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The experience of space is increasingly generated by viewing the photography of databases such as Flickr and Google Earth, thus creating a spatial dilemma in the dilution of first-hand experience and a dramatic shift of photographic information to the surface. However, there is also an opportunity to gain new readings of space from the absorption of many different perspectives and glimpses of time within an increasingly comprehensive photographic record. Embracing this new opportunity, I seek to investigate ways to spatialize this absorption and new readings of space as a couple to the physical environment in order to bring about a heightened sensitivity of aspects of space that are transient, fragile, or in constant change. Because of this, photogenic architecture will only emerge from the original spatial structure in which photographic information was extracted at the particular time. The hope is to enable a greater human imprint on space and ease our anxiety of the passage of time. The word photogenic was dwelled on because of its connotation to physical space and one's desire to photograph it. Yet, photogenic has also been used to describe the act of photography in relation to other mediums and actors. Some of the earliest photographic experiments done by William Henry Fox Talbot in 1839 where described of as "photogenic drawings". This process of the photograph without a camera is interesting because of its direct tactile relationship to the objects and light of which it records. The chemical process becomes a recorder when exposed to light and waits in anticipation for the definition of shapes and shadows. Certain spaces are already designed to be "photogenic" within Talbot's early definition, such as the movie set, which anticipates human interaction and photographic recording for the production of a movie. The primary motivation of the space is to produce a very particular representation of something physical. Space already in a sense "absorbs" information, but in a very subtle way involving dust, residue, dirt. It is not desirable and considered as beneficial information. However, uncleanliness can be interpreted as spatial information about movements and tendencies. I am interested in making this information a more conscious and explicit spatial experience, as well as generating new representations of space through photography and digital software which has the sensitivity to record transient and "fragile" aspects of space. This prompted an investigation in ways of recording directly in space and to design recording methods and interpretive re-connections with space. The two main mediums of interrogation were photogrammetry, a software that extracts digital three-dimensional models from corresponding photographs, and cyanotypes, a cameraless method of recording image. The aspiration of photogenic architecture is to produce space that anticipates and eventually accepts its own representation as a couple to the physical environment to facilitate a greater human imprint on space.