Referencing Through the Threshold | Masters 2017 Thesis by Amanda Pierre

Referencing Through Threshold

the

A Thesis Submitted to the Faculty of the Department of Architecture Wentworth Institute of Technology by

Amanda Pierre Bachelors of Science in Architecture Wentworth Institute of Technology, 2016

Table of Contents Introduction Literature Review Design Research Methodology Site Work Design Development Reflection Special Thanks Bibliography

4 9 25 39 49 61 78 80 82

REFERENCING THROUGH THE THRESHOLD

Architecture is a spatial experience that is not autonomous, in other words, each space is dependent on each other in order to create experience. When transitioning through spaces, people become unaware and lose their sense of place in which they are in and where they had come from. During a sequence within architecture, its important to consider the experience and nostalgia from the past and the future spaces. A threshold represents an object in present time that creates a connection throughout architecture because they highlight the separation of spaces. As a result, it is important

REFERENCE POINT

Space

Connection

to acknowledge the spaces surrounding the thresholds in order to

Experience

T Sequence r Passage CHANGE a movement n s AUTONOMY i Continuity t In-between i THOROUGH SPACE o Perception n

nostalgia

bring awareness to the person and prove that architecture is not autonomous.

TIME

A threshold stands as an object that evokes a separation and a connection of linked spaces and therefore implying that architecture and space are not autonomous. The threshold highlights the point of change and transformation while creating a connection by referencing the transition. By creating a reference point, people and architecture are now able to experience nostalgia as one moves through the sequence of the threshold. â&#x20AC;&#x153;The dynamic in all transitions - social as well as metaphysical - is essentially the same. It involves dying in one state or status and being reborn in another.â&#x20AC;? Herbert Hoffmann (Soatades, 1997)

The Charles River Esplanade becomes a site in which there are many opportunities for the thresholds to occur. First, the site clearly stands as the threshold between Boston and Cambridge, as well as the threshold between land and water. Throughout the site, five neighborhoods of Boston cross the Esplanade in which their essences are not reflected. This gives the implication that the architecture of Boston is autonomous and the Esplanade has no definition of its place. This thesis wants to address: how can architecture respond to place as a person experiences the change in space through the threshold? The intention of this thesis is to bring the spirit of the five Boston neighborhoods to the Charles River Esplanade by creating a series of architectural spaces that construct thresholds to connect the neighborhoods to one another within the Esplanade while expressing their separation as well. By placing the thresholds in a space where the public is welcomed, it allows for a wide variety of audiences to become eligible to experience different spatial and architectural conditions that are routed from the Boston neighborhoods. It will be apparent that the threshold is the object that determines the change, sequence, and transition through spaces while retaining the reminiscence of the spaces experienced through time.

L I T E R AT U R E R E V I E W â&#x20AC;&#x153;The moment of performance, when it comes, is reached through two passageways- the foyer and the stage door. Are these, in symbolic terms, links or are they to be seen as symbols of separations?â&#x20AC;? Peter Brook (The Empty Space, 1968)

The main goal in architecture is to create a defined space

This activity consisted of separating the wheat from

in which people are capable of inhabiting and experiencing.

its husk by tossing the grain into the natural wind that

Thresholds play a major role in achieving this goal because

entered between the two doorways. The light husks

without the use of thresholds, whether physical doorways

were then blown away, leaving the grain by itself. The

or visual windows, a person would not be able to enter the

threshold in this instance, would help keep the valuable

space and experience a change in spatial qualities while

grain inside the barn and also symbolized the point of

transitioning through spaces.1 In order for a person to be

connection where the interior of the barn met the exterior

aware of an emotion or feeling that they experience, they

land.7

must experience an alternative emotion or feeling from a separated space. For this reason, architects avoid creating

While within a space, a person must make sense of

utopias for the fear of always having a good experience. If a

the space they are in. Naturally, people psychologically

person is never exposed to bad experiences, then they will fail at appreciating the good.2 Like the transition between good and bad, thresholds are capable of defining the

Standing stones that were placed along paths as warning symbols, labels of boundaries, signified entry points, and a symbol of protection. 1

find a ‘home’ in which they acknowledge their emotions and create connections; physically through spaces and visually through sight.8 By incorporating a threshold into

difference of light and dark and open and enclosed as well.

a design, the architect is organizing the space in a way

The threshold is the point of connection that allows one

that allows the occupants to acknowledge where they

world to enter another by creating a change in experience

are and where they are about to enter in which they are

as a person passes through spaces.3

invited into, or meant to stay out of.9 It was common in the ancient years, for pathways to be marked with

It is hard to tell where the idea of thresholds had begun.

standing stones along the property limits. These stones

They date back as far as prehistoric times, when wild

stood for multiple reasons. First, to warn strangers that

animals would create entrances to their dens or at the

they were entering inhabited land that they were not able

opening of caves that provided shelter.4 Much later,

to conquer. Second, they labeled where the boundaries

thresholds were strategically used for the separation of the

were of the land and signified the entrance points.

host family and their servants, like in the Cragside house

Lastly, they stood as a symbol of protection for the

in Northumberland, where specific rooms were placed with

people.10 This was also true in the Masai camp where

doorways that were only to be used by the house workers.5

the surrounding walls provided protection and privacy,

According to Robin Evans, the specialization of rooms and

and a small opening was offered as an entrance that had

segregated circulation emerged in 16th century English

the ability to control who entered.11

homes. Around this time, there were two types of threshold spaces that each held their own purpose and narrative.

