Decoding Time, Space, Place Theories_Architectural Theory_2021-22

Decoding Time, Space, Place Theories An analytical composition of the TERMINAL through various lenses from, Place as Assemblage - Kim Dovey’s, Becoming Places, 2009 & Himanshu Burte’s, Space for Engagement, 2007

Tutors

Prof. Neha Panchal

Prof. Yagnik bathija Editorial Team

Prajakta Pai

Vardhan Arora

Kimaya Churi

Krishna Khurusane

Palak Bhattad

Karishma Kaur Hooda

Tarika Deshpande

Krissh Chavan

Vaishnavi Siddhapara

Studio Team Simran Ajgaonkar

Mansi Bhatia

Rashmita Dake

Prajakta Gosavi

Arya Jumde

Krishna Khurusane

Saloni Pawar

Dhruvanshi Sanghvi

Pooja Tambe

Pranav Apar

Palak Bhattad

Viresh Desai

Sakshee Gothankar

Aditya Kanade

Ishan Lathia

Sonali Phatangare

Laxaree Sawant

Sanchita Tandel

Vardhan Arora

Roshani Chabhare

Tarika Deshpande

Vaishnavi Gurnalkar

Anjali Karpate

Puneet Maru

Kartika Pinjarkar

Siddhi Shinde

Harsh Tank

Shivani Baderao

Bhoomika Chaudhari

Soham Dhanokar

Sairaj Halpatrao

Aakash Kharade

Sharvil More

Aishwarya Raikar

Harshwardhan Shirpurkar

Ameya Thanawala

Shrutika Bankar

Krissh Chavan

Sarthak Ekal

Karishma Kaur Hooda

Vaibhavi Khedkar

Prajakta Pai

Gaurang Rajput

Vaishnavi Siddhapara

Pranali Thool

Shivanjay Bhagat

Rohit Chopade

Mithila Gadag

Shakti Jadhav

Prachi Khobragade

Isha Patil

Manasa Ravikumar

Jigisha Soni

Sejal Umare

Rashi Bhansali

Kimaya Churi

Atharva Girme

Neha Jayasanker

Nidhi Khot

Shrutee Patil

Rasika Salgaonkar

Abhishek Suryawanshi

Shweta Utekar

Anchal Virulkar

Aditi Wadate

Semester 5 Architectural Theory Studio 2021-22 Rachana Sansad’s Academy of Architecture, Mumbai

Overview Architecture, is an art of Placemaking that under the consciousness of time, attributes a behaviour, an experiential characteristic to the space. Placemaking overtime has acquired opinions from varied theories and texts. Place is a user-perceived analysis of certain subjective parameters that develops from spaces in a language influenced by power, assemblage, territoriality, rhizome, sense and design.

As regarded by Kim Dovey in his writings of “Becoming Places”, “Places are identified with what does not change; their ‘sense of place’, ‘character’ or ‘identity’ is seen as relatively stable.”

Places are practiced by users and eventually produced by users.

Placemaking structures the social behaviour of the society influenced by the designed environment. In that case spaces and users play a symbiotic role to bring out what is called a place. User engagement is initiated by function achieved out of space articulation rendered with time. Spaces hold users that experience it’s function in the frame of time. Sufficiency and Necessity of a place is moulded by its parameters of occupiability, penetrability, legibility, sociability and possessability directed by the adaptability and manner of user response to these.

The analysis of the film ‘“The Terminal” intends the readers to explore the lens of place making in space and experience of time based on the texts of Becoming Places, Places as Assemblage by Kim Dovey and Himanshu Burte’s Space for Engagement. The movie and cinematography dictates the hierarchy and interaction of the protagonist, Viktor to accept and respond to spaces manipulating in an unconventional situation in the setting of a transit threshold, an airport.

Lenses 01. Power & Desire, Occupiability 02. Assemblage and territoriality/ Segmentarity, Penetrability 03. Space, Place and its Two Fold Nature, Chunking and Legibility 04. Sense of place, Sociability 05. Power, Possessability

1

LENS 1 Power & Desire (Place as an assemblage) from Becoming Places by Kim Dovey, 2009 Occupiability from Space for Engagement by Himanshu Burte, 2008

PLACE AS AN ASSEMBLAGE - POWER/ DESIRE

Like 'place', power used in an everyday manner that presupposes a shared understanding. The concepts . of 'power over' ie having a control over others actions and 'power to' ie having a capacity achieve desired ends have been discussed in this chapter of 'Place as an Assemblage'.

PLACE AS AN ASSEMBLAGE - POWER/ DESIRE

The Deleuzian thinking incorporates an understanding of power which is based on 'desire'.

The major theory of power as dispersed micro practises is developed by Foucault through the concepts of panopticon and disciplinary technology.

The author has tried to categorize the idea of 'power over' into 5 major types 1.

2.

3.

4.

5.

6.

d58c19a0eb49cbbab87629e388e45af4--history-of-india-sof t-power.jpg (473×315) (pinimg.com)

l1-1.png (1200×675) (thedailyguardian.com)

FORCE

COERCION

miami-fl.jpg (1200×675) (wfhjobs.us)

DOMINANCE

Force removes all agencies of the subject, for example, using the threat of prison.

Coercion uses a threat of force, for example, the panopticon vision obtained by the cctvs placed in workplaces.

Manipulation involves concealment of intent, for example, buildings like shopping mall __ Domination involves the intimidation of scale, for example, a tall high rise buildings, intimidating a passer-by.\ Authority used institutional framings, for example, structures like school, which exercises authoritative control.

Seduction, transformation of subjects desires.

nick-fewings-br9D5K3UTRQ-unsplash.jpg (1000×667) (buzzorange.com)

It was an attempt to rethink power as a productive practice rather than someone's personal resource. It showcases how disciplinary power constructs subjects and harnesses the capacities instead of Deleuzian ideology which concentrates on subjects own oppression. The Deleuzian notion of the primacy if desire is linked with a sense or sensation which is seen as a raw experience of perception even before cognition, language or meaning. For him, sensation sensation is strongly linked with desire, it is an initial impact of a work of art, spectacle or building, it is linked to the encounter that connects the material to experiential.

From all such views, the places we inhabit, can be seen as a product of desire.

a-busy-mall-with-stairs-and-escalator.jpg (1000×640) (iiiff.com) iStock-1018703724-1280x1920.jpg (1280×1920) (thedrinksbusiness.com)

MANIPULATION

6430750911_cdbe4cb3c9_b.jpg (1024×680) (staticflickr.com)

AUTHORITY

Power over' and 'power to' are not mutually exclusive, as their desired outcome may be control over someone's actions in order achieve desired results.

