Abstract
One of the solutions which emerged in response to the limitations of modernism was the issue of 'in- between'. Concepts relating to the in-between have been suggested and argued simultaneously in the West and the Far East. This paper aims to compare the in-between concepts discussed by two representative theorists of each region: Van Eyck and Kurokawa. Dimensions of the in-between, factors for practicing the in-between, and types of the relationship between two elements which are the subject of integration, are clarified, and comparison of their works is done using the above criteria. Keywords: in-between; Aldo Van Eyck; Kisho Kurokawa; twin phenomena; symbiosis 1. Introduction between according to the types of relationship between 1.1 Background two elements which are the subject of integration, is Despite the positive effects of Modernism in the distinguished and named the 'set of two elements'. development of architecture, its limitations, such According to these 'sets of two elements', the practices as a lack of spatial and functional integration, are of the architects are reviewed, and in each set, the ideas inevitable. In response to such problems, at the end of which they used for the application of the in-between the modernism period, various movements established are clarified as 'factors'. The two architects' practices and various ideas were suggested. Among such ideas are compared using these 'factors' (Table 1– horizontal were concepts about the importance of in-between direction). Content of the four 'dimensions' of in- space. Among them, concepts belonging to Van Eyck between is also discussed using these 'factors' (Table 1 of Team 10 in the West, and Kurokawa of Metabolism – vertical direction). G r o u p i n t h e F a r E a s t a r e q u i t e s i g n i f i c a n t a n d 1.2 Existing Literature influential. Due to the importance of in-between in spatial This study aims to compare the in-between concepts, formation, there have been various definitions and which simultaneously were discussed in the West and concepts related to this term. Martin Buber from whom the Far East, by these two representative theorists of Van Eyck borrowed the philosophical terms of the in- each region. between, states that 'The fundamental condition of First, through a review of Modernism, its limitations being human is man with his fellow man. It is rooted and reasons for appearance of in-between concepts is in the fact that a being considers another as an other, clarified. Through this review, four 'dimensions' for so as to be able to communicate with him in a sphere in-between are distinguished: space, time, environment which is common to both and which transcends the a n d h u m a n . T h e s e d i m e n s i o n s s h o w t h e m u l t i - individual spheres of both… I call the sphere of the dimensionality of the in-between concept. in-between. It is a primary category of human reality. Next, the two architects' theories about in-between It will be the starting point for the real third.' Louis are reviewed. Through this review, the conditions of in- Kahn discusses about outside and inside relationships, stating that '…the closed door in-between rooms… showing the possibility of communication.' Herman *Contact Author: Maryam Farhady, Ph.D. Student, Hertsberger argues about the transition of space, using University of Tokyo, Department of Architecture, Graduate the term "threshold". He says that 'The threshold S c h o o l o f E n g . , T h e U n i v e r s i t y o f To k y o , 7 - 3 - 1 , H o n g o , provides the key to the transition and connection Bunkyo-ku, Tokyo, 113-8656 Japan between areas with divergent territorial claims and, as Tel: +81-80-6746-4827 Fax: +81-3-5841-7474 a place in its own right, it constitutes, essentially, the E-mail: maryfrir@yahoo.com special condition for the meeting and dialogue between ( Received October 8, 2008 ; accepted January 27, 2009 ) Journal of Asian Architecture and Building Engineering/May 2009/23 17 g areas of different orders.' Yoshinobu Ashihara uses in turn rejected history and tradition, particularly as two terms of "positive space (P-space)" and "negative symbolized by 'non-functional' decoration; at the same s p a c e ( N - s p a c e ) " , o r i n o t h e r w o r d s , f i g u r e a n d time, it refused to predict any future. ground. He argues about the transformation of them A l t h o u g h f u n c t i o n i n M o d e r n i s m a c h i e v e d and configuration of "PN-space", indicating actual several goals, it also resulted in over-articulated and examples such as Japanese gardens. He states that concretized spaces. In that process, the nebulous and 'Japanese gardens at first glance look very natural; on undifferentiated spaces that naturally exist between closer examination, however, they reveal themselves to demarcated areas were ignored. be very elaborate, man-made miniatures of nature and T h e l i m i t a t i o n s o f M o d e r n i s m r a i s e d to be different from N-space, which is true nature. It reconsiderations. Various changes happened. For may be said that Japanese