Thresholds act in many different conditions. The first one

One passage led through interconnected rooms in which

to address is a threshold as a transition. Laurent Stadler

the host family and their guests would occupy. Meanwhile

defines a threshold as a separation of the public and

there was a secondary passage that was separated from the main entertaining spaces and was strictly used by the house servants in order to hide the lower class help from

Masai camp plan that shows the surrounding wall that represented protection and a small opening that allowed control. 2

private worlds, in which the threshold is an architectural element that highlights historically specific, culturally determined zones of transition, in which activities and functions are performed.12 At this point of transition, a

originates from the timber beams that were placed across

person will experience a spatial change and as a result,

opposing doorways of a barn while a person was threshing.

a narrative is created.13 At the point of the threshold,

the host family and their guests.6 The term ‘threshold’

spaces are seen as equally separated and connected.14

person to pass through, and as they approach it,

They have the ability to draw attention to the division of two

they are capable of empathizing with its material and

spaces while connecting a person with a space beyond

function. As you exit the exterior that was filled with

the threshold.15 The architect, Ettore Sottsass, created

natural sunlight and a cool breeze, the person begins

a doorway in the desert called the Door to Enter into

to notice how the atmosphere changes from light to

Darkness. The threshold was placed on the shadow line that

dark, with little air movement and a cooler temperature.

the surrounding hills cast on the landscape. By strategically

Inside, the person is now separated from the outside

placing the threshold there, he was able to highlight the

world and feels a sense of privacy and security that they

barrier between light and shadow that might have been

could not assume from the exterior.20 By experiencing

easily over looked without it. As a result, the line of shadow now acts as a wall that separates the two spaces. But the threshold also creates an opening that can imply a specific point in which the two spaces can interact and the viewer

‘frisson’, the threshold becomes a point on opposition

The Door to Enter into Darkness by Ettore Sattsass. Threshold was places an the shadow line to imply a wall and its transition point. 3

that acknowledges the change in open to close, heavy to light traffic, and architectural to technical.21

can visualize a space beyond.16 In this example, it is clear

In many cases, a threshold is a simple doorway between

that the threshold can create a juxtaposition through the

two spaces. These doorways act similarly to the way a

qualities of separation and connection.

movie director situates the acting cuts in each scene. The cuts are intended to take place when the viewer is

A series of thresholds throughout architecture allows

most likely to blink and therefore make the scene cut go

for connections between a sequence of masses.17 A

unnoticed. As people are passing through a doorway,

continuous path is made through spaces in which each

they first prepare for the transition through the threshold,

space is connected and forms a relationship to each other.

and as they pass through, they mentally ‘blink’ and enter

This then allows a connection of experiences for the human occupying each space. Alberti gave attention to thresholds located within Roman buildings and concluded that there

Doorway at Palazzo Abattellis in Palermo. Example of frisson. 4

into the new ‘scene’ or space.22 When a doorway acts in this condition, the threshold has no meaning and therefore becoming a seam in the experience as people

were doors at every adjoining space, making the buildings

pass through spaces.23 This seam creates a sense of

a matrix of interconnected chambers.18 Each of these

continuity of spatial experiences that a person might feel

thresholds were strategically placed to create a sequence

which two spaces can directly communicate.24

for which people would travel through multiple spaces and rooms.

When considering the doorway as a ‘seam in the experience’ it is possible to interpret the doorway as a

In his book Doorway, Simon Unwin uses the word ‘frisson’

‘gap’ in which the threshold acts as the absent element

as a potential emotion that people feel while transitioning

that people psychologically acknowledge as a presence.

through spaces. Frisson can be explained as an emotion

It becomes an architectural aspect that is ‘nothing’ with

in which one senses hesitation while passing through a

a meaning and function.25 Lao Tzu, a Taoist philosopher

threshold because they are unaware of the outcome.19

writes this poem that refers to doorways:

He uses the example of a doorway in Palazzo Abattellis in Palermo that incorporated the feeling of frisson because a person is unaware of the situation beyond the threshold. The doorway is an appropriate height and size for any

“Thirty spokes meet in a hub;

perception of the space. She explains that architecture is

but it is on the hole at the centre that

the art of the behavior of things in which the way people

the use of the wheel depends.

perceive a space and are influenced by the architectural

Turn clay into a pot;

form.30 The way in which a human experiences a space

It is the space within that makes the

is determined by how they perceive the space.31

Pot useful. Build doorways and windows into a room;

