Research and Design
Submitted to:Asst. Prof. Ar. Chitrasen Parida
Submitted by:MD. Sarwar Azad Regd. No: - 1602295098 Sem- '8th ', Sec- 'C'
PILOO MODY COLLEGE OF ARCHITECTURE
Contents 1.
Topic ............................................................................................................................................... 1
2.
Definition ........................................................................................................................................ 1
3.
History ............................................................................................................................................ 1
4.
Typology ........................................................................................................................................ 1 4.1
Types...................................................................................................................................... 1
4.2
Taxonomic classification ..................................................................................................... 2
5.
Aim.................................................................................................................................................. 2
6.
Objectives ...................................................................................................................................... 2
7.
Scope ............................................................................................................................................. 2
8.
Limitations ..................................................................................................................................... 3
9.
Methodology .................................................................................................................................. 3 9.1
Literature study ..................................................................................................................... 3
9.1.1
Paper 1........................................................................................................................... 3
9.1.2
Paper 2........................................................................................................................... 4
9.1.3
Paper 3........................................................................................................................... 6
9.1.4
Paper 4........................................................................................................................... 7
9.1.5
Paper 5........................................................................................................................... 8
9.2
Case study............................................................................................................................. 8
9.2.1
Case study..................................................................................................................... 8
9.2.2
Design intervention -1 (Art installation) ................................................................... 10
9.2.3
Design intervention -2 (Floor level difference) ....................................................... 10
9.2.4
Design intervention -3 (Usage of glass).................................................................. 11
9.2.5
Design intervention -4 (Play of light & shadows) ................................................... 12
9.2.6
Design intervention -5 (Flooring material) .............................................................. 13
9.3
Analysis ................................................................................................................................ 14
9.3.1
1st design intervention (Art installation) .................................................................. 14
9.3.2
2nd design intervention (Level difference) ............................................................. 14
9.3.3
3rd design intervention (Usage of glass) ................................................................ 14
9.3.4
4th design intervention (Play of light and shadows) ............................................. 15
9.3.5
5th design intervention (Flooring materials) ............................................................ 15
10.
Conclusion ............................................................................................................................... 15
11.
Bibliography............................................................................................................................. 16
12.
Appendix .................................................................................................................................. 16
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List of figures 1Types of liminal spaces ______________________________________________________________________ 1 2Classification of liminal space _________________________________________________________________ 2 3Glass House, Philip Johnson, New cannan, CT ____________________________________________________ 5 4Clark County Public Library, Michael Graves, Las Vegas, NV_________________________________________ 5 5Memorial to the Murdered Jews of Europe, Peter Eisenman, Berlin, Germany __________________________ 5 6San Carlo alle Quattro Fontane, Francesco, Borromini, Rome, Italy ___________________________________ 5 7Case study Building _________________________________________________________________________ 8 8 Flooring material (1) _______________________________________________________________________ 9 9Flooring material (2) ________________________________________________________________________ 9 10Plan of the building for case study ____________________________________________________________ 9 11Corridor _________________________________________________________________________________ 9 12Inner courtyard ___________________________________________________________________________ 9 13Staircase ________________________________________________________________________________ 9 14 View of the entry after art installation _______________________________________________________ 10 15 A view of the main entry after the installation _________________________________________________ 10 16Kinetic art installation _____________________________________________________________________ 10 17Plan of the building _______________________________________________________________________ 10 18Floor level difference (1) ___________________________________________________________________ 11 19Floor difference (2) _______________________________________________________________________ 