gardens are PN-space, which example, the rapid economic growth which resulted has resulted from architecture, or P-space, permeating in a excessive belief in the mechanical response and gardens.' Arata Isozaki uses the term "gap" between created the problems of lost identity and isolated two things, and describes an old Buddhist term. He settlements, brought some changes, such as mega- states that 'It seems to me that ma ought best be thought structures through networking, and free-developing of as gap, or (as with the original Sanskrit meaning) structures based on infrastructure. an original difference immanent in things.' Yoichiro A l s o , v a r i o u s m o v e m e n t s e m e r g e d , s e e k i n g Hosaka describes the "gap" or distance between two s o l u t i o n s . A m o n g t h e m Te a m 1 0 i n E u r o p e a n d things as follows: 'In many cases we could see two Metabolism in Japan were established. Van Eyck worlds that are distant enough not to influence each (1918-1999) and Kurokawa (1934-2007) were the other directly, but still related…gap is a vital part to key members of these groups, who also individually make it possible for each area to keep its identity. In a developed theories about the idea of coexistence in physical level, gap has an amorphous structure.' general, and the in-between in particular. There are remarkable references concerning the S u c h c h a n g e s a n d m o v e m e n t s a l l a i m e d a t t h e theories and practices of Van Eyck and Kurokawa. reconsideration of Modernism, and the neglected Francis Strauven in his book 'Aldo van Eyck, the aspects of design in Modernist way of thinking. Shape of Relativity' aims to clarify the meaning of Van The separation of space according to the function in Eyck's ideas and works, showing that they are part of a both urban and architectural levels was changed into consistent theory which is not restricted to architecture, the idea of integration of space. but embraces an entire cultural philosophy. In his The restriction of modernist design to the present, book, he has directly benefited from the cooperation of raised the consideration of a time process from past to Van Eyck himself. Also, Vincent Ligtelijn in his book present to future in order to increase the flexibility of 'Aldo Van Eyck: Works' has documented a large number space. of Van Eyck's projects from the architect's own archive Homogeneity of modern architecture in terms of and original texts. space and time, which had resulted in the separation The most significant books about Kisho Kurokawa of human activities, changed into a more realistic are written by the architect himself. Some are written consideration of multiplicity of human activities in cooperation with other architects. Dennis Sharp according to the time and space. in ' Kis ho Kurokawa from the age of the m achine A n u n f r i e n d l y l i v i n g e n v i ro n m e n t c r e a t e d b y to the age of life', gives an introduction about the modern industry, raised the importance of harmony transmission from machine age to life age according between construction and environment, especially to Kurokawa's point of view, through reviewing his through awareness of local characteristics, values and books and practices. Charles Jenks states that as a traditions. post-modern architect, Kurokawa has always kept A s a r e s u l t , t h e i d e a s o f s p a c e , t i m e , h u m a n several counter-themes going at the same time. He c o n s i d e r a t i o n s , a n d e n v i r o n m e n t h a v e b e e n t h e reviews Kurokawa's early concepts about Metabolism, f o c u s i n g d i m e n s i o n s i n t h e r e c o n s i d e r a t i o n o f ambiguity and fractal design, introducing him as Modernism, and the idea of the in-between. an architect who continuously kept developing and Diagram 1. General Flow of the Theories moving beyond himself. 2. Limitations of Modernism and Reconsiderations Modern architecture was established by freeing itself from history and the styles of past. Its leaders such as Gropius and Le Corbusier regarded this severance from the past in order to free themselves from formalistic architecture and traditional craftsmanship and instead imp ly mo d er n in d u s tr y. M o d er n ar ch itectu r e h as been regarded as entirely restricted to the present. It 18 JAABE vol.8 no.1 May 2009 Maryam Farhady 3. Concept of In-between as a Theory (Diagram 1) place where the two poles are simultaneously present, 3.1 Aldo Van Eyck's concept of in-between as if they were complementary colors. It is the point °Inspirations at which two different worlds interpenetrate. It is a Van Eyck became increasingly convinced of the place filled with 'multiple meaning in equipoise'. significance of the interval which is able to transform Francis Strauven has mentioned three kinds of vertical formations with a central and closed middle m e t h o d f o r f u s i n g t h e f o r m a s f o l l o w s : 1 ) a l i n k s e c t i o n , i n t o o p e n , h o r i z o n t a l s y s t e m s w i t h a n b e t w e e n t w o d i ff e r e n t i n t e r i o r s p a c e s , 2 ) a t w i n expanding and linear character. He recognized this phenomena at a structural level by complete mutual quality 1) through the work of artists in and connected interpenetration, the total fusion of two different with avant-garde, in particular De Stijl, and 2) through patterns to form a new and complex structure, and artifacts from archaic, so-called 'primitive cultures', 3) relating part and whole, particularly two areas at tempted him into going on distant travels e.g., to the different configurative levels, by giving part and whole villages of Dogon in West Africa and Pueblos in North analogous structures, they can be made in principle America. Van Eyck saw tradition as retaining its values equivalent despite their differences. The small implies as an expression of the human identity, which while the same values and meanings as the large, and the manifesting itself in different forms in various ages large becomes comprehensible through the small. and cultures, has essentially remained constant. In this Van Eyck shows that it is not a matter of choosing light, he wanted to understand architectural heritage between two elements, but of employing both in to enable himself to reconstruct it. He introduced conjunction in such a way that the right reciprocal new notions into architectural thinking, notions such effect is obtained. as identity, reciprocity, twin phenomena, in-between A n a r c h i t e c t u r e t h a t a i m s t o b e h u m a n e , m u s t realm, configuration, counterform, place and occasion, c o n s e q u e n t l y d e v o t e s p e c i a l a t t e n t i o n t o t h e i n - which opened a new structural insight into the potential between; specifically to the architectural forms and quality of the built environment. transitional places through which people meet, and Relativity, Twin Phenomena and In-between invite them to stay. He believed that architecture should Van Eyck was convinced that contemporary culture give shape to space in the image of mind. It can be so has to be developed in accordance with the new world by specifying space into places; places whose shape is view that was disclosed by avant-garde art and science in each case determined by a specific set of dual (twin) at the beginning of the century; a world view which phenomena. He states that space in the image of man is he held to be grounded on the concept of relativity. It place, and time is occasion. implies that reality cannot be considered as having an 3.2 Kisho Kurokawa's Concept of In-between inherent hierarchical structure, to an intrinsic center. °Inspirations Understanding of relativity as a complex coherence 1) Communication with experts in different fields: o f s p a c e , t i m e , m a t t e r a n d e n e r g y, a u n i t y t h a t K u r o k a w a e x p a n d e d h i s c o n t a c t w i t h t h e w o r l d necessarily manifests itself as diversity; the insight outside architecture. His most important achievement that the coherence of things does not reside in their i n t h e 1 9 6 0 s - a n d 7 0 s w a s t h e c r e a t i o n o f h u m a n subordination to a central, dominant principle but in channels between professionals in the more intangible their reciprocal relations. Relations that are just as fields, from politicians, writers, and philosophers to important as the things themselves; the relativity of all architects. He believed that new ideas and creative frames of reference, the awareness that they are at the activity occur when people from different backgrounds same time autonomous and mutually related. come together. "Right-size will flower as soon as the mild wheels of 2) Buddhism and Japanese Vernacular Architecture: reciprocity start working- in the climate of relativity in K u r o k a w a s t a t e s t h a t M e t a b o l i s m i s a n e a s t e r n , the landscape of all twin phenomena."– Aldo van Eyck and primarily Buddhist concept. At its base is the b 1 (1962) p h i l o s o p h y o f s y m b i o s i s . H e t r i e d t o e s t a b l i s h I n t w i n p h e n o m e n a , t h e o p p o s i t e s r e m a i n a c o n n e c t i o n b e t w e e n M e t a b o l i s m a n d B u d d h i s t recognizable as opposites. But this does not imply that concepts such as reincarnation, transmigration, and they must be taken to an extreme. It is a concept based impermanence. He tried to create the philosophy on the insight that such opposites are not conflictive or coming from Buddhism, but completed apart from it to mutually exclusive entities as is generally assumed in be realized as a worldwide thinking. Also, he studied Western thinking, but that they are two different halves spiritual elements of Japanese culture to introduce of the same entity. them into contemporary architecture. This was the start Van Eyck describes that polarities can occur at two of the philosophy of Symbiosis. He precisely mentions different levels: that of structure, and that of form. At Buddhist notions such as ma –literally meaning gap a structural level, the most obvious way to unite two or intermediate– and ku –literally meaning emptiness opposing