The threshold itself can be interpreted as a ‘gap’ in that

Space where there is nothing make The room usable. So although what we make is Something,

it is the in-between space of two spaces. It has the potential of symbolizing the location of entry and exit of

Plan that shows the walls as a positive and the threshold as a negative. 5

spaces, while creating a dialogue between interior and

It is Nothing that makes it useful.” 26

exterior and the passage through.32 In a sense, the Bogs, where people were murdered in Northern Europe for committing crimes. Known as an inbetween state of being. 7

This begins to question; how do we perceive the threshold? When drawing a space in plan, an architect draws the walls

threshold acts as nothing, but without it, there would be no transition, separation, or connection between spaces.33 Within this ‘nothing’ space, a person is

as a solid element and leaves the doorway untouched.

neither in one space nor another, therefore they inhabit

Therefore, the walls act as positive elements in architecture,

the in-between.34 In architecture and other disciplines,

and the threshold is seen as a negative element that is

the concept of the in-between can become very

not occupied by any drawing procedure. In contrast,

unsettling to people. For example, Mongolians had old

when experiencing the space in human scale, the walls

myths that stated that the in-between space was never

begin to act negatively in that they decline any transition

a good place for people to be in. This is also true for the

or movement from the space. The doorway becomes the

rhyme that children follow where stepping on the cracks

positive element that allows for the transportation and

in pavement causes negative results, and the belief that

addition of new spaces beyond.27 This idea begins to pose

ghost who live in purgatory will come back to haunt the

the question; Which come first, the wall or the doorway?

living.35 Throughout history, ‘bog bodies’ were found in

Many architects would answer that the threshold must

Northern Europe as people inhabiting the in-between

come first. For example, in construction, the point in which

space. These were people that were convicted of crimes

the threshold occurs is marked first before structurally

such as cowardice or homosexual behavior, and were

assembling the walls. Also, when new property is to be built

murdered in bogs where their bodies were considered to

on in Sicily, the city requires the entrance to be defined well

be neither in this world nor the next, but on the threshold

in advance of construction.28

of the in-between.36 Mentally, people need to know the

The thresholds between spaces have the ability to influence

place they are in, a task in which architecture succeeds

the human perception in which it can shape actions. This

at.37 But while within the in-between space, it becomes

space performs a variety of functions like an introduction, a passage, or a recognition; each function allows for different perceptions to be accepted.29 Ethel Puffer Howes

Evolution of the construction stages showing that the threshold is determined before the walls. 6

impossible for humans to do so, therefore creating an uneasy experience where emotions like frisson can be introduced.

describes perception to be the study of molding the human attention through response, reaction, and behavior. How people perform in a space and how the space performs as itself, provoke a human response which in turn is the human

“Established places – insides – seemed settled in

Doorways have the ability to act in many different ways,

their identities, static, and clear. In-between places, because

for example they can be seen as a filter that becomes

of their uncertainty and sense of dynamic, are more edgy,

a point in which some people or things can enter, while

more stimulating to our nerves and intellect; more in tune

others can not. Doors like screens that filter air, are

with out existence as creatures of space time.”38

designed to control what enters without the action of opening or closing them.43 There can be guards that

During the in-between stage, time is stopped and a person

stand near entrances that act as human filters.44 Some

is neither in the past nor present. A threshold acts as the

thresholds, like country borders and double sets of

representation of the transition through a passage in which

doors perform like canal locks that regulate the amount

the moment in time is frozen.

of people or things entering a space.45 Doorways in restaurant kitchens are like valves that allow people

“Before we reach the doorway it stands there as a prediction

through in only one specific direction. And doorways,

of the moment we shall pass through it; and afterwards it

like mouse traps, allow things to enter but not escape.46

is a lingering reminder of the moment when we entered or left the room.”39 While people are inhabiting the in-between space, they are

Woodland Chapel by Gunnar Asplund. The threshold becomes space. 8 A Slate Worker’s Cottage that has thick walls and allows the threshold to become a space.9

The threshold can become more than just a doorway into a room. The threshold has the ability to expand and become a space itself, that incorporates its own

at a moment of rest in which they are in a state of becoming

experience and contribute to the overall transition. For

as well as anticipation for what the future may bring. These

example, a porch can be seen as a threshold space

spaces are important aspects of architecture because they

because it removes people from the public world, but

create the transition and the change in experience while

they have not yet entered into the private world.47 Gunnar

passing through worlds.40 Thresholds are the point of

Aslpund design the Woodland Chapel in Switzerland to

contact, overlap, and interaction of spaces and people.41

be a threshold for people to enter with the deceased and exit without them. While approaching the space, there is

Thresholds, both physical and visual, come in a variety

an area covered by the roof in which family members and

of situations and conditions. In each circumstance, the

friends can gather that symbolizes the threshold space

threshold begins to symbolize and communicate to the

between the outside and inside world.48 Simon Unwin

user in different ways. First the threshold can act as a

describes a Slate Workers Cottage that has extremely

switch in which a door is able to communicate whether it

thick walls in which the threshold becomes a space as a

is ‘on’ or ‘off’; ‘open’ or ‘close’. It is easy to interpret a wall as an element that keeps people or things out, while the

