Learning the Concept of “In-Between” in Architecture from History and Practice

This study seeks to enhance the integration of traditional Chinese cultural and artistic elements into contemporary architectural design, providing a rich source of inspiration. This paper investigates the connections between modern architectural symbols and traditional Chinese architectural and cultural elements. It identifies key characteristics of traditional architectural elements and proposes the integration of superficial structural features into contemporary designs, focusing on architectural space, form, and color. Utilizing Building Information Modeling (BIM) technology, this research designs a program that merges traditional Chinese elements with contemporary architectural practices. A specific test site was selected to implement this design. The study conducts a quantitative analysis of the space, form, and color characteristics extracted from the test site. The results indicate an overall symbolic value of the test building at 7.566. The analysis identifies the “stone lion” as an element with a high degree of alignment with traditional Chinese architectural elements, with nearly 50% of the participants rating its compatibility as 4 or above. Further quantitative analysis of the integration of color elements reveals that the color scale of the building’s main body predominantly ranges from 0 to 65, with a brightness level of 25 to 65, aligning with the aesthetic principles of traditional Chinese architecture.

This article discusses the conception and creation of space in works by Giacinto Scelsi and Gérard Grisey. Based on the fact that both composers conceived of space as closely related to the energetic, internal structure of sound, I propose a textural approach that emphasizes the interlinear relationship to examine the construction of space in their work. In two works for solo instruments, Ygghur and L’Âme ouverte, Scelsi generates numerous micro-vibrational movements and timbral contrasts from a drone voice, creating a sense of space. In the third movement of Grisey’s Quatre chants pour franchir le seuil space is created through an imitative polyphonic writing associated with the poetic idea of echo. The textural writing in these works shows the decisive role of movement in the creation of sonic space, inspired by the energetic character of sound.

In contemporary times, need to consider both exterior and interior aspects because of the growing trend in dissolution between exterior and interior spaces. To quantify which serves as the standard for environmental design, this study has asked 63 subjects to evaluate 15 interior and 14 exterior spaces. The (small-large), openness(closed-open), warmness(warm-cold), brightness(bright-dark), softness(soft-hard), and frequency of visit were adopted as variables of spatial sense. Through the analysis of these variables, this study could gain the difference between spatial sense for exterior and interior environments, quantify the spatial sense that physically and psychologically appropriates to human beings. The result of this study can be summarized as follows: Twice the amount of spaciousness was observed between the interior and exterior spaces. And the standard on intimate space is established with W/H ratio of 5.71 and high Window/Wall Area ratio in the interior and an area of 3,800m2 and a W/H ratio of 5.57 in exterior. The difference between the spatial sense in the interior and exterior space is mostly dependent on the psychological sense. The increase of physical size caused by the interior space to be perceived as cold, dark and hard psychologically, but exterior space to be perceived as warm, bright and soft. Psychological senses, especially softness, affect spatial intimacy to the greatest extent among the given variables. As the psychological senses for interior spaces were largely independent from the given space`s size and perceptive senses, the size of the interior space, which exhibited spatial intimacy, could not be deduced. In comparison to this, due to the high dependency between the psychological senses for exterior spaces and the given space`s size and perceptive senses. The study also showed that interior and exterior spaces have relatively different spatial sense and physical standards. Such research results are predicted to provide applicable standards for environmental designers for exterior and interior spaces in the future.

This paper explores the indigenous characteristics of Japanese architectural space and how this distinctiveness, on a wider spatial scale, can be transferred and reinterpreted within contemporary Japanese architectural practice. One of the identified spatial elements utilised for research is shinden-zukuri, a type of annexe style, which can be viewed as a group of multiple buildings that can be recognised as a single building. In this paper, the researched element is extrapolated, transferred and interpreted within contemporary architectural practice. The examination of said identity, the open spatial form, confirms its widespread utilisation and deep-rooted nature in the mental landscape of the Japanese people. The findings indicate that contemporary Japanese architecture and architectural practice is beginning to reach a fork in the road: whether it can retain its observed spatial identity and resist, or assimilate the current trends suppressing the previously identified spatial values. The overall findings indicate that the condition of contemporary Japanese architecture oscillates between openness and closedness and will require attuning to the changing circumstances if the perceived spatial values are to endure.