11 20View of railing and corridor ________________________________________________________________ 11 21Detailing of proposed railing _______________________________________________________________ 11 22View of the corridor with glass railing ________________________________________________________ 12 23staircase base of the building _______________________________________________________________ 12 24Inner courtyard illumination (schematic) ______________________________________________________ 12 25reflective glass mechanism _________________________________________________________________ 12 26reflective glass __________________________________________________________________________ 12 27Illumination of Atrium _____________________________________________________________________ 12 28Modified staircase base ___________________________________________________________________ 12 29View of the lecture hall ____________________________________________________________________ 13 30Plan of the building _______________________________________________________________________ 13 31View of the auditorium ____________________________________________________________________ 13 32Vinyl flooring ____________________________________________________________________________ 13
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1. Topic Liminal space 2. Definition The word Liminal comes from the Latin word "limen" which means threshold. Liminal spaces are transitional and transformative spaces. They are the waiting areas between one point in time and space and the next. 1
3. History The concept of liminality was first developed in the early twentieth century by folklorist 'Arnold van Gennep' and later taken up by 'Victor Turner'. 2 The term has passed into popular usage and has been expanded to include liminoid experiences pertaining spatial environment. The spatial dimensions of liminality can include specific places, larger zones and areas.3
4. Typology 4.1 Types
1Types of liminal spaces LIMINAL SPACE
ELEVATORS
CORRIDORS
EMPTY PARKING LOTS
AIRPORT LOBBIES
SIDEWALKS
4
1
(https://inaliminalspace.org) ( NASA ANDC ,UNTRAVERSED , 2018) (Liminality and communitas in the 'The Ritual Process': Structure and Anti Structure, 2008) 3 (Barfield, The Dictionary of Anthroplogy, 1997) 2
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https://www.betterhelp.com/advice/general/understanding-how-liminal-space-is-different-fromother-places/ 1
4.2 Taxonomic classification Built Environment
Architectural elements
2Classification of liminal space
Spatial Environment
Psychological
Physical
Definite
Transitional
Liminal Space
5. Aim To study and reinvent a liminal space through various design interventions to make it more aesthetically pleasing and functionally purposeful.
6. Objectives To explore and familiarize with the philosophical and contextual notion of betwixt space. To identify the presence and from of such spaces as understood in the local context. To reinvent such spaces in present scenario over a site of personal choice.
7. Scope The research design intends to explore, identify and reinterpret the liminal spaces in the respective context with a vision to enform a society. This is a study into the conception and insight of liminal space through an understanding of threshold and transition. A study of the liminal, or transitional, stage in cultural rites of passage, or rituals, will provide an analogy for the understanding and creation of in-between space as it exists in historical architectural instances. The
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knowledge gained from this investigation proposes a set of processes, including: layering, dissolution, dissociation, and blurring, that will inform an architecture that responds to and advances the perception of the threshold as a unique transformative space that connects two dissimilar spaces and introduces a discontinuity that heightens the spatial awareness of the occupant.
8. Limitations 1. Discomfort Liminal spaces can be scary and uncomfortable. When we don’t know what’s coming, we’ll often feel anxious and sick in the stomach. Physical liminal spaces can also be empty and spooky, such as empty stairwells. 2. Feeling unprepared Another disadvantage of liminality is that we often feel unprepared for it. When we are waiting for a diagnosis from a doctor, we might not want to face the reality. When we’re graduating university, we might feel like it’s too soon to start a job because we feel unprepared. 3. Need for support Due to this discomfort and uncertainty, many people seek help during times of transition. They could seek out professional help or look for the unconditional love and support of their family, loved ones and community during this time. 4. Fear Many times liminal spaces make us afraid. This is especially true when it seems like there are many cons of passing through the threshold to the next chapter of life and not many pros.5
9. Methodology 9.1 Literature study 9.1.1 Paper 1 The definition of physical city structure could be simplified and thus explained through three basic spatial levels: exterior, interior and a border that separates them. The border is between an inner space and an outer space is often a wall. The paper talks about dissolving that border to achieve liminality. In the 'typology of liminal' section it introduces the attributes through which different kinds of liminal spaces could evolve, naming four of them as described follows:-
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https://helpfulprofessor.com/liminal-space/
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Liminality - Liminality or the liminal refers to transitional space – “neither one place nor another, but a third space in-between.” In-Between Space: - In-between space is one of the liminal states of architecture. This is the area of high intensity; undefined space: waiting for the prevailing effect of one of the reactions that surrounds it, and as a result of the prevailing endurance of any of these reactions, it becomes the space of tension. This tension defines a state of space which might be considered as the instability of space. Heterotopia -In-between space introduced in the position of wall, and conducted as a design principle is a heterotopian element, and also, multiplied it blurs the line between architecture and these "other places”. The Expanded Space: -The paper depicts cyberspace as the expanded space. The virtuality serves a platform for spaces expandable beyond imagination.