Entrance to Roman Archaeological Remains by Peter Zumthor. The threshold becomes space.10

person passes through. This space becomes functional in that it creates shelter, a space for rest, as well as a space for greetings and goodbyes.49 In Peter Zumthor’s

doorway, the threshold becomes a continuation of the wall.

design in Chur, for the ancient Roman archaeological

By introducing a door to a space, a person is introduced

remains, he created an entrance that formed by a

to a sense of a control over the space, therefore becoming

steel box that protrudes outward. He creates a vertical

the architect of that space in which they can determine its

transition with 4 steps that hover over the ground and

spatial qualities. The door itself determines whether the

force people to step up into the space. The threshold

space invites people within, or keeps them out.42

acts as a bridge between the past and present in which

threshold is the access point. When a door is closed within a

it detaches people from the everyday world before

they can enter the historic world. He incorporated the feeling

space

that

incorporates

mixed

emotions

while

of frisson by creating an uncertain emotion as people step

anticipating what the future might bring. However, each

into the metal box and it begins to portray its instability.50

personâ&#x20AC;&#x2122;s perception of the threshold is unique. But, we must acknowledge that without thresholds, it would

The way in which a person transitions through spaces is

be impossible for people to experience space, simply

dependent on their bodily senses. It is easy for people to

because there would be no way of entering the space

sense the transition from light to dark when passing through

and as well as no experiential and spatial transition for

a threshold and how the two oppositions can reflect upon

the people.

each other.51 By bringing light into a space, qualities such as color, and warmth enter as well. All of a personâ&#x20AC;&#x2122;s senses are challenged when entering into a space like when you enter a quiet church, a smelly bathroom, or when a personâ&#x20AC;&#x2122;s mouth waters when entering a restaurant. A person can sense the temperature when entering a space, or make a physical action like stepping up to enter a space.52 However, a threshold is not limited to a physical transition into another space. Windows also provide visual transitions in which a person is physically separated from the beyond space but visually connected. They continue to communicate with the exterior space as well as answer the human needs of light, air, and interaction.53 Annette Hochberg describes a room to be defined by the floor, walls, ceilings, and by the position and type of openings.54 Windows act as a visually organized transition that incorporate an intended view. For example, a window that is place against adjacent rooms create tension between the opening and its edge. While windows that are located at the corners of the space create a diagonal alignment of the space. Horizontal openings frame horizontal zones, and openings between individual enclosing surfaces separate and emphasize autonomy.55 Thresholds become a very significant part of architecture in that they allow for the transition from space to space. While connecting and separating two worlds, an experience is created for the user as they experience opposition from one emotion to the next. While inhabiting the threshold, a person acknowledges that they are occupying the in-between

End Notes

19. Unwin, Simon. “Experiencing Doorways.” In Doorway, 75. Routledge, 2007

1. Unwin, Simon. “Experiencing Doorways.” In Doorway, 95. Routledge, 2007 2. Cowherd, Robert. “Notes on Post-Criticality: Towards an Architecture of Reflexive Modernization.” Footprint 4 (2009): 65–76. 3. Unwin, Simon. “The Powers of Doorways.” In Doorway, 9. Routledge, 2007 4. Unwin. The Powers of Doorways. 9 5. Unwin, Simon. “Organizing Space.” In Doorway, 152. Routledge, 2007 6. Evans, Robin. “Figures, Doors, and Passages.” In Translations from Drawing to Building and Other Essays, 71. MIT Press, 1997 7. Unwin, Simon. “Experiencing Doorways.” In Doorway, 79. Routledge, 2007 8. Unwin, Simon. “The Powers of Doorways.” In Doorway, 10-11. Routledge, 2007 9. Unwin. Powers of Doorways. 19 10. Ibid., 19

20. Unwin. Experiencing Doorways. 76-77 21. Stalder, L. (2009) Turning Architecture Inside Out: Revolving Doors and Other Threshold Devices. “Journal of Design History” 22, no.1 (2009) 70 22. Unwin, Simon. “Experiencing Doorways.” In Doorway, 77. Routledge, 2007 23. Unwin. Experiencing Doorways. 78 24. Evans, Robin. “Figures, Doors, and Passages.” In Translations from Drawing to Building and Other Essays, 79. MIT Press, 1997 25. Unwin, Simon. “The Powers of Doorways.” In Doorway, 14. Routledge, 2007 26. Unwin. The Powers of Doorways. 14 27. Ibid., 14 28. Ibid., 17 29. Stalder, L. (2009) Turning Architecture Inside Out: Revolving Doors and Other Threshold Devices. “Journal of Design History” 22, no.1 (2009) 74 30. Howes, Ethel Puffer. “The Study of Perception and