into twin phenomena is to establish an in- – as precious notions for architectural creations. He between. This is generally achieved by making the two also mentions some traditional Japanese elements e.g., poles overlap to some extent. The result should be a engawa as a sort of veranda running around the house, JAABE vol.8 no.1 May 2009 Maryam Farhady 19 mediating between inside and outside. It protects Kurokawa points out that whether in architecture the interior from climatic changes, and is a place to and town planning, or in daily life, the concepts of welcome guests and offer an entrance from the garden intermediary space and ambiguity are vital keys to to the house. Also, he introduces the streets in front of implementing the philosophy of symbiosis. In the West, machiya townhouses as traditional and intermediary one seeks to transcend dualism through the dialectical zones, in which private space meets public space. method of resolving opposites on a higher level. The Metabolism, Symbiosis and In-between two opposites are either unified, or one of the two Kurokawa states that Western philosophy on which is negated, and rejected. According to the idea of Modernism was based, is a philosophy of dualism in symbiosis, in-between, creates a dynamic relationship which issues such as religion and technology or art between contradictory elements while allowing them and science are opposed. Metabolism, in contrast, to remain opposed. Such relationship can be achieved seeks for a coexistence of such issues. Metabolism is by interpolating a spatial distance (neutral zone) or a a life principle. And, symbiosis is an idea of the life temporal space (cooling-off period) between them. principle. The term metabolism was borrowed from 3.3 Reinterpretation of In-between According to the the field of biology, where it refers to the processes Theories and changes that a creature undergoes as it lives. It is According to the theories, three types of relationship based on two principles: 1) Symbiosis of different time between two subjects of integration –A and B– are periods, or a diachronic system: the term metabolism recognized and named as a 'set of two elements (A /B)'. was chosen for the movement to express the conviction 1. Contradictory A and B t h a t a w o r k o f a r c h i t e c t u r e s h o u l d n o t b e f r o z e n In-between condition mostly appears between two and unchanging once it is completed, but should be opposites. According to the two architects' ideas, most apprehended instead as a thing –or as a process– frequent conditions of contradictory relationship in that evolves from past to present and from present to design could be contradictory spaces such as natural future. 2) Synchronicity of space: each culture has and man-made, interior and exterior, or notions such as its own distinct character that can at the same time old and new, and public and private. be linked to every other culture in the world. So, the 2. Hierarchical A and B syncretism Kurokawa speaks about is based on the When two elements in different configurative levels principle of equal distance between each culture of the meet each other they could create an in-between. As world. It is the main philosophic base for the move remarked by Aldo Van Eyck in such a condition, A and from internationalism to interculturalism. B could be part and whole, which both imply the same He pointed out and discussed types of symbiosis; value. symbiosis of part and whole, symbiosis of interior 3. Similar A and B and exterior, symbiosis of history and present, and In some cases two elements are not opposites but symbiosis of man and technology. coexist in a complementary way. As mentioned in Table 1. Comparison of In-between Concepts - Dimensions of In-between (AB), Set of A/B, Factors of In-between- 20 JAABE vol.8 no.1 May 2009 Maryam Farhady the theory of Aldo Van Eyck, such a condition could Van Eyck through a 'Threshold' in his Amsterdam appear when two different interior spaces are linked. Orphanage, where the threshold provides the key for transition between public and private realm. Here it 4. Comparison of In-between Practices is a forecourt that reaches to the heart of the building, 4.1 Analysis of Practices a large doorstep that articulates into an urban square, The two architects have practiced the in-between as continuity of a public realm. On the other hand, concept, using different ideas. Their ideas of in- Kurokawa shows this relationship using the idea of b e t w e e n a r e c l a r i f i e d a s ' f a c t o r s ' . P r a c t i c e s a r e 'Semi-publicness' in Daido Seimei where he designed compared, using the involved 'factors' in each 'set of A a pedestrian walkway passing through the building for and B' (Table 1–horizontal direction, Fig.1): convenience of pedestrians in downtown. 