3 concepts of 'occupying in-between' A. The Concept of Time-based Spatial Transformation- "The concept of time transformation negates the idea of fixed architecture, in terms of its spatial paralysis, questioning the possibility of flexible spatial structure, and methods for its use." B. The Concept of Suggestion of Spatial Transformation- "The reduction of architectural elements that make the architectural space is a basis for exploration of spatial experience of in-between space." C. The Concept of Content Visibility – Spontaneous City Voyeurism- this concept deals with the transparency as the tool to examine the relationship between internal and external spaces. 6
Design consideration: - Employing the method of dissolution for content visibility like usage of glass instead of concrete walls.
9.1.2 Paper 2 This paper introductorily talks about various methods/processes which enform a threshold space as a unique transformative space (layering, dissolution, dissociation and blurring are some of the commonly and widely discussed processes that we already saw in paper one). The idea put forth of liminal spaces being a transformative space which connects two dissimilar spaces is quite evident here.
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(Marić, 2011)
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One of the section titled 'Architectural issues' briefly describes Michael Graves' take on the modernism's use of glass plane, which according to him, creates a homogenous world. The differences of outside and insides begin to dissolve due to glass panes which are used for walls. Arnold van Gennep in his researchers to study cultural rites of passage concluded that each rite of passage consists of three major phases: separation, transition or liminality, and incorporation.
3Glass House, Philip Johnson, New cannan,
4Clark County Public Library, Michael Graves, Las Vegas,
CT
NV
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5Memorial to the 6San Carlo alle Quattro Fontane, Francesco, Borromini, Rome, Italy
Murdered Jews of Europe, Peter Eisenman, Berlin, Germany
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"The person experiencing the liminal stage has left the previous state but has not yet entered the coming state. It is this in-between stage that characterizes the liminal as transitional."
7 8 9
www.matthewlangley.com www.library.unlv.edu www.ivan-herman.net
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When this thinking is applied to a spatial structure like Athenian Acropolis the picture gets clearer. The entrance to the Acropolis through the Propylaea creates a transformative transition between the city and the temple precinct. This space is clearly transitional, as the occupant moves through a series of thresholds, or layers, to ascend to the sacred space. The two wings of the building extend out, as if to pull the visitor into the space and create a zone of separation from the profane. Upon ascending through the Doric colonnade, the occupant has entered a zone of transition in which they are not yet a part of the sacred temple precinct, but they have been removed from the profane world. Upon passing through the door into the porch that leads to the Acropolis, the occupant has entered a zone of incorporation. Thus, the layering of the Propylaea illustrates each of the three stages integral to rites of passage. The section dedicated to 'Dissolution' and 'Dissociation' talks about methods and ways citing specific examples like that of Le Corbusier's Mill Owners’ Association Building in which the occupant constantly questions whether they are inside or outside. This ambiguity of space is a key characteristic of the liminal, essentially identified as blurring of spaces.
Process of liminal These processes include layering, dissolution and reformulation, and blurring.
Layering - A layering of spaces serves to separate, transition, and incorporate the occupant from one space to another so that the threshold is a progression through space. Dissolution and reformulation represents the breaking down of a composition to its constituent elements in their generally accepted meanings and use and then reconstituting them in a way that leads to a different understanding about what they are. Additionally, an overlaying of clear diagrams creates blurring between the two. This produces an ambiguity that leads the occupant to question what had previously been taken for granted in a certain kind of space and creates a new understanding and apprehension of the space. 10
Design consideration: - Usage of level differences in order to give it the sense of transition.
9.1.3 Paper 3 This paper although talks extensively and in depth about liminality, it majority deals with liminality in literature and how does it affect the characterisation, plots and other aspects of famous works and specific novel cited in the paper.