11. Ibid., 13

the Architectural Idea.” The Philosophical Review 19

12. Stalder, L. (2009) Turning Architecture Inside Out: Re-

no.5 (1910): 510

volving Doors and Other Threshold Devices. “Journal of Design History” 22, no.1 (2009) 69 13. Stalder. Turning Architecture Inside Out: Revolving Doors and Other Threshold Devices. 75 14. Evans, Robin. “Figures, Doors, and Passages.” In Translations from Drawing to Building and Other Essays, 71. MIT Press, 1997

31. Perren, Claudia. Perception in Architecture: Here and Now. Cambridge Scholars Publishing, 2015 32. Unwin, Simon. “The Powers of Doorways.” In Doorway, 15. Routledge, 2007 33. Unwin. The Powers of Doorways. 17 34. Unwin, Simon. “Experiencing Doorways.” In Doorway, 111. Routledge, 2007

15. Unwin, Simon. “The Powers of Doorways.” In Doorway,

35. Unwin. Experiencing Doorways. 111

16. Routledge, 2007

36. Ibid., 150

16. Unwin. Powers of Doorways. 16-17

37. Ibid., 124-125

17. Howes, Ethel Puffer. “The Study of Perception and

38. Ibid., 125

the Architectural Idea.” The Philosophical Review 19 no.5

39. Ibid., 113

(1910): 506

40. Ibid., 124-125

18. Evans, Robin. “Figures, Doors, and Passages.” In Translations from Drawing to Building and Other Essays, 63.

MIT Press, 1997

41. Unwin, Simon. “Organising Space.” In Doorway, 150. Routledge, 2007

42. Unwin, Simon. “Organising Space.” In Doorway, 156159. Routledge, 2007 43. Unwin. Organising Space. 159 44. Ibid., 160 45. Ibid., 162 46. Ibid., 165 47. Unwin, Simon. “Experiencing Doorways.” In Doorway, 120. Routledge, 2007 48. Unwin. Experiencing Doorways. 121 49. Ibid., 117-118 50. Ibid., 84 51. Ibid., 128 52. Ibid., 131-132 53. Hochberg, Anette. Open/Close: Windows, Doors, Gates, Loggias, Filters. Basel. Boston. Berlin. Birkhaus er. 2010. 20 54. Hochberg. Open/ Close. 24 55. Ibid., 24 Images 1. Unwin, Simon. “The Powers of Doorways.” In Doorway, 20. Routledge, 2007 2. Unwin. The Powers of Doorways. 13. 3. Ibid.,16 4. Unwin, Simon. “Experiencing Doorways.” In Doorway, 76. Routledge, 2007 5. Unwin, Simon. “The Powers of Doorways.” In Doorway, 14. Routledge, 2007 6. Unwin. The Powers of Doorways. 17 7. Unwin, Simon. “Experiencing Doorways.” In Doorway, 112. Routledge, 2007 8. Unwin. Experiencing Doorways. 121 9. Ibid.,118 10. Ibid., 84

DESIGN RESEARCH â&#x20AC;&#x153;To stand on the meeting of two eternities, the past and the future, which is precisely the present moment; to toe that line.â&#x20AC;? Henry David Thoreau (Walden, 1854)

Thresholds can create a visual connection in which a frame incorporates an intentional view to alternative spaces, exterior and interior. The frame is the point of connection where qualities that form the surrounding spaces are able to expand and stretch into one another and influence their spatial experience. This diagram highlights the visual connection in which each space has a visual transition and physical separation. This method of thresholds incorporates a visual and physical sequence through spaces.

Thresholds are used as the object in which a connection between two spaces is created. There are different variables that influence the threshold, like material, height, depth, site, light, shadow, etc. By altering these factors, the experience that a user has while passing through spaces becomes unique in each condition. Most people recognize a threshold as a doorway, in which the thickness of the space can grow or shrink horizontally or vertically, this becomes a physical connection that people experience. A window can also be see as a threshold in which the threshold space is no longer a physical connection, but a visual connection that frames an intentional experience for the viewer. It becomes clear that not only does the threshold express the connection of multiple spaces, but it also highlights the boundary of two spaces and incorporates an intermediate space that allows for a transition.

In architecture, thresholds are added to a design to create a connection between two adjacent spaces. Three spaces are analyzed when designing a threshold. The first space is located on one side of the threshold in which a person will start to approach the threshold. This is beginning of the sequence in which people transition through. Here, a person can experience the spatial qualities independently or with influence from the adjoining space. The spatial influence is determined by the variations of qualities that make up the threshold space. As people continue along the sequence of spaces, they begin to enter the threshold space. This is the in-between space that they experience while traveling from one space to another. Within the threshold, people can perceive the spatial qualities from the surrounding spaces as well as determine how much they compromise each other. There are different variables, like depth, size, and height, that can change within the threshold space and are responsible for determining the transitional experience and the amount of influence each space has on each other. Finally, people begin to enter the adjoining space after exiting the threshold space. This space is similar to the first space in that it can stand independently with its spatial qualities, or it can feature some influence from the adjacent space via the threshold. By entering into this space, people complete the transitional sequence from space, through the threshold space, and to another space, and in return the user is able to experience the continuity that the threshold implies.

