At the beginning of the 20th century, architectural theory was significantly shaped by German aesthetic discourse (Wölfflin), itself influenced by contemporaneous psychological paradigms such as Gestalttheory (Ehrenfels, Köhler) and the theory of empathy (Einfühlungstheorie, Wundt, Vischer). Within this theoretical framework, the question arises: is the affective experience of architectural space (Schmarsow) grounded in imaginative cognition, or does it emerge primarily from embodied sensation? Furthermore, can movement serve as a revelatory medium for uncovering the inherent affective qualities of spatial configurations?

This inquiry is further complicated when considering the corporeal and improvisational practices of dancers—exemplified by Joris Camelin—applied to architectural prototypes informed by the concept of the kinesphere (von Laban). When such practices are situated within heterogeneous contexts—such as laboratories or exhibition spaces—they may give rise to what Brian Massumi describes as a "topological hyperspace of transformation." This raises critical questions regarding the representation and documentation of such emergent spaces: To what extent can they be captured through conventional drawing techniques or through motion capture technologies? And how might these forms of notation contribute to the articulation of a novel spatial category—one capable of reconfiguring design strategies within an architectural process increasingly shaped by digital information technologies?

These questions have been explored through a series of transdisciplinary case studies positioned at the intersection of artistic practice, educational experimentation, and scientific research. The investigations were conducted within the framework of a doctoral dissertation on architectural design processes, developed collaboratively between the Chair of Landscape Architecture (Prof. Weidinger) at the Technical University of Berlin and the Department of Dance Studies (Prof. Gabriele Brandstetter) at the Free University of Berlin.