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(Zimmerman, Liminal Space in Architecture: Threshold and Transition, 2008)
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The paper afterwards delve into the psychological aspect of liminality and hoe does it affect the subject in question. Although the medium of expressing, liminality is not spatial or architectural but rather talks about taking examples of specific literary characters in a specific books or novel but it does what it needed to do that is convey the psyche of a person when he/she is dealt with liminality. In his well-known series of letters, Schiller considers art as the ‘third reality’; - an aesthetic phenomenon that performs the function of intermediary between necessity (cause) and freedom (soul). He writes ‘Movement from the passive conditions of sensation to an active condition of thought and desire is impossible without via – an intermediate condition of aesthetic freedom’ (Schiller 1967: 161). Other than that the closest it comes to architectural liminality is when it talks about the person who conceived the idea of Liminality in the first place 'Arnold van Gennep' and how he discussed the 3 stages associated with liminality in his work 'Rite of Passage' in 1902 which we have already seen in the 2 nd paper discussed prior to this. 11 Design consideration: - Art installation as a tool to achieve the aesthetic freedom which would serve as intermediary for the transition.
9.1.4 Paper 4 This research paper discussed liminality in various disciplines with the focus on the usage of the concept in architecture. It demonstrates that liminality in architecture is inter-related to ideas of liminality in anthropology, philosophy, urban design and art. In order for liminal space to come to life is when spatial division is initiated along with the context, culture and function of a building. Without any division of space, an inbetween space does not exist. Therefore, with spatial division that creates a relationship between two entity of inside and outside as an example, interaction and movement patterns are able to bring life into spaces and building known as spatial condition. Subsequently, as building designed as around people's lives, spatial experiences enhance the liminal spaces in architecture. The liminal acts surrounding it create moments of life into buildings. The paper goes on to discuss the factors affecting the characteristics of liminality after discussing certain philosophies of some of the architects. For Example, Tadao Ando's design philosophy in architecture is frequently characterized by trademark innovative use of light, shadow and design that compliments the contours of the landscape. And also Steven Holls' usage of lights, shadow and materiality in his works which could be termed as a definite attribute for a liminal space.12 Design consideration: - Play of light and shadows in order to accentuate the liminal process.
11 12
(Ratiani) (Lim, 2018)
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9.1.5 Paper 5
This paper extensively discusses about liminal spaces or 'In- Between spaces' as a measurement of threshold or simply threshold spaces in a built spaces. The author goes on to describe how he perceives liminality and other spaces beyond in words like these
"It has been proposed that the liminal space is an expansive, though ephemeral place of transition, bounded on both sides by zero-limit thresholds, the subject and the object. In the space behind edges there occurs a kaleidoscope of objects, and a mental stillness of nothingness and silence lays beyond as an experience of the other. In it is union, but we are fooled by the objects behind which the other emerges. Rays of light cannot penetrate the solidity of substance and allows shadow to encompass all that we cannot perceive behind the occluded edge. Only ambient light, the specularized light from the surface of neighbouring objects casts light into the darkness and exposes the form and shape of things within it." It goes on describe how a design uses color and material not only to texturize surfaces but also to feel the gravity with senses. 13 Design consideration: - Colors on the walls and texture of the ground could work together to provide a psychological affect as to prepare the user for what is coming on either end.
9.2 Case study 9.2.1 Case study Identifying the problems associated with liminal space with regard to the building in question. The liminal space which happens to be the central corridor in this case could be redesigned to improve the functionality and aesthetics of the contextual space while maintaining the integrity of the building in a manner that the transitions between different spaces in the same floor is psychologically appealing. Pre-existing site conditions
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7Case study Building
A view of the existing building
Usage of same material for flooring and hence having no difference in texture whatsoever. No difference in floor level to create a sense of distinction between restrooms, service room and the space involving Dean’s office and his chamber.