Movement through spaces is the most direct way for architecture to create an experience for the people. As people move through spaces and experience change in spatial qualities, they are forced to pass through a threshold that stands as both a piece that highlights where the separation of spaces is, and how those spaces begin to connect. The act of the thresholds between spaces becomes the guiding factor of this thesis that aims to capture how spatial qualities and emotions are translated into multiple spaces. For this thesis, an important task was to determine and define the functionality of the typical threshold and its pieces. By dissecting each component, it becomes clear how each element contributes to its transitional experience in every way. By altering or removing a single part, the experience of the threshold is changed dramatically to intentionally create a specific or direct experience while passing through the spaces. Studies were created to begin to test the threshold functions within a site context. Whether to frame a view, imply a direction, or create a spatial change, each threshold study is designed to have an intentional change in characteristics to directly evoke an experience for an individual.

Thresholds are able to give the opportunity for the people to physically pass through. By doing so, they experience a transition through multiple spaces as well as a connection between multiple spaces. While occupying this space, a continuous movement is implied for a moderate amount of people to pass through. Each surrounding space is easily visible through the threshold, and therefore it is possible for the adjacent spaces to influence each other through the point of connection.

Here, the threshold has increased in width and allows for a greater amount of people to pass through as well as implying a much larger range of influence to occur in each space. Since the space has grown horizontally, the threshold is perceived to be thinner than its actual dimension and portraying a transparent quality where people can easily move and visualize the adjacent space. The Portugal Pavilion by Alvaro Siza is located in Porto, Portugal along the water. Originally made for a World Fair, the pavilion acts as a space for people to gather to escape the strong Portuguese heat, while allowing for a clear transition from the city to the waterâ&#x20AC;&#x2122;s edge.

This threshold has decreased in size in which a limited amount of people have the ability to pass through, creating a sense of privacy within the threshold space. Due to the limited width of this threshold, one can assume that each surrounding space has little or no influence on the other, creating a drastic spatial change at the point of connection. Alvaro Siza incorporates narrow passages that transition people towards the ocean at the Leca Pools. People are forced to walk singularly making the intention for this space to be for movement rather than a social area.

When the threshold conditions begin to grow vertically, the space begins to show its monumentality. It stands as a large figure for people to pass through as they can sense its hierarchy over the surrounding spaces. The Arc de Triumph stands in the middle of an intersection and displays its importance by recognizing its past. This tall structure peeks above its surroundings and is able to be seen from afar.

Short thresholds create a more personal relationship with people. It becomes very apparent because it forces people to bend down to form to the entry point. Here, few people are able to pass through at a time and has a strong influence on the user for the transition creates a drastic change in spatial quality. At Casa Batllo, Antonio Gaudi creates a short threshold in oder for people to enter into a small seating area near a fireplace. It creates separation from the open foyer and brings people into a small and cozy space for people to relax.

Thresholds have the ability to grow in depth, where they can double as a corridor, in order to connection two or more separated spaces. This condition allows for a longer transitional sequence and creates a defined and apparent threshold space. The Cruise Terminal in Portugal has long corridors that act as a connection from land to water. These thresholds become elongated in order to stretch out toward the ship and allow for a long spatial passage.

When a threshold begins to shrink in depth, it begins to highlight the exact moment of separation and is less of a space and more of a transition. To many people, this threshold type may go unnoticed, and the boundaries of the two adjacent becomes more important. Ettore Sattsass designed this threshold to accentuate the difference between light and shadow. This now calls attention to the line of shadow that before went unnoticed.

METHODOLOGY â&#x20AC;&#x153;You walk through a series of arches, so to speak, and then, presently, at the end of a corridor, a door opens and you see backward through time, and you feel the flow of time, and realize you are only part of a great nameless procession.â&#x20AC;? John Huston (1906-1987)

PROBE HIGHLIGHTING THE THRESHOLD How people perceive a sequence through spaces is important while experiencing the threshold. In many cases - the object - goes unnoticed when the transition is perceived. In other words, the threshold is “nothing”. This probe tackles the issue in which design should give threshold credit for each experience that is made when passing through spaces. By incorporating a very apparent threshold piece, the object becomes noticed by its audience. This probe is meant to be viewed in three ways. First, looking at the front, people are able to see the transition but the actual location of the threshold is blurred. By looking upward and turning it to its side, people can see that the actual threshold is missing. The threshold is perceived as “nothing space.” To solve this issue, threshold pieces are inserted, and from every angle, the threshold is called to attention and therefore, altering the experience one would have when passing through spaces.

To test the theory that the threshold commonly goes unnoticed by the everyday person, it is important to test the reaction to placing a very apparent threshold into a site context. Each threshold study is placed within a site to bring awareness to a threshold, where people are now forced to make the decision to pass through the threshold, or to ignore it. Either way, it implies a transition and a direction into another space as well as highlighting the separation of two spaces and creating a connection between them.