3d-school-wall-painting-for-play-school-in-hyderabad-hyderabad-20191111122630 0667190000.jpg (800×600) (clasf.in)

SEDUCTION

FLOW OF DESIRE

nick-fewings-br9D5K3UTRQ-unsplash.jpg (1000×667) (buzzorange.com)

RAW EXPERIENCE/ SENSATION

chesterfield-completed-final-image-2web-sm-600x404.jpg (600×404) (thinking-space.com)

PANOPTICON

d7a339_0f0a9cb7e7824ebab4b84a3c3d338db8~mv2.jpeg (1000×668) (wixstatic.com)

ASSEMBLAGE

OCCUPIABILITY : HIMANSHU BURTE

Occupiability, as an attribute of an environment describes the affordances it offers to provide pause . and sustained occupation. In order to develop a sense of engagement with a place, occupation and pause are crucial rather than movement.

Occupiability is influenced more by the environment than by protocol or practice, though both of these are necessary.

OCCUPIABILITY : HIMANSHU BURTE

Physical comfort: . A space providing comfort for a tired body through a variety of features, such as seating and supporting structures.It is the extent to which a space is suitable for physical rest that influences the suitability of an environment in terms of microclimate.

Perceptual comfort: The case with which an environment may be perceived and grasped (or, its legibility).Several factors influence the perceived occupability and welcomeness of environments, including the morphology and configuration of the spaces.

The following factors appear central to occupiability: Safety perception: It is the sense that a given space is safe to remain for a while.Occupying a space requires it to appear to be safe to occupy, as well as actually being so.

Environmental comfort: Mainly climatic comfort but extending to environmental hygiene.To make us pause in an environment that has a non-comfortable climate, there has to be some striking compensations available.

https://www.renderhub.com/adriankulawik/hospital-corridor

HOSPITAL CORRIDOR

blob (512×383) (bing.com)

SAFETY PERCEPTION

Meaningful activity It will be possible to engage in meaningful activities like reading noticeboards, checking out artwork, or even conversing with those in attendance.

Nevertheless, it may be argued that the existence of meaningful activities within a space is a condition for sustaining the time of pause.

https://www.archinomy.com/case-studies/vernacular-arc hitecture-of-gondia-maharashtra-india/?hcb=1

R.167e0c6462a54a635222b2088217d442 (2000×1333) (bing.com)

ENVIRONMENTAL COMFORT

PHYSICAL COMFORT

.9.

OIP.SETpjpIZj0I9FhIQbGmiCwHaE8 (255×170) (bing.com)

SHADED OPEN SPACES

AGk0z-OPk00G2BVx1AY7KMM_hI1EenWYfNPqeTbbRYNmalKDy4vmxcuIbWoE vAs1HyxwlmiGe4NbZDWm6RDBZt0Oy7GjVdD-iYisQdB49AQ=s512 (512×338)

SAFETY PERCEPTION

118874585_3101255033334174_393https://www.renderhub.com/adriankulawik/h ospital-corridor4548497709659378_n.jpg (900×599) (fbcdn.net)

ENVIRONMENTAL COMFORT

https://images.app.goo.gl/ZBPuwkdR8i5f4gtn6

PERCEPTUAL COMFORT

OIP.C0lrdN48_-iU6ygB7zZHfgHaFj (960×720) (bing.com)

PERCEPTUAL COMFORT

https://m.lovethispic.com/uploaded_images/110192-Retro-Basketball-Court.jpg

MEANINGFUL ACTIVITY

Introduction The author introduces the theories of power categorizing it into power over and power to on the basis of Deleuze and Foucault theory which eventually concludes in power being desire and the idea of disciplinary power. Hence, power is portrayed as a productive practice and not treated subjectively. Disciplinary power when linked with desire, further form individual organized identities called assemblage. Hence, now power is practiced on a micropolitical level and there is stability in flow of desire. From this perspective, all the places we inhabit are a product of our desires.

Coming towards occupiability, we introduced the terms of transitional and pausing like occupiability along with elements of sufficiency and necessity that can translate spaces to places. These are guided by the characteristics of occupiability namely safety,.

AN AIRPORT : An Airport is a defined transitional threshold for passengers moving in and out driven by desire. It’s organization is sequenced in correspondence to a functional hierarchy (from transit points, to luggage and passport check) of occupiabilities that marks its power and formality in the user movements.

This power induces the adaptability decorum of the space making it a place supplemented with other amenities and commercial activities.

Source: https://www.archdaily.com/903 169/airports-examples-in-plan-a nd-section/5bb4c37bf197ccab3 c00032f-airports-examples-inplan-and-section-image?next_ project=no

Visually holding points (the flight schedule), Waiting points (the benches), Pausing points (the railing) etc are induced in place making where desires tend to alter the behaviour of place customizing experiences to each user in a frame of time.

Power Over : Authority Clear division is marked , and Power over : Authority

The airport is planned in an hierarchical manner to suggest authority. - Power Over is inherent in this entire networking/ functioning of an airport.

Power To is observed in the disciplinary behaviour of the passengers. The actions of people are regulated by conscience itself. They enter in a crowd but then arrange themselves and form a queue as soon as they observe the poles placed in a specific order.

Passenger arrival court

The director has captured the scene in the bird eye view, so viewers can get the idea of the spatial planning and also to suggest the immediate transition taking place on the airport

Power over due to coercion and 24x7 surveillance by the Airport authority

Security Baggage handling check and area passport control

Panopticon

Desire leads to Power to Victor’s desire to trim his beard, leads to public space like airport becoming / functioning as a personal place for him. This is not the kind of behaviour that we generally observe in a public place.

Panopticon.jpg (350×360) (moyak.com)

Victor seems to be defying the general regulations set by the society on how to behave in a public place, Here the Director thoughtfully captures the awkward, astonished reactions on people’s faces to supplement this fact and also sets the base for the movie and justifies the actions of Victor in later part of the movie, as it showcases How the Character victor thinks very practically and can adapt to any situation in order to fulfil his desires

The Panopticon was a metaphor that allowed Foucault to explore the relationship between 1.) systems of social control and people in a disciplinary situation and, 2.) the power-knowledge concept.

In his view, power and knowledge comes from observing others. It marked the transition to a disciplinary power, with every movement supervised and all events recorded. The result of this surveillance is acceptance of regulations and docility - a normalization of sorts, stemming from the threat of discipline.

Social panopticon effect - The post panoptic society that we live in today is not limited to central surveillance resulting in oppressed disciplinary behaviour, But today’s globalized world of social media we are constantly watching others and being watched by others. We as a society thus act more consciously and are in control of each other, we follow a specific set of rules on how to behave in a public space, leading to a disciplinary behavior _ social panopticon

Power over : Domination

Power over is evident through the officer exercising control over the actions of Victor by forcing him to come along with them.

