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Buildings are a significant contributor to the human carbon footprint and are responsible for 30% of global energy demand, with more than 55% of global electricity consumption. 1 The most recent report by the Intergovernmental Panel on Climate Change (IPCC) 2 published in October 2018 states that human activities

This sketch builds on a recent architectural digital design studio I taught at RISD titled "Im/possible spaces: envisioning a new experience in architecture, defining limits. " The studio focuses on the fluid aspects of architectural environments-environments that aspire to be exciting and meaningful, not necessarily rational or possible to implement with today's knowledge and materials. The question of 'what' space is superseded by 'why' it is, which promotes visual and experiential components in design over physical and factual qualities. The computer is a natural tool for these explorations because it allows us to visually execute impossible aspects of a space. With the introduction of digital tools and an intuitive way of negotiating space, the focus becomes more about human experience through lighting techniques, materials and narration as form making elements.

Contemporary video games such as Mass Effect or Assassin’s Creed are emerging as a new form of media departing from traditional games purely seen as problem-solving exercises. They represent a new creative direction enjoyed by a broader audience, similar to those of TV and cinema. At the same time, they are significantly different from TV and cinema, since they place the user at the center of interactions, allowing content creation and forming strong emotional bonds. This article discusses the role of narratives in these new epic games as the main driver behind their social appeal and commercial success. It also poses a number of questions in the context of architecture and the possible fusion of both architecture and narrative.

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