ABSTRACTIn an increasingly industrialized and globalized world, it is believed that future architects will be in a better position to solve architectural and urban problems if they have been exposed to education about vernacular and region-specific architecture. Research that explicitly examines how to utilize vernacular knowledge and skills in contemporary architectural education and practice is rare. Lack of research that addresses and investigates vernacular traditions as a renewable resource with potential for continuity and viability is one of the main deficiencies in teaching vernacular architecture and the current vernacular discourse in general.Enhancing students’ ability to produce and develop region-sensitive architecture is one of the main goals of the architecture program at the King Fahd University for Petroleum Minerals (KFUPM). Issues such as the detailed analysis and investigation of vernacular traditions and values, and their use and integration in contemporary architectural practice, among others, are emphasized in the program. The paper reports on the author's experience in teaching three courses, at KFUPM, in which students are introduced to various analytical concepts and approaches that enable them to better understand vernacular traditions and integrate vernacular knowledge in the design process. A compressive pedagogical approach that combines theoretical teaching with practical exercises was developed and used in teaching the three courses. The aim of pedagogical approach is to enhance students’ capacity to develop their individualized methods and decision-making abilities relevant to utilizing vernacular knowledge in practicing and creating contemporary region-specific architecture. Results show that the implemented pedagogical approach is successful in enhancing students’ understanding of vernacular traditions and values, their ability to integrate vernacular knowledge in their practice of design, their ability to argue and create region-specific architecture, and in general promoting a culture of region-sensitive architecture among students.

Reviewed by: A Place in History: Modernism, Tel Aviv and the Creation of Jewish Urban Space Kamaal Haque Barbara E. Mann. A Place in History: Modernism, Tel Aviv and the Creation of Jewish Urban Space. Stanford, CT: Stanford University Press, 2006. Paper $21.95. ISBN 080475019X. Barbara E. Mann’s fascinating new book, A Place in History: Modernism, Tel Aviv and the Creation of Jewish Urban Space, is part of an increased interest in questions of space in cultural studies, a trend she notes at the beginning of her study (1). As Mann also points out, however, Israel in general and Tel Aviv in [End Page 105] particular have been neglected in this “spatial turn.” Through a wide-ranging analysis of the literature, painting, photography and architecture of Tel Aviv, Mann draws the reader’s attention to the unique place in the Jewish world that Tel Aviv occupies. Mann’s greatest achievement is to point out the multiple spaces that make up the place that is Tel Aviv. This “exemplary ‘Jewish’ space” and “ ‘first Hebrew city’ ” became “the paradigmatic Israeli city” as the State of Israel was founded and as the population changed from mostly non-native born to a more equal mix between locals and non-locals (xi–xii). Yet Tel Aviv did not simply become an Israeli city. Mann demonstrates how the spaces of the city are, at times, Mediterranean, Eastern European, and even Arab. These various spatial and geographic levels are explicated on the basis of what Mann views as a half-dozen exemplary public and private spaces in Tel Aviv: The Old Cemetery, Rothschild Boulevard, balconies, the city’s edge, Rabin Square and Summayl. After a brief overview of the theoretical models of space that inform her study (above all, the work of Henri Lefebvre, Michel Foucault and Anthony Vidler), Mann begins her discussion with the Old Cemetery on Trumpledor. The Old Cemetery predates the founding of Tel Aviv in 1909 and thus provides a link to the prehistory of the land that would become the city. Although discussed in different chapters, the Old Cemetery shares its pre-Tel Aviv founding with the former Arab village of Summayl, now incorporated into Tel Aviv and barely known today (246). By examining poetry about the Old Cemetery and investigating its grave markers, Mann argues convincingly that the Old Cemetery functions as “Tel Aviv’s foundational heterotopia,” a place of otherness present in—but nevertheless simultaneously outside—the city (24). Unlike the Old Cemetery and Summayl, Rothschild Boulevard occupies a prominent place in Tel Aviv. The wide, tree-lined avenue became was to become representative of the new Hebrew city, a far cry from the often cramped streets in the Diaspora (97). Mann, however, delves into the history of the planning of Rothschild Boulevard and reveals that its creation was initially not solely a function of creating an exemplary street in Tel Aviv. Rather, it resulted from a far more banal consideration. The area has loose, sandy soil that cannot support the weight of large buildings (97; 99). Thus, as much out of necessity as because of careful planning, a symbol of the city was born. In addition to recounting the boulevard’s history, Mann examines its representation in the paintings of Nachum Gutman, the poetry of Natan Alterman and the photographs of Avraham Soskin. The discussion of photography, not only with respect to Rothschild Boulevard, but also with respect to interior and exterior spaces, is among the most compelling moments of A Place in History. Architecturally, Tel Aviv is famous for its International Style. Indeed, this architecture led UNESCO to place the city on its list of World Heritage sites in 2003 (43). Examining interior photographs of apartments as well as portraits of early Tel Avivers [Tel Avivim], Mann shows how the Mediterranean flair of the city’s facades is subverted by [End Page 106] the often Central and Eastern European furnishings and apartment layouts of the city’s residents (cf. especially the picture on p. 128 and Mann’s discussion of it). Similarly, the subjects of Soskin’s portraits are typically clad in European-style clothing, with occasional exception made for those residents who had their pictures...