Shopping court which usually manipulates the customers is perceived as domination by Victor, and this feeling is captured through low camera angle to enforce the intimidating scale of the atrium.

The scene where Victor wants to call home but no one is helping him suggests how he has lost control over the simple activity,

Camera pans out, again indicating how Victor is feeling intimidated and completely helpless in a place like airport entirely flooded with people and not having control over the situation. Since his initial path to visit New York is now deviated, He is struggling to find a meaningful activity .

Power over : Authority

Within the airport’s chaos, Viktor has lost himself in a state of isolation as he is unsure of the fate that lies ahead of him. His personal space is a construct of his mind. This can be associated with the terror of time.

Gupta does not allow Viktor to have a look at the trash and dominates as he doesn’t want anyone to interrupt his work.

As Viktor struggles to comprehend the state of affairs in his country, a fear of impending doom takes over him.

Gupta showing his authority by asking victor to get an appointment to look at the trash, further increases restlessness and simply occupying the space for physical rest becomes difficult.

To say it with the philosopher of architecture and art Karsten Harries: A place of residence is not only the delimitation of space as a bulwark of security to the outside (my home as a shelter). It is a means of protection against the "terror of time", our existential vulnerability, ultimately related to our own death. Our home makes us forget our existential fragility.

Occupiability Transit Lounge Transit Lounge

Public Toilet

The under-constructed terminal provides victory an enclosure in order to make to feel safe.

The desire to have a comfortable sleeping space drives Victor to transform the usual chair arrangement of Transit Lounge “POWER TO” so as to make bed satisfying the sufficient leg space. Thus, place becoming more occupiable.

Victor’s terminal journey begins. His flow of desire gets diverted from the original path due to the unexpected political scenario and thus in order to adapt to the situation, his primary desires gain higher priority i.e. better food, better place for sleeping, to overcome language barrier, and attain various points of stability i.e. Food Court, The airport Transit lounge, The airport toilets, Bookstore, Visa office, Now the level of occupiability is getting higher which marks the state of becoming of airport from a transition place to a habitable place.

Victor removed the lights to make the terminal comfortable to sleep.

Victor by keeping the functionality of space he transformed that washbasin into shower room

The director thus captures this transition through timeline of events and camera positions, so initially the scenes are filmed in crowded places, bird eye views, camera panning out, But later scenes revolve around central character Victor and are filmed at these relative points of stability with less chaotic backgrounds.

Panopticon

Though he was told that nobody is going to be at door, the constant fear of cctv was there.

Trying to hide from the cctv so that nobody could see him Standard Panopticon Source: https://dip9.aaschool.ac.uk/archive/panopticon-mandala/

POWER OVER the place and also over the entire airport

The activity of assembling the trolleys and earning 25 cents helps victor to fulfill the desire for good food.

Modern CCTV Panopticon

Desire, Flow and Power

Victor’s desire for better food - i.e. earning money So, Victor engages himself in a meaningful activity.

With consistent efforts, he gains some authority, This scene displayed Victor’s Power Over the children due to self taken authority. The children displays physical occupiability in the scenario.

He takes over the task and consider it as if it is his new job for the fulfilment of his desires.

The field commissioner is against this shift of power, To gain his control back (power over), he creates a new position named Transportation liaison for passenger assistance, to even take away very little authority that Victor had earned.

Desire, Flow and Power

To fulfil the desire to overcome language barrier , the places like Bookstore, Transit lounge used for reading , now showcased as relatively stable points.

Victor spends more time on airport, it becomes more occupiable as he gets more acquainted, and acquires more Power, He starts assuming airport as his neighbourhood, he gives Terminal’s phone number as his own contact information

Victor’s pager goes off , and he starts running towards the office, How actions can be controlled using a small device. This implies Power over through command.

The interfering desires of Victor and Enrique are narrated through this scene, The overlap of power to and power over helps is fulfilling each other’s desires and thus helps them achieve their desired ends i.e. Better food (for Victor) and Establishing a connection with officer Doloris (for Enrique)

Outside the bookstore, we observe the users pausing near the railing. This conveys how the element of railing is sufficient in creating pause points attributing a place its character.

In a broader scenario, we see multiple occupancies in the airport corridor.

The railing offers an entire view overlooking the airport creating, perceptual occupancy. The benches next to them are examples of physical occupancy whereas on the other hand the void space left open depicts a transitional character catering to movement.

Here, movement can be categorized in reference to power where the passengers show disciplinary power in an orderly occupancy, where as the authorities are free to transit in the place depicting power over.

Desire, Flow and Power

Power of dialect leads to turn the high authority down and takes power over to power to. The director skillfully highlights this power by capturing victor and the man in a frame of door within the frame.

The janitor room becomes a place of discourse as Gupta tells his colleagues about Victor. The spatial hierarchy depicts person in power.

A threshold is created that the officers are not able to cross because of the physical avenge by the man.

How the place because of high rank holding becomes different for both of them, how the status and hierarchy allows to sit him however he want

The discourse of gupta with the staff is placed in a setting of the janitor room. The occupiability factor of perceptual comfort is dominated by the factor of safety perception and conscious assemblage, since they need a private space to talk about the story, far away from the authorities who could hear them and take charges against them.

Later Viktor visits Dixon’s cabin. The cabin;s position with a commanding level emerges from the desire for status. The occupiability in the space depicts a hierarchy which is observed in the way viktor occupies the place versus the way dixon occupies the place in authority, status and power over.

In order to help Victor, Milroy misuses his power and authority to break in the room to lay hand on confidential information.

The washroom area now functions as a more familiar space to the users, for they are regular visitors now, generating pausing functions of occupiability.

closure-design-principle-usa-network.jpg (700×392) (designcrawl.com)

Perceptual pauses at the store where the user pauses near the glass , executing functions under the design principle of closure make that spot intentionally occupiable.

Similarly the sole presence of mirror and to an extent privacy, allows victor to use the washroom as a rehearsal place.

The closure design principle is where positive and negative space work together, so that your eye automatically completes shapes from negative space.

FRONT

REAR

Clustering of occupying users wrt to transit points in the space, where we see the passengers occupying the frontmost seats under the influence of time, as they wait for their flight. Where as victor and gupta occupy the fastest benches corresponding to privacy and occupiability wrt safety.

The entire arrangement of physically occupiable elements forms a grid for user movement, i.e. disciplinary power in the space.

FRONT

REAR

Desire of to take Amelia on a date let them change the dynamics of an airport, power over from the airport changes into power to, power to change.

Physical occupiability, elevated with food, candle lights, Gupta’s performance creates scope for meaningful activity, durability and meaning of occupation is increased. Close frame focusing on just Victor and Amelia depicts this settlement and comfort in the setting.