4.1.1 Contradictory A and B 4.1.2 Hierarchical A and B The in-between mostly could exist between two A Hierarchical relationship between A and B in contradictory elements. their works, is basically a Part / Whole relationship. A Natural/ Man-made relationship is introduced T h i s t y p e i s w i d e l y p r a c t i c e d b y Va n E y c k . F o r in Van Eyck's Visser House through 'continuity of instance, in the Amsterdam Orphanage, the focus nature into building' by repeating wooden columns, is on 'asymmetry and number of units' in which t o h a v e h a r m o n y w i t h t h e s u r r o u n d i n g f o r e s t . asymmetrical composition makes it possible for units Kurokawa expresses it, for instance, by 'combination to have a dynamic development. A number of corridors of materials' in the Hiroshima Art Museum; using were designed, giving independence to each unit. So, traditional materials of stone and tile, combined with part and whole are repeatedly mutually linked. In his aluminum for a futuristic atmosphere. Wheels of Heaven Church, he introduces a different An Old/New relationship is introduced by Van method through 'multi-centrality'. Four circles with Eyck through 'traditional essence' in the Amsterdam two points of focus form a multi-centered ambivalent Orphanage, using circular and rectangular shapes in p l a c e . B y u s i n g d i f f e r e n t s e a t a r r a n g e m e n t s , a the plan as the essence of his design language. In person can experience the same space from different the Hubertus House, 'overlap of new and old' is put perspectives; being in one part but recognizing the into practice through a new part accessible by the old whole. In Sonsbeek Pavilion, he introduces a 'fusion entryway. Kurokawa expressed the 'fragmentation of different patterns' by designing a series of parallel of traditional elements' in Wakayama Museum using walls with straight, round, convex or concave shapes, 3 b traditional eaves in an abstracted way. On the other mixed with each other to form the walls. hand, he insists on spiritual inspiration and 'traditional Kurokawa, on the other hand, showed the Part/ aesthetics' in design. For instance, in the National Art Whole relationship through a metabolic concept. Center, he used a fractal shape for the glass facade, In Nakagin Capsule Tower, a 'change of usage' is inspired by natural curves in traditional Japanese expressed. The building is without a center, being able garden. to extend in defined units to infinity, and is able to be T h e I n t e r i o r / E x t e r i o r r e l a t i o n s h i p i s t h e m o s t used in different ways. In Kuala Lumpur International significant type in their works. Van Eyck created a Airport(KLIA), '3D extension and rearrangement 'vertical gap' in the Hubertus House by employing a of homogeneous units' gives flexibility for future a 3 multi-story doorway between the outside and inside. changes. In the Schmela Gallery, aiming at the 'interiorization 4.1.3 Similar A and B of exterior', he designed a roofless vertical void, A Similar type of relationship between A and B, i n w h i c h t h e e x t e r i o r b e c o m e s a n i n t i m a t e i n n e r in the works of these two architects, is basically space. He emphasized the 'repetition of color' in concentrated in an Indoor/Indoor relationship. Van the Court of Audit in which the blue color moves E y c k p u t s i t i n t o p r a c t i c e , f o r i n s t a n c e , t h r o u g h independently from inside to outside. In Visser House 'articulation of different types of space'. In his the 'continuous structural frame' of wood underpins C a t h o l i c C h u r c h o f H a g u e , d i ff e r e n t h e i g h t s a r e the equality of exterior and interior. On the other hand, articulated in the interior through combining low crypt- Kurokawa created a 'planar gap' in the Nagoya Art like space with a tall gothic-like one, having something Museum, designing a sunken garden and a connected of both. atrium-lobby. He introduced a 'semi-open space' in Kurokawa, on the other hand, has used a 'linear Fukuoka Bank by employing an engawa-like space, gap' in Daido Seimei of Tokyo, in which the interior interpenetrating interior and exterior. In the Nara is divided into two parts on both sides of a street-like City Museum of Photography, glass walls emphasize linear space. the feeling of 'transparency' and lightness as if the 4.2 Analysis of 'Dimensions' of In-between by Using building is floating. He goes further by designing the 'Factors' roof of Oita Stadium as a 'mobile element', changing Content of the four 'dimensions' of the in-between space to a closed or open one. is discussed here using the above-mentioned 'factors' The Public/Private relationship is introduced by (Table1–vertical direction). JAABE vol.8 no.1 May 2009 Maryam Farhady 21 Fig.1. Photos of Practices °Space °Time In architectural design, space is the most significant Time is an invisible dimension of the in-between. It dimension of the in-between. Many of the in-between could be described directly using physical traditional practices express the spatial aspect of this concept. elements, or indirectly by expressing the traditional So, ambivalence of the in-between could be expressed n o t i o n a n d s p i r i t u a l i t y o f t r a d i t i o n a l p l a c e s i n a through the overlap of two elements, the continuity of contemporary