This paper focuses on how one can relate management thinking/practices to entrepreneurial processes in the context of formal organization. In order to do this we develop a number of related ‘spatial concepts’ providing us with the possibility of describing entrepreneurship as a ‘creation and use of space for play/innovation’. Using concepts of space, the managerial and the entrepreneurial dimensions and perspectives on organizing creativity become highly visible in the case studied. This is a field study (within the ethnographic tradition) focusing on an organizational transformation of a former public authority into a competitive limited company. A distinction between managerialism and ‘entrepreneurship as event’ is proposed as conceptually fruitful as well as useful for discussing recommendations to managers for how to handle entrepreneurial processes. A minimal and contextual role for management is suggested when aspiring to support the creations of space for play/invention, for example, for entrepreneurship as forms of organizational creativity.

Abstract. Modern architecture is defined as a search for a new model, an alternative to the traditional model deemed outdated and incapable of meeting the evolving needs and requirements of modern man. In Morocco, more so than anywhere else, vernacular and traditional architecture has proven, especially since the colonial period, to be a reference point in the development of a new architecture with a strong Moroccan identity. This architecture aims to be a fusion of traditional, Berber, and Arab-Muslim architecture, both in terms of form and aesthetics. Revealing the process through which contemporary architecture in Morocco claims its Moroccan specificity and modernity whether in terms of concept, aesthetics, form, function, sustainability, energy efficiency, or well-being is not about contrasting old/modern or present / past. Rather, it is about unveiling: the "things of forms" that define conceptual modes, and the "forms of things" that define formal and aesthetic particularities. The objective of this communication, stemming from a portion (currently in writing) of my thesis research, is to make a modest and partial contribution to the definition of contemporary Moroccan architecture. This architecture, while modern, increasingly asserts its identity by drawing from traditional Moroccan architecture in various ways. The goal is also to show how this architecture, in its constant search for cultural and identity inscription, breaks with the anonymous international style, creating new forms enriched by the contributions of traditional architecture and craftsmanship.

This paper examines a Saudi Arabian poet, Nimah Ismail Nawwab’s collection of poetry, The Unfurling (2004). It suggests that her poetry upend traditional stereotypes of Arab and Saudi women as they demonstrate a relationship between the literal and figurative space and social change, particularly in relation to gender and culture. Thus, they occupy and define what Michel Foucault describes as a heterotopic space - a space that stands apart from others. The creation of the space allows for a new understanding of Arabic culture, particularly in relations to the experiences of women. Through a thematic analysis of the poems, the paper contends that Nawwab’s poems uniquely reflects heterotopia as they document social changes, particularly in relations to gendered shifts in the Saudi Arabian landscape. As women experience transgressive responses to social change around the world, they not only create a space that retains a strong connection to the patriarchal history of the Middle East and the Muslim world, that space in itself is a unique space within a space. Nawwab puts women at the centre of each experience, demonstrating the creation of a larger space for the female self while physically maintaining the same order of the society.

Universities are focusing on the students’ needs as a part of interior space elements in the designing processes. However, these needs related to the design of the environmental and formulating systems. Students prefer a comfortable interior space for movement and social activities. Therefore, comfortability should be considered in the design process of the educational building, especially for students’ space. The study observed the negative space in the buildings of the University of Mosul, which students lost the healthy relationship between the open and interior space in Students’ space. The gathering points inside and outside buildings is the focus of the current study. Therefore, the problem statement is “There is a gap in the design processes of the interior space that provides a comfortable students’ space”. Therefore, the main research question is “What are influencing factors of the designing and adaptive reuse processes of the interior space in the university buildings”. The research aim is “to identify the important factors that influence students’ needs in the educational building at the University of Mosul”. A quantitative approach applied by using questioner and measuring instruments to collect data from selected case in the University of Mosul. The triangulation of the data shows the importance of direct connection between the exterior and interior space. Besides, the availability of green area, green elements, and comfortable area in the exterior and interior space are the important factors as results showed. Partially, the majority (81%) of the students preferred a free space that can students adapted to space.

The interaction of inside and outside space in contemporary architecture is presented. The features of the boundaries between inside and outside spaces and their possible applications in the architectural objects are considered. Interaction of inside and outside space in architecture can be traced in the works of F.L. Wright, R. Pietilya - representatives of organic architecture. In contemporary architecture the problems of symbiosis of the inside and outside space are successfully solve by such world-renowned architectural companies as Guz Architects and T. R. Hamzah Yeang International representatives of green architecture.

The concept of spatial boundaries is presented as the joints of the two states of the space. The interaction of inside and outside space in contemporary architecture is presented. The features of the boundaries between inside and outside spaces and their possible applications in the architectural objects are considered. Interaction of inside and outside space in architecture can be traced in the works of Toyo Ito, Sou Fujimoto, Kotaro Ide, Jurgen Mayer, Shuhei Endo, Emilio Ambaz, Michael Sorkin, Massimiliano Fuksas, Peter Eisenman, Zaha Hadid. In contemporary architecture the problems of symbiosis of the inside and outside space are successfully solved by such world-renowned architectural companies as Tezuka, SeARC, RSie(n), Formwerkz, Sansiri, FOA, SHoP, UN Studio, NOX.