Now Victor along with his companions execute their desires to create an anonymous space into a restaurant palace by introducing elements of physical occupiability. This is further made more adaptive when Gupta performs to entertain, diluting the span of waiting and consciousness of time.

Desire, Flow and Power

Victor’s desire stemmed from his readings on Napoleon.

Fulfillment of desire consequently leads to control/power to, in this case an attempt to transform Amelia’s desires.

Flow of the desire, an event of becoming

Fulfillment of becoming, creates a scope for spectation, elevating the factor of occupiability.

Victor now tries to correlate with time following the narrative of napoleon. His flow of desire prokes him to create a perceptually occupiable space out of the discarded toilets. This eventually creates a pausing occupiability in the place with added benches with a backdrop as captured in the movie. This is an example of seduction of space as we see how there is Fulfillment of desire consequently led to control/power to, in this case an attempt to transform Amelia’s desires.

Breaking of disciplinary power, that leads to manipulation. Power over is displayed by Gupta who attempts to delay the flight timings by breaking disciplinary power that anchors the spaces.

One desire to let victor free, leads to an assemblage of the staff from from the airport, though there is movement, a certain stability is observed within the assemblage enabled by one common desire.

Victor crosses the threshold out of desire empowered by assemblage.

Desire changes the meaning of occupiability for VIctor, even a place that is a source of contemplation/entertainment, yet isn’t a comfortably occupiable space for Victor but becomes a place of waiting depicting the consciousness of experiencing time.

POWER HOLDERS

DESIRE INFLUENCING OCCUPIABILITY The entire screening portrays shift in powers amongst characters and spaces from power over to power to throughout, initiated from individual demands of desire that further influenced their occupiability within the space. The graphic briefly summarizes the pulsate power amongst the different users. Victor, starting his journey as a regular passenger is made take a different path to experience space and unconventional pausing occupiability that project out of his path in the entire sequencing of the plot (from Dixon confiscating Victor’s passport to crossing the airport threshold towards New York City) and eventually landing back in the crowd in transitional occupiability after the fulfillment of his desire. Hence, we can see how places are formed symbiotically with spaces adapting a behaviour and the users functioning it, holistically defining a characteristic culture to the space. (X axis denotes the most striking phases in the movies that can be compared amongst against the parameters of power and occupiability. Y axis scales the power held by the users corresponding to the sequence of definable scenarios throughout the screening)

2

LENS 2 Assemblage and territoriality/ Segmentarity from Becoming Places by Kim Dovey, 2009 Penetrability from Space of Engagement by Himanshu Burte, 2008

Change In Assemblage EXISTING PATIO SETTING

The existing setting of the Patio

Conversion of the Patio into a space for a date

EXISTING ASSEMBLAGE

NEW ASSEMBLAGE

Introduction of new elements

Conversion of the Patio into a space for a date

The setting of the patio is converted into that of a date venue by introducing new elements like the table setting. The existing elements in the assemblage of this patio form new interrelationships like- Guptas daily relationship with the mop gets replaced by the plates as he juggles them to entertain the couple.

Change In Assemblage

Existing lounge area

Lounge area converted into marriage hall

Change in Assemblage

Due to time and occasion

Change in assemblage of praying area and lounge space The conversion of the space to be used for offering prayers into a marriage hall for Dolores and Enrique and the lounge of the airport becoming a place of marriage wherein the assemblage is changed due to time and occasion signifies the change in assemblage.

Change In Assemblage

Empty arrival area

Arrival of passengers

Arrival - Before

Arrival - After People bringing a change in existing assemblage

Filling of arrival area

Crowded arrival area The arrival area gets converted from a space to a place when the passengers from the flight enter into it as they proceed toward immgiration. These people are elements that bring about a change in the existing assemblage .

Change In Assemblage

Janitor room- used for storage - Single User

Existing assemblage

Changing interrelationships as there is change in assemblage

Change in the existing setting to adopt the behavioural change of the user

Janitor room- used for storage

Janitor room- used as a space for discussion

Change in the assemblage of the Janitor’s room

Janitors Room becomes a space of sharing stories

There is a change in assemblage seen when the janitor's room becomes a space of sharing stories and discussions amongst the staff at night. The space used for transferring baggage gets converted into a relaxation space for the friends as they exchange day to day happenings and events indicating another change in assemblage

Territoriality

Territory - 1

Territory - 2

Demarcating territory by line on floor Viktor is asked to wait in the territory behind the horizontal line demarcated Viktor has to stand behind the yellow line. This is done to demarcate the territory that has been assigned by the airport officials to all the passengers to wait behind; as a passenger’s turn comes to get the form, they can move beyond the yellow line

Territoriality

Contractor

Victor intervening in the contractor's territory

Territory of contractor The contractor gets offended thinking of Viktor as the other contractors man.

The contractor tries to demarcate his territory on gate 67 and gets offended when he thinks that the other contractor is trying to intervene in his territory which is a clear indication of him Demarcating his spatial boundaries.

Territoriality

B Amelia is obstructed by Enrique, Creating the first barrier

She is again obstructed by Viktors friend Joey preventing her from crossing the territory

Amelia is obstructed the third time by Gupta using a Mop

Finally she falls on Viktor’s lap satisfying his intent of her interaction with him

A

Viktors three friends try to constrict Amelia within a certain area by creating barriers using their daily equipments like a mop, a food truck etc thus creating a territory leading her to Viktor so he can interact with her.

Territoriality

Viktor mopping the food he spilled

Gupta snatching the mop back Gupta demarketing his territory.

Premium card

Viktor gazing into the private lounge

Viktor is denied entry into the private lounge

Public Lounge

Private Lounge

Territory of ordinary people

Territory of premium card holders

Gupta gets offended when Viktor tries to mop the floor making it evident that he considers the airport floor his territory. When Viktor tries to enter the Private Lounge he is denied entry because the territory is defined by premium card holders.

Deterritoriality

SPACE

Viktor reaches the abandoned lounge space.

Usable space

Viktor makes it a place to rest for the night and tries to get comfortable.

Victor changing assemblage w.r.t change of his need

PLACE

Viktor rearranges - deconstructs the seats and converts it into a temporary bed.

Viktor converts the abandoned space into his temporary residence at the airport.

Demarcating his territory making the assemblage evident

Deterritorialization is seen when Viktor converts Gate 67 into his home for 9 months also explaining the conversion of an abandoned space into place. Change of assemblage becomes evident here as he rearranges and reconstructs the lounge chairs into a bed and slowly implements changes to make the abandoned lounge a habitable space.

Segmentation

HOD

Viktor speaking to the immigration officer

Viktor speaking to the police officer Police Officer

Security

Viktor / Traveller

Viktor being questioned by the police officer.