(Wilbur, 2013)
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8 Flooring material (1)
9Flooring material (2)
10Plan of the building for case study
No art installations (Paint work/ Graffiti/ Paper work etc.) which could emphasise the dynamics of entrance and corridor leading to different departments Concrete walls as well as concrete parapet walls all around the corner of the corridor keeps it away from merging the spaces.
11Corridor
13Staircase
The advantage of natural light is not explored to its full potential. Usage of artificial lighting to create sense of transition is also absent.
12Inner courtyard
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9.2.2 Design intervention -1 (Art installation) The open courtyard is devoid of any front wall facing the entry. Thus as we enter the building premise is devoid of anything interesting like a painting or an art installation which makes it mundane and doesn't provide a sense of change of dynamics as we move through the corridor along the different spaces. An art installation like an interactive kinetic art installation or a painting complimenting the mood and psyche of entrance could make the transition interesting and fun. 16Kinetic art installation
A view of the main entry after the installation
A kinetic interactive art installation would be hung up on the wall centrally which mimics the gestures and movements of humans in front of it.
15 A view of the main entry after the installation 14 View of the entry after art installation
9.2.3 Design intervention -2 (Floor level difference) The absence of any level difference in the corridor (liminal space in question) creates a lack of sense of distinction between the spaces circumventing the corridor which serve different purpose according to their functionality. The toilets for both men and women and the server room are on the same level as that of the Dean’s department. 17Plan of the building
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18Floor level difference (1)
19Floor difference (2)
VIEW OF ‘A’ This 150 mm rise is provided on the corridor floor separating the two spaces (hall area and the toilet area) physically which in turn further creates a psychological effect of segregation between the spaces. The level differences have been provided in such a way that it doesn’t jeopardise the corridor floor level in any manner. One step down from the hall area and one step up for the Dean’s department which renders the toilet area at a -150mm. VIEW OF ‘B’
9.2.4 Design intervention -3 (Usage of glass) Parapet walls like this which circumvent the corridors on all the floors are an obstruction for the view of the open courtyard. The brick parapet physically separates the outer and the inner portion of the building. Ironically the outside portion is the innermost portion i.e. the central open courtyard and the inner portion would be the liminal space in question which is the hexagonal corridor.
20View of railing and corridor
P R O P S E D
21Detailing of proposed railing
.
I N T E R V E N T 11 I O N
22View of the corridor with glass railing
The usage of glass instead of brick helps bring the view of the courtyard through the translucent glass wall of the parapet. The obstruction of view is evaded not just for the yard but also to the other section of the corridor itself thus making the liminal space merge with the surrounding and itself in a whole different manner.
VIEW AFTER EXECUTION
9.2.5 Design intervention -4 (Play of light & shadows) 23staircase base of the building
In the existing condition the fenestration at base of the stairs which also acts as an alternative entry serves the purpose of bringing natural light inside too. View of stairwell base illuminating the liminal space.
Proposed intervention The light well condition of the inner courtyard illuminates the formed atrium. The top of which can be covered by reflected glass. The technology of reflective glass comes in handy when we want to admit light but repel/obstruct heat to enter the building. The mechanism has been explained through diagrams above and below.
26reflective glass
25reflective glass mechanism
28Modified staircase base
24Inner courtyard illumination (schematic)
27Illumination of Atrium
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9.2.6 Design intervention -5 (Flooring material) The proposed intervention of usage of flooring materials other than the already existing cementitious flooring in all the floors aim to achieve a sense of transformation through tactile senses of the user. While the texture of the material helps in providing a tactile response: color, size, and pattern etc., these kind of characteristics helps in the visual psychological effects. The usage of a new flooring material for other rooms in all obviousness serves majority of the purpose. In this case the 'vinyl flooring' in the service room and the bathroom serves that purpose.
29View of the lecture hall View of the lecture hall
30Plan of the building
31View of the auditorium View of the auditorium
Notice how the floor of the corridor matches with that of the lecture hall and the auditorium of the building robbing off the room with their individuality and thus of the liminal space itself (corridor) in the question, preventing any sense of transformation, transitional and in-betweeness of space.