Thresholds are not solely the doorway space within a site. Instead they are directly related to each space on either side of the threshold. The spaces surrounding the threshold have a strong influence on the experience that is created. These studies focus on how two spaces are joined together through the threshold.

These images are of the first design iteration where a threshold is introduced into a site context and is stretched to create a new space within the threshold. Architectural qualities are introduced into the design like material choice, change in elevation, and spatial enclosures. People are able to pass through along a existing pathway and experience spatial changes while progressing through a sequence. By expanding the threshold and creating more space, more thresholds are created, and therefore making it unclear where the exact moment of change is. Instead of creating new space, the threshold should start to merge two existing spaces. By determining the qualities of the surrounding spaces, how can a threshold begin to connect the two spaces?

SITE WORK “A threshold is a sacred thing.”

CHARLES RIVER ESPLANADE BOSTON, MA

Porphyrus (The Nymph’s Cave, AD3rdC)

Storrow Drive

Beacon Stre

Beaco

n Stree

Commonwe

alth Avenue

51 ton Street

outh Street

tre

Boston, Massachusetts is introduced into this thesis as a location for thresholds to occur. Within Boston, the Charles River Esplanade lives and borders the city from the Charles River and Cambridge. Originally part of the Boston Embankment, the site was taken on by Fredrick Law Olmstead to create an extension of the Boston Emerald Necklace, a series of green and open spaces to allow relief from a personâ&#x20AC;&#x2122;s everyday life to a calming space to reconnect with nature. Today the space is heavily occupied by people walking their dogs, riding their bikes, or taking a run. The Esplanade becomes home to a multiple memorial monuments and several programmatic spaces such as a docking station for canoes and the Hatch Shell where entertainment events commonly take place. The Charles River Esplanade is very involved with thresholds. By analyzing the site, it is clear to see that the Esplanade works as a threshold between the water from the Charles River and the city that offers a open green space for leisure activities for people to both be divided from the water as well as from the city bustle. This space also becomes the threshold between the Boston city and Cambridge, a neighboring urban environment. Adjacent to the Charles River Esplanade is Storrow Drive, a popular route for Boston drivers with heavy traffic that occupies the winding road. Unfortunately, Storrow Drive stands a barrier between the city of Boston and the Esplanade. With this barrier, there are minimal existing opportunities for foot traffic from the city environment to the sought after green space. Then when people are occupying the Esplanade, they are able to travel along the pathways while being completely unaware of which city neighborhood they are passing by. This thesis wants to address both of these issues. To introduce a transition from the city to the Charles River Esplanade that allows for people to cross over as well as bringing key features from the city into the Esplanade.

Fenway

Back Bay

Common District

Beacon Hill

- Materiality : Red Brick & Tan Brick - Materiality : Red Brick & Tan Brick - Materiality: Concrete (solidity/stability/monumentality) Glass - Materiality: (Reflective/thin) Concrete (solidity/stability/monumentality) - Materiality: Vegetation Glass (Reflective/thin) (Relaxation/Relief) Water - Materiality: Vegetation (Relaxation/Relief) Water - Materiality: Brick & Iron - Materiality: Brick & Iron - Elements of man planted trees and vegetation - Elements of man planted trees and vegetation - Staggered Vertical elements - Staggered Vertical elements - Boundary is marked by line of vegetation - Boundary is marked by line of vegetation - Narrowness - Narrowness - Use of Banners - Use of Banners - Incorporated wind tunnels - Incorporated wind tunnels - Sparatically spaced Monumental elements - Sparatically spaced Monumental elements - Buildings are relative same hieght at 3-4 stories - Buildings are relative same hieght at 3-4 stories - One way vehicle circulation paths in which imply indirect - One sequences way vehicle or transitions circulation paths in which - Circulation imply indirect tunnels sequences (Vehicle,orPedestrian, transitions Public Transportation) - Circulation implying tunnels multi-level (Vehicle, Pedestrian, - Only Public pedestrain Transportation) traffic implying multi-level - Only pedestrain traffic - Constant grade change (ranges in intensity) - Constant grade change (ranges in intensity) - Naturally framed views through natural vegetation. These - Naturally are views framed to surrounding views through natural vegetation. circulation These paths are views to surrounding circulation paths - Home to animal life - Home to animal life - Main circulation path that inculdes programmatic spaces - Main with circulation less circulation path on thatthe inculdes programmatic spaces with less circulation on the neighborhoods. neighborhoods. - Man places vegetation in small areas - Man places vegetation in small areas- Natural open space and enclosure which allows for daylight - Natural and open shadespace and enclosure which allows for daylight alternative and shade routes alternative routes - Vegetation is woven into the built environment - Vegetation is woven into the built environment - Views come from towers within neighborhood and looking - Views towards comethe from towers within neighborhood - No directand pathway lookingthat towards leads the to a destination, instead there - No are direct curved pathway and that straight leads to a destination, instead - Uneven/uneasy there are curved sidewalks and straight - Uneven/uneasy sidewalks - Construction that relates to an evolving neighborhood - Construction that relates to an evolving neighborhood neighborhood neighborhood pathways that connect throughout pathways that connect throughout - Small and unexpected areas of surprise - Small and unexpected areas of surprise - Historic references - Historic references - Main streets that allow for direct routes with the option -ofMain alternative streetsroutes that allow for direct routes - Isolation with thefrom option urban of alternative life routes - Isolation from urban life - Man planted trees line the buildings - Man planted trees line the buildings - Architecture contains grid systems (Building facades) - Architecture contains grid systems (Building - Small facades) programmatic spaces scattered throughout that -related Small to programmatic the space spaces scattered throughout -that Occupiable related tospace the space that extends from buildings (Balconies/Bay - Occupiable Windows) space that extends from buildings (Balconies/Bay Windows) - Increased width of streets and pathways (allows for more - Increased circulation) width of streets and pathways - Open (allows space forthat more allows circulation) for open market or vendors - Open space that allows for open market or vendors - Perspective always has grade change transition - Perspective always has grade change transition