Viktor being questioned by the Head of Department

The hierarchical segmentation is evident as Viktor is taken through different levels of security where they try to explain to him the situation in Krakozhia and how he is ‘unacceptable’ now and the break in hierarchical segmentation when he is given a beeper and an access card allowing him to break the hierarchical segmentation by accessing the restricted areas of the airport.

Hierarchical Segmentation

HOD

Viktor

Police Officer

Security

Traveller

Viktor behaving as a translator ( mediator) to help the authorities Here Viktor himself becomes an integral part of the hierarchical segmentation as he translates the Russian mans concerns and becomes an intermediate between the authorities and the Russian man using his language as a tool to solve his concerns.

Visual Penetration

PENETRABLE

Penetrable

Fluid Assemblage

Viktor tries on the suits at display through the transparent glass of the showroom.

According to Altman's theory human behavioral patterns and assemblages can be fluid also. Viktor here tries to imagine himself into an assemblage which he cannot physically change or be a part of for the time being but can visually penetrate through the glazing and is seen imagining himself trying out the outfits.

Penetration

Intangible barrier

Entrance and Exit

Viktor being stopped by the police authorities when he is finally allowed to leave the airport The police department uses their power to form an intangible barrier to stop Viktor from stepping out of the airport even though he had the permission to move out for a day .

Penetration

Glazing

Shop Entry

Visual penetrability

Entry

Physical Impenetrability Entry

Viktor smashing at the transparent glass thinking of it to be an opening When Viktor applies to multiple stores to get a job, he gets called by one shop owner, we see his excited face as he glances into the shop but as he moves to it he dashes into the glass again showing that he had visual penetrability but not extensional.

Penetration

Exit from airport

Viktor views New York city through the glass doors of the airport when he is told that the gates shall remained unsecured for five minutes In the scene where he was told that the gates would be left unsecured for 5 mins we see that he was in front of the door but decides to wait , so he had extensonal and visual penetration both but the surveillance camera was what stops him from passing through the penetrable extensional barrier.

Penetration

HOD Visual penetrability through Camera

Viktor and the others seeing Gupta’s actions through the window

Viktor Visual penetrability

Gupta heads towards a moving plane.

Police Extrantional penetrability

Visual penetrability is achieved via the camera

Deterritorialization and extensional penetration is seen as the runway becomes a place where Gupta is arrested while everyone watches.

In the end of the movie while Gupta moves towards the plane we see multiple levels of penetrability wherein Viktor has visual penetrability , the HOD has visual penetrability via the camera and the Police have extensional penetrability as they go to arrest him.

Visual Penetration

Visual penetrability

Restricted visual penetrability

documents

Restricted physical penetrability

The HOD and The officer look at Viktor waiting for approval on his form from Dolores.

Visual penetrability is evident when the HOD looks at Viktor through the glass wall while Viktor waits for approval to his form from Dolores.

3

LENS 3 Space, Place and its Two Fold Nature from Becoming Places by Kim Dovey, 2009 Chunking and Legibility from Space of Engagement by Himanshu Burte, 2008

Airport as a Setting

The Airport is an environment that often represents bureaucracy, well known enterprises, consumerist society, and stress that frequently blows out of impatience. This environment portraits the variety of the working-class community who are employed in international airports and the transit through the setting.

Lenses of tree-like hierarchy and rhizomatic connections in that setting were seen as well as how they occur in a two fold system where their proportions change with time. This links to the aspect of familiarity in space with time, development of an image of the character as well as space and thus how different spaces are differently legible to different characters. Overall we could see overlaps of space and time and space eventually with time turning to place .

Airport as a setting can be termed as a space and not a place. Extreme Memories are not generated through that space. Adding a layer to it, it is bounded by a particular spatial as well as civil order. Thus this transformation of space to place where Viktor makes sense of his surroundings by interactions at multiple levels is analyzed

Factor of Time and Observation

Scene shows that people moving fast and more observative as their visual focus is at the sign boards and announcements ,while Victor is lost and confused in the middle.

The time is relative for every individual here and hence different. For someone who has to catch a flight and is late, the time is less for that particular person. In such a situation there is less scope for observation and interaction with the setting and the people. Whereas for someone whose flight is delayed, or someone who does not have any particular job to do in a given time, time is relatively more for that person. In that case the person tends to observe and interact with the setting and the people.

Viktor seems to lose his identity. His movement is just restricted and freezes in the airport premise.

In this scenario ,Time as a factor varies with person to person like Viktor’s time is freezed while for others time is running fast as they are in a hurry

For Viktor, the concept of time is completely different. Since he has no flight to catch or go anywhere but to stay at the airport until further notice.

So in that case we can see how his interaction with other people develops and even he starts learning from his observation.

Hierarchy - Power

Hierarchy : The Movie depicts a tree like hierarchy where in the authorities are at a upper level so as to keep a watch on them.

Power : The immigration area is seen with the backdrop of USA’s flags hanging from the ceiling. The scale of the Flag makes it a prominent feature in the setting and is the clear depiction of the Power over the Foreign Passengers. The Immigration Area also tries to break the smooth movement of the passenger into a Striated one.

Authority: The authority figure is always seen at a upper level while the rest of the passengers or people always lie beneath them.

Authority: In this scene the policeman asks for Viktor’s passport. Viktor has to give him the passport reluctantly as the setting is dominated by the Policeman’s Authority. Even though he doesn’t understand English much he obeys him as the setting of the place compels him to.

The bureaucracy in the movie shows a tree-like hierarchy in interaction as well as the volume by keeping a watch on Viktor from a higher level.

This shows how Dixon uses his power to stop Viktor from collecting money and in turn stopping his source of getting money. The Tree-like Hierarchy is seen where Dixon wants to retain power where he assigns different people (forms networks) of people to refrain from Viktor.

Chunking- Basic Needs

Viktor like any other person is seen making a bed using two sitting units.

Due to lack of comfort he increases the number of units and joins them to make one single complex unit.

Gate 67 is a secluded space thus,, no one is here to keep a watch on him.

The time seems to be infinite for Viktor. He takes this opportunity to convert it to a reading place along with sleeping. Viktor tries to make sense of the language word by word. Having a hold on the language would make the space more legible to a place as Viktor would be able to interact with the people easily.

Through his observations and understanding of the object he figured out it can be made into a comfortable bed for sleeping. This also explains how the process of CHUNKING is done to make a complex thing out of simple units.

He makes a layer of crackers and sauce to sustain himself, as he has no job or money

Viktor makes himself comfortable by using the washroom even to have bath and wash his hair.

Viktor having to stay at the airport for a long duration makes him get FAMILIARIZED with the space, that changes the definition of the spaces for him.

Chunking- Comprehension

Placemaking of Gate 67 by Viktor using boxes, screens for light control, bags used to keep items etc.

