Nicole Wiznitzer Thesis

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Rhode Island School of Design, Bachelor of Architecture 2014, Thesis

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  • Dwelling in Between-nessNicole Wiznitzer, B. Arch 2014

    Rhode Island School of Design

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    TABLE OF CONTENTS

    CHAPTER TWO THE GEOMETRY OF CONIC SECTIONS.....................................35

    PREFACE....................................................................................................7

    CHAPTER THREE THE MEETING OF PHENOMENOLOGY AND GEOMETRY IN

    THE JEWISH SANCTUARY..........................................................49

    CHAPTER ONE THE PHENOMENOLOGY OF BETWEEN-NESS...........................9

    CONCLUSION...........................................................................................77

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    Liminal: of or relating to a sensory threshold; being in an intermediate state; from the latin root limen (threshold, cross-piece, sill).

    What does it mean to inahbit a between place? Between me and you. Between birth and death. Between yesterday and tomorrow. Between the sun and the moon. Between North and South. All occupied space is liminal and I search to describe what stasis allows for dwelling in constant transformation.

    The following body of work illuminates that without liminality, there is no such thing as being human. Physical existence relies on moments of temporary suspension where other things become possible. To be human is to be in-between. Architecture is liminal and we dwell in between-ness.

    Preface

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    I begin the process with a sketch. Modeled after hyperbolic curves that reach towards each other, I investigate the nature of edge conditions and the charged space between. Expanding the diagram illuminates a palpable relationship between its manifestations in two-dimensions, three-dimensions, and the embodied between-ness experience.

    What is the nature of the threshold? What creates a sense of stasis within which we inhabit flow and transformation?

    The works in chapter one are presented as an unfolding of related questions. I recombine, dissect, expand, imagine, and experience. I seek out the phenomenon of liminality itself, not representations of it. I aim to create a constellation of ideas that propell the project into chapters two and three.

    Chapter One: The Phenomenology of Between-ness

  • The condition between two fixed points is dynamically porous through materiality and light. The linear members are manipulated by the form and movement of the middle perpendicular pieces.

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  • Table-4-2Concept Presentation 1

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    Water TableConcept Presentation 2

  • Eclipse: an obscuration of light between forms.

    The sun and the moon eclipse each other as they move in space and time, registered by the viewers perspective and location. The viewers perception of the relationship between the forms and light creates the eclipse.

    All objects eclipse each other in space depending upon a viewers relationship to them and to light.

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  • The space between forms is a pressurized space. How do objects hold each other? How do we hold each other like two curves hold each other?

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  • Forms Eclipsing Each Other 1

    These forms eclipse each other as the perspective point orbits around. Their perceived relationship alters depending upon the viewers movement.

    Through constructed drawings, I explore the relationship of the two-dimensional, the three-dimensional, and a viewers embodied experience of forms in space.

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    The viewer mediates between two-dimensional flattening, (eclipsing of forms) and three-dimensional depth perception (knowledge of the distance between forms).

    Forms Eclipsing Each Other 2

  • What is the nature of the threshold?

    The point of view shifts from exterior to interior, to a study of the Basilica di San Vitale in Ravenna, Italy.

    The journey through the entrance of the Basilica is sliced into frames and reassembed into a new physical experience. Forms eclipse each other through the layering of transparencies.

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    The interior of the Basilica is lined with mosaics while the threshold leading to it is built of brick. The doorway acts as a guiding and locating element in the assembly because the light coming in is of a different quality. Through the layering of frames, the light aids in registration.

  • Visual depth perception is a result of two eyes that perceive two images and the images overlap, providing depth of field. The overlapping zone deepens the world.

    There is a relationship between the two-dimensional, the three-dimensional, and embodied experience.

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    Layering the frames of threshold leads inside the Basilica. The point of view is fully one of interiority.

  • Case Study:Basilica

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    The basilica is liminal in its simultaneous two-dimensionality, three-dimensionality, and relation to the material world. One inhabits between arches and domes, within light, between worlds.

    The basilica acts as a case study of a spatial and phenomenological experience of geometry.

  • Basilica 1: Unrolled Interiority

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    Basilica 2: Six sections through Basilica 1

  • I unroll the interior view of the basilica to place ground on all sides; inhabitation occurs between ground and ground. The basilica is inhabited between the arches and the dome.

    Sections through the unrolled plan show the basilica defined by geometric forms: the arch and the dome.

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    The program of the basilica is to inhabit liminality.

  • How does one three-dimensionally inhabit the liminality of the basilica drawings?

    Basilica Inhabitation 1 Basilica Inhabitation 2

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    Basilica Inhabitation 3

  • Alignment of Porosity model and Unrolled Basilica: Two defined points and a pressurized flow between.

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    Following the unfolding of phenomenological questions in chapter one, chapter two returns to study the initial diagram of hyperbolic curves. The hyperbola is part of a set of curves that result from slicing the same cone in multiple ways. The cone and its corresponding geometries are similarly liminal with the Basilica. Inhabitation, through form and imagination, is constructed between its multiplicity of identities.

    Geometry is used here only after a thorough understanding of its essence. There is a nuanced composition of moves that differentiate the parabola from the ellipse from the hyperbola. I embody the rules of these forms and then choreograph their organization. The geometry brings forth an understanding of potential tangencies between the infinite line and a finite form.

    Chapter Two: The Geometry of Conic Sections

  • Suspension: A finite moment in an infinite world.

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    Suspension 1: Plexiglass Suspension 2: Plaster

  • The hyperbola, the ellipse, and the parabola all result from various cuts through the same cone.

    The curve is constructed as an envelope of straight lines.

    Hyperbola: constructed from an exterior focus point and a tangent circle.Ellipse: constructed from two interior focus points.Parabola: constructed from one interior focus point and a tangent line.

    Ellipses and parabolas are finite; the two branches of the parabola will eventually meet each other. The hyperbola, however, extends infinitely.

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  • Each hyperbola has its own point of tangency to the central circle.

    The distance of the focus point to the central circle determines the width of the hyperbola.

    Tangent: The point of meeting without intersecting.

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  • The tangent points radiate along the circumference of the circle when their corresponding focus points are on a radial axis.

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