLink><br /><searchLink fieldCode="DE" term="%22Kinesthetic+Methods%22">Kinesthetic Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Computer+Simulation%22">Computer Simulation</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1080/13573322.2024.2333967 – Name: ISSN Label: ISSN Group: ISSN Data: 1357-3322<br />1470-1243 – Name: Abstract Label: Abstract Group: Ab Data: Three-dimensional thinking, observation, and practice have long been an important part of architectural education. Reduced awareness of corporeality and the senses can impair a student's capacity to create and develop an architectural environment holistically. Simulation programmes are an important tool to fill this gap, as they can broaden a student's perceptual framework. This article aims to understand the potential of underwater contact experiences to serve this purpose, especially underwater (UW) rugby which is one of the few sports that is three-dimensional. The article also aims to understand how simulation programmes, virtual reality, or augmented environments of UW rugby can contribute to design and architecture education by increasing student awareness. The article is grounded in the impact of this sport on the author and the author's perceptions based on personal experience as a former UW rugby player. It is argued that the simulation of UW rugby can contribute to design-related topics such as free form-finding, role-sharing and group collaboration, the development of awareness to sensorial design processes, risk- taking and action-oriented processes, designing with environmental uncertainty, and even design management, as these immersive environments provide a new agenda for future designers. Due to practical limitations, the article presents a theoretical argument as a first step toward developing a theoretical framework. Future studies with cognitive research methods and quantitative approaches in sports simulation design research will address these constraints. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: DateEntry Label: Entry Date Group: Date Data: 2025 – Name: AN Label: Accession Number Group: ID Data: EJ1474761
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RecordInfo	BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1080/13573322.2024.2333967 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 17 StartPage: 698 Subjects: – SubjectFull: Architectural Education Type: general – SubjectFull: Spatial Ability Type: general – SubjectFull: Aquatic Sports Type: general – SubjectFull: Kinesthetic Methods Type: general – SubjectFull: Computer Simulation Type: general Titles: – TitleFull: Developing Three-Dimensional Spatial Embodiment in Architectural Design Education: Underwater Experiences Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Esen Gökçe Özdamar IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 01 Type: published Y: 2025 Identifiers: – Type: issn-print Value: 1357-3322 – Type: issn-electronic Value: 1470-1243 Numbering: – Type: volume Value: 30 – Type: issue Value: 6 Titles: – TitleFull: Sport, Education and Society Type: main
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