Multiple needs see a priority in their fulfilment. Here after placemaking, making money and getting food was important for Viktor.

In order to understand English, Victor starts reading books and magazines to adapt to the surroundings. He creates his comfortable environment in the room behind the runway by making a mattress from 2 rows of seating, tables by stacking the boxes on one another and an intimate mood is created as the panels behind dim the lights from outside.

When Victor learns that collecting and arranging trolleys could earn him money, it becomes his priority as he has no other means of livelihood.

Chunking- Interest and livelihood

Being legible to this process, Victor did it precisely without any assistance.

Victor completes the finishing of the wall Having the skills for the same he immediately starts and gets completely lost in it. There was no other person to tell or instruct it to him. Infact, he then teaches this process of plastering to other workers and starts earning through it. Here it is clearly seen that victor breaks down his complex environment into layers that ar legible and are of his interest.

DEVELOPMENT OF IMAGE,

Rather than searching for other jobs, Victor made earning by practicing his interests.

Thus chunking and making the process legible for others.

From observations and understanding the space, victor tries to figure out ways in order to earn and learn his living and to make the complex space legible. Viktor charms Dolores for Enrique in exchange for food from the food cart as he takes advantage of Victor’s daily visit to her.

Here interdependence of needs is seen. Viktor enters a kitchen of an Airport, which only the staff is allowed to enter. Such interdependence further leads to a development of relationship and Viktor is further invited to their backyard den which is like a social space for workers within an airport premise. Viktor, having no identity as such, is physically permeable through all these spaces and thus starts to develop an image.

Steps For Placemaking

Opportunity and interest based interactions with Amelia in Bookstore, cafe, patio Job, Livelihood, Familiarity with People, Sense of Community

DEN space, Recreation, development of relationships

Authority, Power, Formal to Informal with Time

Rush, More people to Interact with, Food, shopping

Authority, Power, Hurry, Rush

As Discussed above, the process of chunking has helped viktor to get familiarized as well as associate with the space. Further the interactions in the space and existence of TWO FOLD SYSTEM will be discussed which will eventually help Viktor to carve out his own place.

Two Fold system

More striations, less smooth space

Viktor using sign boards to ask for a Job. A clear sense of threshold is seen. This hierarchy collapses later due to familiarity, interaction and a sense of community

Shopkeepers Rejecting Viktor’s application for job

Less Striations, more smooth space.

The celebration is for Victor as he get to know that there is chance to go back home

Everyone gathers to say goodbye to Viktor

TWO FOLD SYSTEM is clearly seen in the movie.

Initially all the requests for the Job are denied. But as with time Viktor becomes familiar and people become familiar to him, the hierarchy seems to break into a rhizomatic network of connections and interactions.

Initially as he asks for a job a sense of threshold is seen. With time, the lounge space acts as a public celebration space where the hierarchy collapses and everyone interacts with viktor. The sense of belonging is so much that even the escalator which is not meant to be a gathering space but is merely a transit space, changes its definition as everyone gathers around Viktor to bid him an adieu.

Interaction and the Setting

2X

Short Lived interactions occur at Settings where the transit is quick and people seem to have less time. Transit lounges, escalators are the spaces where such interactions are likely to happen

Here, Victor, although in an unfamiliar transit lounge setting, helps an unfamiliar girl to close her suitcase due to this friendly nature.

Victor tries to help the girl. This leads to a short lived interaction which does not get developed further.

The coupons were his only source of bread and thus his utmost priority, so Viktor runs to get them and the intent behind the interaction with the girl is lost. This shortlived interaction leads to a friendly bond between them later.

The lounge is a double height, expanse of space which is meant for transit of a huge crowd, the pause points here are the place for interaction.

Interaction and the Setting X

Viktor’s frequent interaction with the setting makes him observe and know all kinds of forms.

Relation of time and familiarity can be seen. Initially both Viktor and Doloris didn’t have much time and with short time interaction there was not much familiarity between them.

The setting is quite striated and organized. A main linear axis, with seating on either side. One corner there is a shelf for different immigration forms with enough space to fill the forms. The television set tells that people might wait longer in the room.

Here time for Doloris is still less but for Viktor is more. This leads to frequent interactions creating more familiarity and trust, bonding and informal setting in return.

The space is striated in nature due to its planning with a central axis with seating on either sides. The officer desk placed at one end of the room and the passengers are expected to stand in the line in front of the desk behind the yellow line.

Initially Viktor breaks the striated nature due to hurry. Then he follows the striated order. After developing a relation with Doloris, the space starts becoming smooth for Viktor again.

Interaction and the Setting

Spontaneous Interactions happen at the walkway. These interactions are the precursors for placemaking for viktor.

Pager associated with the airport workers help build up a sense of familiarity that is important in building a sense of comfort in place making.

Setting of a Bookstore

Setting of a Cafe

The opportunistic interactions have led to placemaking for viktor.

Interaction with Amelia in a bookstore pauses time. The warm lighting with a cozy intimate space , low height bookshelves for visual interaction, helps to create an environment for them to get to know each other. However this interaction is short in nature. One cannot stay for a long time in the bookstore. Thus the cafe becomes a place for prolonged talk.

In the setting of a cafe we can also see how time seems to be slowed down for Viktor and Amelia as they get to know each other. Cafe as a space allows for this interaction. While the transit still happens on the lower level.

Opportunistic Interactions occur at a space which is more delayed in time, which is intimate and which interests the users. The bookstore, cafe are such spaces.

Different information obtained through different interactions helps in attaining familiarity associated with memory in the space.

Different triggers mostly associated with that help memory helps in connecting small pieces of information that can help to establish some sort of comfort and familiarity with the surrounding space. The changes different interactions between two people in different places are associated with a distinct trigger point that helps in familiarizing with the place and its setting.

4

LENS 4 Sense of place (Place as an assemblage) from Becoming Places by Kim Dovey, 2009 Sociability from Space of Engagement by Himanshu Burte, 2008

Encounter

Various kinds of encounters are formed according to different situations.

Intimate encounter : One where people have direct and close interaction with each other.

Passive encounter : One where the entities are inattentive with respect to each other

Formal and Informal space

Formal kind of seating near the Gate

Informal kind of seating near the waiting area

Formal space - Allows only a particular interaction to allow Informal space -Allows social intimacy between all the member in the space

Configuration of space

Configuration of Space near the immigrant check

Configuration of Space in the recreational zone like cafe

Socio-fugal - that is designed to minimize the secondary contact and enabling one on one interaction.

Socio-petal - that is designed to bring people together and direct attention towards the center.

Sense of place

When the food falls on the ground by Victor

He gets up and starts cleaning

Thus, trying to take possession of that space The sense of the place changes over time as he (Victore) takes possession of that space.

