Thesis (Doctoral)--İzmir Institute of Technology,İzmir, 2004 / Includes bibliographical references (leaves. 145).

The purpose of this creative exercise is to explore the unity of opposites through the plurality of the in-between-ness in architecture. The exploration holds the promise of revealing a larger and more complex reality that speaks to contemporary times and the making of contemporary architecture. To investigate this proposition a program has been created to bring multiple readings of singular objects including "dynamic pluralism between life and death".1As a consequence, this creative project will allow me to speculate on how physical space can be deliberately experienced simultaneously. As a result, the building will service my proposition in light of liminal-driven architecture and how this proposal will contribute, to some extent, to enrich our world, our society through architecture by making the practice more challenging and motivating.The term threshold evokes images of entering and leaving, passages, crossings and change. It marks the point at which choices and decisions must be made in order to move on, and it would be unusual to think of it as a place to stay, a place of permanent existence. There are, however, situations in the lives of people in which transitions from an old situation to a new one, one social position to another, are hampered or cannot be completed successfully. In this case, Architecture has the potential to make people engage with the space, having the ability to speak to a person and stir their emotions. In the case of absence, the atmosphere of the space plays an important role in suggesting this attitude of meditation. Adjectives such as somber, solemn, reverent, joyful, etc. come to mind. In creating a space described by these terms, light and darkness might become the key. Natural, artificial, and hidden source lighting all can be utilized in various ways in defining the atmosphere of the space as somber, joyful, etc. Another key component in giving a space a certain feel is materiality. Concrete, wood, sheetrock, glass, etc. all change the mood of a space dramatically. The approach and progression to and through the building can also serve and important role in establishing the atmosphere as well as preparing the individual for reflection and/or celebration. The space in which one approaches, enters, and reflects in can make a significant difference in their spiritual experience. This begins to relate to the ideas of "transition, thresholds, boundaries" relevant to interstitial spaces, spaces of the in-between.1 Kisho Kurokawa & Associates <http://www.kisho.co.io/003 BooksAndThesis.htm> (12.17.06) / Department of Architecture

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references (leaves 128-132). / This thesis is a beginning toward working with the qualities we find in the places we love - those essences which make space place. Why? In order to learn, we must experience these directly - they change in us - and then use them. When? Now, before, after. How? We assemble our understanding through optional associations and multiple readings (not one linear path!): open thinking with analogies to language-poetry; place description thru film, photographs, drawings; generative directions from diagrams to collages; projective drawings-extension of place. Where? Halibut Point, Rockport. Who? surely me and you. / by Paul Hajian. / M.Arch.

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Supervised by Jan Wampler. / Includes bibliographical references (p. 151-155). / Perhaps the easiest way to comprehend the complexity of our built and natural landscape is to draw an example from common experience. As ambulatory beings we must all move from one place to another. Architects, too, must travel a distance, but in a more abstract manner; from the idea to the design to its execution. Yet a journey is not just getting there; for the space which surrounds and fills our experience both defines and acts as the log of that movement. A journey, therefore, seems a fitting metaphor for an exploration of the wider implications of how built form might help us get from here to there. and understand the quality of in-betweens as well. From a cross-country journey , to the path we travel between rooms, there lie many clues to inform the way we design. The journeys in this thesis are both figurative and literal. Viewed as life-giving connections for all arrivals and departures, they take on a more positive definition than the void between objects. Within their contextual field they become a kind of built cytoplasm, or the living substance which helps structure the whole of our perceptive universe. "Journeying" is my way to study a larger issue, that of the in-between regions of built landscape. The concept of articulated in-betweens acts as a vehicle to make positive association with space, in a culture that puts a premium on objects and equates the in-between with emptiness. In this study I have momentarily turned the tables on a casual view of in-betweens, as if I were held throughly accountable for all "left-over" space. The articulation of in-betweens is the primary objective. While the written expression of the journey process and ideology of in-betweens has been building with my experience and plays an important role, the mos t substantial effort in the thesis has gone into the actual design study. My investigation graphically documents the processes of designing the path of one journey and several of its sub-journeys. Each sub-journey is contained within the limits of the larger path yet focuses on the in-betweens with the same intensity. As a context for the investigation I have used a small section of an urban residential and commercial area in Boston. / by Steven Imrich. / M.Arch.

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