32Vinyl flooring
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9.3 Analysis 9.3.1 1st design intervention (Art installation) Positive aspects
Makes the entry impactful and distinguishable. Draws people towards itself which positively affects the usage of the building. Merges well with the environment of creativity. Negative aspects
Obstructs the view of the courtyard upon entry. Requires maintenance and care.
9.3.2 2nd design intervention (Level difference) Positive aspects
Makes the toilet floor level low as required. Provides the desire psychological effect of transition from toilet/ service room to a functionally different (Dean's office). Negative aspects
Sets the portion of floor apart from all other sides of the hexagonal corridor.
9.3.3 3rd design intervention (Usage of glass) Positive aspects
Provide aesthetic beauty to the corridor (liminal space) Provide the desirable merging of the outside and the inside of a built space thus fulfilling the essentiality of liminal space. Usage of reflective glass helps illuminate the corridor naturally while reflecting the sunlight simultaneously.
Negative aspects
Requires maintenance and care. Susceptible to breakage and thus fragile. 14
9.3.4 4th design intervention (Play of light and shadows) Positive aspects
More natural illumination in the liminal space. Increased ventilation due to additional fenestration. Negative aspects
9.3.5
Risk of trapping heat due to glass roof proposed for the atrium even though reflective glass is to be employed. Pattern and illumination keeps changing according to time and seasons. 5th design intervention (Flooring materials) Positive aspects
Gives the sense of distinction between the different functional spaces. Could be used aesthetically according to one's desire.
Negative aspects
Although requires little to no maintenance, it also goes mostly unnoticed if not aesthetically pleasing.
10. Conclusion Thus, after evaluating all the positive and negative aspects of each design interventions that we considered, we can assuredly conclude that the 3rd (third) design intervention is the best possible design intervention than all others interventions proposed to study and reinvent a liminal space through design interventions to make it more aesthetically pleasing and functionally purposeful. The aforementioned design intervention involves the usage of reflective glass employed to reconstruct the corridor railings which helps bring the view of the courtyard through the translucent glass wall of the parapet. The obstruction of view is evaded not just for the yard but also to the other section of the corridor itself thus making the liminal space merge with the surrounding and itself in a whole different manner.
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11. Bibliography Barfield, T. (1997). The Dictionary of Anthropology, 477. Barfield, T. (1997). The Dictionary of Anthroplogy. 477. https://inaliminalspace.org. (n.d.). Lim, V. N. (2018, june). Tracing Liminality: A Multidisciplinary Spatial Construct. Journal of Engineering and Architecture. United States of America: American ResearchInstitutefor Policy Development. (2008). Liminality and communitas in the 'The Ritual Process': Structure and Anti Structure. New Brunswick: Aldine Transaction Press. Marić, M. (2011). Liminal Field of Architecture. International Scientific Journal Architecture and Engineering. Ratiani, I. (n.d.). Liminality and the Liminal Theory of Conceptualizing Time and Space in 20th century. UNTRAVERSED . (2018). Wilbur, B. M. (2013, May). At the Threshold:Liminality, Architecture, and the Hidden Language of Space. United States of America. Zimmerman, P. T. (2008). Liminal Space in Architecture: Threshold and Transition. Trace: Tennessee Research and Creative, 3-4. Zimmerman, P. T. (2008). Liminal Space in Architecture: Threshold and Transition. Knoxville: Trace: Tennessee Research and Creative Exchange.
12. Appendix
1st Paper : Liminal Field of Architecture - Marija Marić 2nd Paper: Liminal Space in Architecture: Threshold and Transition- Patrick
Troy Zimmerman
3rd Paper: Liminality and the Liminal Theory of Conceptualizing Time and Space in 20th century Eschatological Anti-utopia- Irma Ratiani 4th Paper: Tracing Liminality: A Multidisciplinary Spatial Construct- Veronica Ng & Jia Pey Lim 5th Paper: At the Threshold: Liminality, Architecture, and the Hidden Language of Space - Brett Matthew Wilbur.
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