Positive and Negative crowd

When Victor tries to seek help from the passengers, he’s ignored - Negative crowd (for Victor)

At the end of the movie, everyone gathers to bid him a farewell - Positive crowd (For Victor)

The presence of a lot of people can have different impacts on sociability in different situations. A populated environment sends a healthy message about the environment being humanly possessive whereas a negative crowd causes a commotion and sends an unhealthy message as it leads to uncomfortability.

Authenticity

When the flight is delayed, the waiting area is used for various activities thus changing the polarity of the space

People resort to clustering And try to adjust themselves in the waiting area when the flights are delayed . Thus the notion of space being a scarce resource has been questioned.

As Victor gets familiar to the space, the authenticity of that space to Victor is reduced

Due to different instances/ activities in the same space, the polarity of the space changes and as the discourse/ familiarity to the space increases, the authenticity of that space decreases

Intensity

The same place which was before used as urinals was transformed into a beautiful fountain with the change in its use of material, light and colour.

So, the sense of place is changed due to the change in different intensities

Intensity is nothing but the amount of sunlight, sounds of birds, smell of coffee, whiteness of walls, etc. which affects the sense/ experience of a place. place is intangible, they just are the assemblage of differences and intensities

Co Presence

Different elements of a space like planters, stalls, etc. adds to the quality of that space

Victor’s experience/ sense of the overall space differs as moves from one space to another

The factors on which the co-presence depends for example a book stalls , planters and kiosks which acts as a reason for the gathering of people at particular space.

Addition of different engaging elements adds to the sociability of that space thus increasing the co presence of people in that space.

Instrumental form of space

Instrumental form of space : The whole setting of this movie is in an airport and it creates an instrumental form of space as its arrangement is such that it enable social interaction. It facilitates functions, especially the movement and distribution of people and goods.

Thus the the way the protagonist uses the setting of an airport is a great example of how a place can become an intensive multiplicity. The space acts as a subjective place, for the other users that are there merely for travel purpose versus the protagonist who spends months living there.

The added elements like the trolley which is totally functional for travellers becomes a means of earning for victor. The authentication of the place reduces for him with the passage of time and interaction. It creates a new lens of looking at this space and its assemblage of differences in the sense of place and the sociability that it forms.

5

LENS 5 Design (Place as an assemblage) from Becoming Places by Kim Dovey, 2009 Possessability from Space of Engagement by Himanshu Burte, 2008

Space of Transition to Place of Pause

Victor’s first interaction with the airport of New York, at the immigration kiosk- at that time a space of transition for him.

Victor getting familiar with the space and making alterations in the space to make himself comfortable realising he is living in a state of pause.

The surrounding environment which describes the spaces as a fast paced space of transition for people commuting, where Victor stood in pause.

Victor when he finally leaves the New York Airport which had a become a place of residence for the past 9 months since his immigration.

An airport facility acts as a clear space of transition for people commuting across places. For them this space doesn't mean much amidst the hustle bustle of movement across the space, then a space of temporary usage until they are boarded on a flight. But for Victor, this was a completely different an unexpected scenario where this ‘space’ of transition had been transformed into a ‘place’ of pause over his stay at the airport for a total time period of 9 months.

Space of Transition to Place of Pause

Victor’s Path Passenger’s path

Diagram - Dumbell

Main access Flow of people

The Airport is a great example of the dumb-bell diagram where the entrance and the final gate are the two points (marked in red above), the security check and immigration are a part of the basic route take by the passengers, to this system. This route is used to create a non necessity desire in the minds of the passengers by the addition of a shopping area, lounge, food joints, bookstores, making an entire mini mall thus making the airport vicinity a complete assemblage.

Map

Victor is driven towards his desire for food as he is driven by hunger, not having had anything to eat since a very long time.

Victor paying for the food with the money that he has collected after doing work at the airport shows his desperation for food after having not eaten anything since long having lost his food coupons.

Victor can be seen gathering all the trolleys to bring it to the trolley counter to receive money from the machine such that he could pay for food.

Enrique bribes Victor with food understanding his desperation and helplessness instead of his personal agendas and needs.

Victor creates a mind- map, a series of his activities which intent to satisfy his personal requirements, here that being hunger via his daily experiences. Victor over the period of time grew familiar with the place of his daily commute. The desperation for food to satisfy is undying hunger made him become more observant and helped finding work which would pay for food.

Unfamiliarity

After multiple unsuccessful attempts of trying to understand the situation in his hometowns and contacting his family, Victor feels lost in the huge airport due to hi lack of familiarity with language, people and the facilities.

New space, new experiences emphasises on how Victor is unaware and unfamiliar of his surroundings.

Despite visiting the airport on more occasions than Victor had lived there, Amelia was not aware of the presence of a dining space at the upper level whereas Victor had managed to arrange a date at that location.

The concept of unfamiliarity emphasizes on how new experiences and new spaces brings with it unfamiliarity and unawareness and the want to explore and understand more about the spaces around.

Familiarity

As Victor became familiar to the Airport facility, he started bathing in the toilet using water from the wash basins as he realised there were no bathing spaces present.

Familiarity of the airport makes it a comfortable space for Victor to roam according to his will without being unaware of the space.

The office had become Dixon’s usual space of occupation throughout the time of the day and thus he had a sense of home of the place and perceived it as a more comfortable place to be in.

Here we can see Victor’s desperation towards collecting the trolleys and his urgency towards collecting them. He was able to display this behavior of his as he slowly become familiar with the airport.

The concept of familiarity depends on the time of occupation in a space and the way the user interacts with it during that time. Just spending time always, does not enable one to become familiar to the space. If Victor or any of the other employees working there wouldn't have interacted with the space and its elements, they would not have been familiar with the space. The movie exhibits Victor’s transition from being new in the space to being the one who knows more than the managing staff.

Modifying a part of the Environment

The abandoned toilet wall was converted to a beautiful fountain installation using taps/ flushes for his personal use as he had lived and worked at the airport for a long time putting everyone else first.

When Victor arrives at the airport he sees a few urinals/wash basins in an unfinished/ abandoned toilet which are of no use as of that time.

Arranging and remodelling the seats to try and make a bed so that he can sleep comfortably i.e altering a part of the environment knowing that it isn't a short stay..

Out of his passion and sense of belonging, Victor completes the finishing of a wall overnight, despite not having anything to do with it.

Victor’s 9 months stay at the Airport was full of compromise and adapting to the alien environment and people. As he became familiar with the airport, the language and the people, he developed a sense of belonging to the place and the possibility of him being in that space for a longer period of time made him modify the environment to suit his basic needs and to assist people working at and using the airport. Small modifications like the bed, the mural add significantly to the usability and aesthetic character of the Airport.

