The study aims to develop the theory of inbetween place. The inbetweens have been important elements in architectural design as transitional and reconciling realms. Architecture of place and its theories has been dominated the environmental design as place-making. However, the inbetween environments have not been clarified in significant, living place-forms for interval embodiment and systemic relationships between juxtaposing places. Through inbetween places, domains in juxtaposition will be comprehensively integrated as the whole. By a triangulation from three standpoints—phenomenological, embodied realism, and neo-structuralism—through case studies, the intrinsic characteristics and underlying essence of inbetween modes of place is identified. The study argues that inbetween places present themselves as living forms of connectedness, embodied presence, and significant pauses. Distinctive inbetween presences of place emerge from three frameworks—synthesized presence of place and the inbetweens, embodied presence of the inbetweens, and presence of inbetween “Significant Forms.” On presence of place and the inbetweens, inbetween places reflect living forms of intervals as interconnecting mediums between neighboring places. As an interval place, inbetween places, based on embodied presence, can be defined as distinct body of junctions by organized complexity of edges. According to Langer’s term “Significant Form” of place, inbetween places convey the symbolic presence of associative, edging layers that clarify differences and spatial relations between environmental juxtapositions. From a framework triangulation, inbetween places manifest complex interval domains of associative junctions as fundamental composite presences of: 1) defined inbetween containments; 2) active edging junctions or layers of juxtaposition; and 3) associative layers with places in juxtaposition. The essential quality of concrete, interrelating junctions between places separates inbetween places from inbetween placeless-ness. Inbetween places are intermediary domains creating vital and aesthetic links between places in juxtaposition; on the other hand, inbetween placeless-ness is deprived of a significant place of meaningful interactions with nearby realms. Thus, inbetween places turn out to be critical domains to develop comprehensive relationships between juxtaposing places, drawing different domains nearby to be bonded through the presence of adaptive, edging layers of places.

The site is located across the P. St. Bridge, before one enters DuPont Circle. This is an ideal site for investigating the space of the in-between. The site is situated between the small scale fabric of Georgetown and the monumental scale of D.C. This site is also situated between nature (Rock Creek Park) and the urban realm. This place must function as a significant portal into and out of the city. This concept of space precedes program, through an intense investigation of the site. Creating relationships and responding to the site, a sense of place is developed by becoming a player in its local context. Through this process, two architectonic elements arise; the wall and the tower. The wall functions like a vessel holding in the city, as well as, a fortress protecting the city. The tower acts as a beacon of light or node appearing above the canopy. The program is then introduced and informed by these spatial concepts. An intense intertwining and rediscovery of space, structure, and program occurs through this process. / Master of Architecture

Hoy, en el mundo del arte de Lima, se puede percibir un fenómeno social definido por Robert Hughes (1992) como “Cultural Cringe”. Dicho fenómeno se basa en la incapacidad que tiene el artista para fundamentar su obra en una sociedad en la que el consumidor se ve condicionado por una exposición constante a medios de comunicación masivos. Al parecer, la solución se encuentra en la propuesta de una Escuela de Arte en Barranco, escenario principal de dicho “Cringe”. Dicha casa de estudios debe poder ofrecer una educación integral, teórica y práctica, que permita que los alumnos sean competitivos en una realidad internacional y, eventualmente, debe permitir que el contexto social en el que se encuentra se vea contagiado por el conocimiento y la cultura que la misma imparte. / Defined by Robert Hughes (1992);"Cultural Cringe" is a social phenomenon that can be perceived in Lima’s Art world. This phenomenon occurs when artists are unable to demonstrate their work as conceptually and intellectually coherent pieces, especially as a result of constant exposure to “garbage” mass media. Apparently, said “Cringe” can be corrected with an Art School Project in Barranco, where the problem is more latent. The proposed School should be able to offer a comprehensive, theoretical and practical education that allows students to be competitive in an international reality and, eventually, be the kick starter of a new knowledge and culture based set of customs. / Tesis

Esta tesis investiga sobre el proceso de transformación de la forma arquitectónica, analizando una técnica específica denominada morphing. La técnica del morphing se utiliza en los gráficos por ordenador para la transformación de la forma entre dos o más objetos dados. Desde un punto de vista técnico, se revisan y actualizan las metodologías y aplicaciones existentes, sus características específicas y sus incidencias sobre la arquitectura. Desde un punto de vista práctico, se utilizan una serie de modelos de las casas Usonianas de Frank Lloyd Wright, con el fin de experimentar la técnica y ver qué utilidades se pueden obtener a partir de su lógica de diseño. Como resultado de este análisis se obtiene una metodología genérica para el procedimiento de un morphing arquitectónico. / This thesis investigates the transformation of architectural form, analyzing a specific technique called morphing. Morphing is a technique used in computer graphics to transform a form between two or more given objects. From a technical point of view, the existing techniques are reviewed and updated, as well as their specific characteristics and impact on architecture. From a practical point of view, some models of Usonian houses of Frank Lloyd Wright are used to experience the technique and see which utilities are available from his design logic. As a result of this analysis a generic methodology for the process of architectural morphing is obtained.

(Deutsch) Diese Arbeit versucht sich unter Einbeziehung interkultureller Quellen im Dialog mit Julio Cortázars Erzählung "der Verfolger" [el perseguidor] an einer Verfolgung der Jagd. Sie hofft, mit dem Begriff der Jagd und seiner Ausdifferenzierung in verschiedene Modi fundamentale Bewegungsrichtungen der menschlichen Existenz zu beschreiben. Die menschliche Existenz kommt dabei als spannungsreiches Zwischen ("inter") von sinngetragener medialisierter Bezogenheit und außer-sinnhafter realer Faktizität in den Blick. Im Verlaufe der Arbeit werden anhand ausgewählter Szenen der Erzählung nicht nur die Spannung des Zwischen selbst, sondern auch seine Pole zum Gegenstand des philosophischen Fragens gemacht. Schlüsselworte: Jagd, Cortázar, Zwischen (inter), Sinn, außer-Sinn, Reales, Leib, absolutes Nichts