F E N WAY

COPLEY

THE COMMONS

BEACON HILL

Brick Materiality

S t a g g e r i n g Ve r t i c a l H e i g h t s

N a t u r a l E n c l o s u re s

Continuous Grade Change

M e r g e d Ve g e t a t i o n w i t h i n U r b a n E n v i ro n m e n t

W i d e C i rc u l a t i o n P a t h s

S c a t t e re d P ro g r a m m a t i c Spaces

I r re g u l a r S t e p s

Framed View

Integrated Grid System

I n d i re c t P a t h w a y s

Common Extension Spaces

COPLEY DISTRICT S TA G G E R E D V E RT I C A L I T Y

W I D E C I R C U L AT I O N

GRID SYSTEM

Storrow Drive

Beacon Stre

Beaco

n Stree

Commonwe

alth Avenue

59 ton Street

outh Street

tre

DESIGN DEVELOPMENT “You walk through a series of arches, so to speak, and then, presently, at the end of a corridor, a door opens and you see backward through time, and you feel the flow of time, and realize you are only part of a great nameless procession.” John Huston (1906-1987)

To create the threshold design, this thesis focused on the design development of the Back Bay/Copley area within the Boston area. By mapping out the qualities found throughout the neighborhood, three significant qualities were chosen to extend into the Charles River Esplanade. First, with the staggering vertical heights that the buildings take on are translated into the design where the vertical wall elements reach various heights to mimic the city. Second, Dartmouth Street creates a wider circulation pathways for both foot traffic as well as vehicle traffic. Therefore, the design should take on a large path for people to travel upon. Lastly, the third quality that was discovered throughout the area is that the streets and blocks are situated along a grid system in which continues into the design where the walls and roof elements are placed along a grid as well.

Stor

row D

rive

Da rtm

re et

To incorporate these qualities into a threshold between the city of Boston and the Charles River Esplanade, the design begins to form a bridge that incorporates a transition from the urban environment into the landscape. The typical threshold is elongated to allow for people to occupy while enhancing the experience during the transition. Along the pathway of the threshold, people can experience enclosed space, much like a doorway. While passing through the threshold bridge creates more thresholds that become visual as they begin to frame specific view to the neighboring bridges that connect to the surrounding districts. The main goal of these bridges is to create a transition from the city and as people enter into the Charles River Esplanade, the forms and spaces that replicate the city begin to break and dissolve into the landscape. In conclusion, bringing the Back Bay/ Copley neighborhood into the Charles River Esplanade without taking away from its existing place.

Copley Site Plan

S PAT I A L E N C L O S U R E S

FRAMING THE VIEW

D I S S O LV I N G Q U A L I T I E S

BRIDGING OVER THE BARRIER

Bridge Plan

1/16” = 1’-0”

Section 3/16” = 1’-0”

Section

3/16” = 1’-0”

REFLECTION Feedback was greatly appreciated during the process of designing and thesis development. Critics that were familiar with the Boston area, saw the need for this idea that created an inviting transition from the city into the Charles River Esplanade. Many saw this design as an opportunity for an â&#x20AC;&#x153;adult playgroundâ&#x20AC;? where the architecture began to create a fun and mature place within the city. It introduced a chance for public art to be displayed, a space for people to interact, and a completely functional social infrastructure that is scarcely found throughout the urban environment. Further development would include a deeper understanding of materials used for the Back Bay/Copley bridge as well as documentation on how people enter the bridge from both ends and view it from a distance. By using this process of developing key qualities found within each neighborhood and applying them to another bridge, designs can be placed numerous times along Storrow Drive that allow for the city to enter into the Esplanade and create more convenient and functional routes for foot traffic.

SPECIAL THANKS Anne-Catrin Shultz Simon Unwin The Girl with the Curly Hair Weldon Pries Jeremy Eiholzer The Plastic Girl Mark Pasnik The Italian Juan Torres Linda Weld Mom & Dad Ann Pitt

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