Possession and Privatisation

While Gupta was sweeping the floor, Victor for his desire of earning for food grabbed Gupta’s broom and started sweeping the floor leaving Gupta with fear of losing his job and his place in the airport which had now become his belonging.

The way Victor gives the airport’s landline number as his own for a job at a shop at airport itself, shows his sense of attachment and belonging to the space.

The gate 48 contractor yells at Victor when he gets to know a skilled worker from gate 67 is so profound at his job, this shows his fear of losing the job by the contractor at gate 67.

Since Enrique and Dolores were familiar with the airport facility they got married at the airport and rode around the airport right after it, thus privatising the space.

A possession is something that belongs to us, we are attached to it emotionally which creates a bond with the space , transforming it slowly into private space and hence leading to the fear of losing control.

Ephemeral Possession

Due to heavy snowfall the flights were delayed , the passengers settled themselves at the waiting lounge. They made themselves comfortable , some of them laid on their luggage, some of them were having food, for a small period of time they possessed the space.

Protocol and Practices

Airport as a space, as one may perceive it, is a space of conditioned practices and protocols. Communication between the place and people happens via signboards, employees working there and announcements which are made at the airport. People commuting and transiting use this space as a formal space of transition

Protocol and Practices

Signboards, symbols and announcement speakers help to convey the protocol and practices of the space to maintain discipline.

The security guards at the exit gate are the only barrier for Victor , to go out in the New York city.

Airport as a space, as one may perceive it, is a space of conditioned practices and protocols. Communication between the place and people happens via signboards, employees working there and announcements which are made at the airport. People commuting and transiting use this space as a formal space of transition.

Due to Victor’s assumed possession of the place he was provoked to break the protocol of the place.

Dixon , the head of the airport is commanding the security forces at airport controlling the way people engage with the space.

The practices are also seen through the authority of airport security and officials as they control the functioning social content of the building and decide how people engage with the space.

References 1.

Marc Wittmann (2019). Feeling Time in Space: How Architecture Is All About Time. Sense of Time. [Online] Available from: https://www.psychologytoday.com/intl/blog/sense-time/201908/feeling-time-in-space-how-architecture-is-all-abou t-time

2.

Marc Wittmann (2018). Who Is Afraid of Waiting? Sense of Time. [Online] Available from: https://www.psychologytoday.com/intl/blog/sense-time/201803/who-is-afraid-waiting

3.

Marc Wittmann (2019). The Taboo Of Death. Sense of Time. [Online] Available from: https://www.psychologytoday.com/intl/blog/sense-time/201902/the-taboo-death

4.

Marc Wittmann (2016). The Case of Boredom: Enduring Empty Time Sense of Time. [Online] Available from: https://www.psychologytoday.com/intl/blog/sense-time/201603/the-case-boredom-enduring-empty-time

5.

Shokofeh Darbari. Space is the Now; Now is the Time! MIT Architecture; 2019.

6.

Patrik Schumacher (2008). The concept of space in architecture. Emergence, Hegemony and Transcendence.

7.

Jeremy Till (1996). Architecture in Space, Time.

8.

Karen A. Franck (2016).Visiting Karsten Harries and Revisiting his ‘Building and the Terror of Time’ Architectural Design 86(1):128-135. [Online] Available from: https://www.researchgate.net/publication/289367454_Visiting_Karsten_Harries_and_Revisiting_his_%27Building _and_the_Terror_of_Time%27

9.

Janiak, Andrew, "Kant’s Views on Space and Time", The Stanford Encyclopedia of Philosophy (Spring 2020 Edition), Edward N. Zalta (ed.), URL = <https://plato.stanford.edu/archives/spr2020/entries/kant-spacetime/>.

10.

Milica Muminovic(2015) Places as Assemblages: Paradigm Shift or Fashionable Nonsense? Athens Journal of Architecture - Volume 1, Issue 4 – Pages 295-310 https://doi.org/10.30958/aja.1-4-3 doi=10.30958/aja.1-4-3

11.

N. Lipovac: Space and Place Vol. 5(1997), No. 1(13)

12.

Kim Dovey 2009. Place as Assemblage, Becoming Places

13.

Himanshu Burte 2007, Space for Engagement,

14.

DELUEZE ,THE FOLD, LIEBNIZ AND BAROQUE 1993

15.

MANEUL DE LANDA, A New Philosophy of Society: Assemblage Theory and Social Complexity, 2006

16.

JOHN RAJCHMAN, CONSTRUCTIONS 1998, CHAPTER 5 GROUNDS

17.

Amos Rapoport , Human aspects of urban form , 1977, chapter 1 and 2

18.

Kevin Lynch, Image of a city , 1960, introduction

19.

Raubal and Winter, Enriching wayfinding instructions (2002)

20.

David E. Joyce, Department of Mathematics and Computer Science Euclid's Elements, Book 3 ©1996, 2013 URL = https://mathcs.clarku.edu/~djoyce/elements/bookIII/propIII16.html

21.

Pinhas Ben Zvi," Kant on Space", Philosophy Now (Issue 49), URL = https://philosophynow.org/issues/49/Kant_on_Space

22.

Webpage https://faculty.fordham.edu/tampio/Tampio%20-%20Multiplicity.pdf Video References-

23.

https://youtu.be/vQnG0fyEr_w

24.

https://youtu.be/89xjsBW9AAI

25.

https://youtu.be/RQ2rJWwXilw

26.

Gilles Deleuze and Felix Guattari, A thousand Plateaus (French: Mille Plateaux, Paris 1980)

27.

Schumacher, Patrik& , Rogner, Christian, After Ford, in: Stalking Detroit, editors: G.Daskalakis,

28.

Ch.Waldheim, J.Young, Actar, Barcelona 2001

29.

Schumacher, Patrik, Business – Research – Architecture, In: Daidalos 69/70, December 1998/January 1999

30.

Schumacher, Patrik, Productive Patterns Restructuring Architecture. Part 1, in: architect's bulletin,

31.

Operativity, Volume 135 - 136, June 1997, Slovenia

32.

Allen, Stan, From Part to Particle, in Architecture After Geometry, AD Architectural Design NO.127,

33.

Hillier, B. and Hanson, J. (1984) The Social Logic of Space, Cambridge: Cambridge University Press.

34.

35.

36.

37.

Deleuze, G. and Guattari, F. (1987) A Thousand Plateaus, London: Athlone.

De Landa, M. (2006) A New Philosophy of Society, New York: Continuum.

Deleuze, G. (1985) ‘Nomad thought’, in Alison, D. (ed.) The New Nietzsche, Cambridge, MA: MIT Press.- (1993) The Fold, Minneapolis, MN: University of Minnesota Press.

Semester 5 Architectural Theory Studio 2021-22 Rachana Sansad’s Academy of Architecture, Mumbai