Traditional architectural elements in Malaysian vernacular architecture have long reflected deep-rooted cultural, religious, and environmental values, offering a sustainable and contextually responsive approach to building design. However, despite increasing appreciation of these traditions, many regions still face challenges in translating such elements into contemporary architectural practices. This difficulty is further compounded by the limited number of comprehensive studies exploring the sustainable integration of vernacular principles into modern design. This study aims to critically examine the historical evolution and contemporary relevance of vernacular architecture—both in Malaysia and internationally—through a systematic analysis of literature, to identify and synthesize the key challenges in its adaptation to modern architecture, culminating in five overarching thematic findings. A systematic literature review was conducted through a rigorous screening of relevant publications from two major databases, Scopus and Mendeley. Keywords such as "vernacular architecture," "traditional architecture," "contemporary architecture," and "modern design" guided the search process, resulting in 20 primary sources for analysis. The findings reveal five major thematic challenges: (1) Loss of Cultural Identity and Meaning; (2) Conflict Between Traditional Values and Technological Progress; (3) Adaptation Without Appropriation or Superficial Imitation; (4) Incompatibility with Contemporary Needs and Lifestyles; and (5) Institutional, Social, and Political Barriers. Recognising these challenges is essential to ensure that traditional architectural values are meaningfully carried forward, enabling contemporary designs that remain culturally grounded and environmentally responsive.

The turn of the 21st century has been marked by dramatic changes in the political, social and environmental panorama, which are deeply afecting the way we live today: terrorism, migration and global warming are certainly the most pressing issues, and they are putting at risk our very life on this planet. So far we have come to acknowledge that we must simply coexist with such problems and learn to live with their consequences in our everyday life. But while coexistence refers to the mere - and often imposed - action of living together without any productive interaction, co-habitation implies living together peacefully, while promoting some form of exchange. This is why we believe that in the future architecture, city, and landscape should approach such emergencies fostering interaction and productive exchanges between diferent disciplines and cultures. Co-habitation can be achieved through tactics, which ofer the possibility to generate new creative spaces within the felds of architecture, city and landscape. Tactics - a term, which evokes the ancient Greek expression art of arrangement - are actions undertaken by, or addressed towards, the actual consumers/users. Such actions are fexible, they can be continuously modifed, reshaped and adapted to cope with external interferences. The International Scientifc Conference - organized in the framework of Tirana Architecture Week 2018 - aims at exploring contemporary research activities and design tactics that deal with the topic of co-habitation from diferent perspectives and within diferent felds of interest, directly or indirectly related to architecture, city, and landscape. Through the observation of diferent tactics adopted by researchers and professionals, the hope is to identify new research and design trajectories. Within this broader framework, three contexts (architecture, city, and landscape) and eight topics related to the concept of co-habitation (climate change, ecosystem, energy transitions, memory, migration, mobility, technology, and tourism) have been identifed. Contributes from the felds of sociology, architecture, urbanism, planning, leisure and cultural studies, geography, anthropology are welcome, as much as other sciences not mentioned above.

The architecture of Baghdad suffers from a lot of problems, ranging from the application of materials and form to the expression in contemporary buildings that not only change the traditional architectural identity but also the performance of the buildings that meet the needs of the local population. This unfortunately increases the damage related to cultural values and environmental sustainability regardless of adaptable solutions that can improve the energy efficiency of building performance. The traditional elements of architecture in the city of Baghdad represent a source of inspiration for contemporary architecture and are exploited to enhance its identity and spatial affiliation. The process of exploiting these elements takes place on several levels, including those that achieve environmental, symbolic, or formal aspects. Hence, the research problem crystallizes in the lack of clarity on the levels of benefiting from the elements of traditional local architecture in enhancing the identity of contemporary architecture and its spatial affiliation. The research aims to shed light on how to analyze the components of the performance and value of traditional architecture in the city of Baghdad, which is rich in cultural heritage and which can be translated into contemporary architecture that creates continuity in traditional cultural identity. The study uses the theoretical descriptive approach through which data is collected on the vocabulary of local traditional architecture of the city of Baghdad and its roles at the environmental, formal, and aesthetic levels to arrive at a main vocabulary for the theoretical framework, which is represented in four basic vocabulary represented in the aspects of form formation, dependence on the environment, and the interface. , aesthetic aspect, and cultural value. These vocabulary were applied to two recently elected projects in the city of Baghdad, through which the four indicators and the role of each of them in enhancing the identity of contemporary architecture and its spatial affiliation were analyzed.