work. Also, it could appear through one into another, the articulation of elements to create mobility and temporality of elements, making the a gap as a third space, the repetition of units and the building flexible for spatial and functional changes formation of a whole, fragmentation of element for a according to the time. more integrated relation, or fusion of different patterns Human or spaces. This dimension expresses the overlap of different °Environment human activities, multi-usage and multi-functionality E n v i r o n m e n t a l i n - b e t w e e n c o u l d b e d e f i n e d of a single space in order to produce a non-physical by bringing delicacy to design, in order to create ambivalence concentrated on the human usage of ambiguity; using transparency, color, or materials such space. as water, light, shadow, wind and greenery. 22 JAABE vol.8 no.1 May 2009 Maryam Farhady 5. Conclusion Time is an invisible dimension of the in-between. 1) Limitations of Modernism resulted in various It is described as an in-between condition directly changes and new movements, perceiving the neglected using physical traditional elements, or indirectly by aspects of design in the Modernist way of thinking. expressing the traditional notion and spirituality of The in-between idea was a result of the reconsideration traditional places in a contemporary work, mobility of Modernism. Such reconsideration was mainly and temporality of elements. focused on four dimensions of space, time, human and The human dimension was expressed through multi- environment. usage and multi-functionality of a single space. Among contemporary architects who discussed 5) Interrelations between the above issues, as shown the limitations of Modernism and its solutions, Aldo in Table 1, could prove that the more dimensions Van Eyck and Kisho Kurokawa have clear theories and factors related to the in-between get involved about the in-between. They have put in to practice the in a single design, the more complicated and multi- coexistence of various issues through their architectural layered meaning of the in-between will be. And, design, which were considered conflicting elements in such interrelations could bring new possibilities for the dualistic viewpoint of Modernism. designing the in-between. 2) As argued in the theory level, both architects had relationship with experts from other fields of study. References Additionally, both principles of 'metabolism' and -Kisho Kurokawa: 1) K u r o k a w a , K i s h o . ( 1 9 8 8 ) R e d i s c o v e r i n g J a p a n e s e S p a c e . 'relativity' are originally scientific terms adapted to Weatherhill. architecture. Also, both architects were inspired by 2) Kurokawa, Kisho. (1987) The Architecture of Symbiosis. Rozzoli. vernacular architecture, aiming at the reorientation of 3) Kurokawa, Kisho. (1998) Kisho Kurokawa from the age of the it to contemporary architecture through the concept machine to the age of life. BookArt. of the in-between. They described the same issue 4) Kurokawa, Kisho.(1983) Each one a Hero: The philosophy of Symbiosis. Kodansha. of 'coexistence' –on which the in-between is based– 5) Blum, Betty. (2002) Interview with Kisho Kurokawa. The Art using the terms of 'twin phenomena' and 'symbiosis'. Institute of Chicago. H o w e v e r, K u r o k a w a p r e f e r r e d t o d i v i d e s u c h coexisting conditions precisely to specific types of -Aldo van Eyck: symbiosis. And, Van Eyck through a poetic approach, Ligtelijn, Vincent. (1999) Aldo Van Eyck: Works. Birkhäuser. discussed different sets of twin phenomena in parallel. Strauven, Francis. (1998) Aldo van Eyck, the Shape of Relativity. Architectura & Natura. 3) Through analysis of the theories, it was shown Van Eyck, Aldo and O. Newman. (1961) CIAM '59 in Otterlo. that an in-between condition could appear in various Stuttgart. p.33. shapes between two elements of A and B. Van Eyck, (1982) Aldo. Aldo Van Eck-Hubertushuis. Stichting C o n t r a d i c t o r y A a n d B a p p e a r s b e t w e e n t w o Wonen, Amsterdam. p.82. opposites (natural and man-made, old and new, interior and exterior, public and private). -Introduction: Hierarchical A and B appears between two elements P. Klee. (1925) Paagogisches Skizzenbuch Munich. (reprint, Mainz 1966). in different configurative levels (part and whole). Kahn, Louis. (1986) What Will Be Has Always Been. Rizzili. p210. Similar A and B appears between two elements Hertzberger, Herman.(1991) Lessons for Students in Architecture. which coexist in a complementary way (two interior 010 Publishers. p.32. spaces). Ashihara, Yoshinobu. (revised edition 1981) Exterior Design in 4) In their works, many 'factors' expressing the in- Architecture. Van Nostrand Reinhold. p.25. Isozaki, Arata. (2006) Japan-ness in Architecture. Massachusetts between are introduced. These factors were used for Institute of Technology. p.95. comparison of their designs within the framework Hosaka, Yoichiro. (1984) Kyokai no Katachi [Shape of Boundary]. of the above three types of relationship between two Kodansha. pp.6-7. elements of A and B. Also, these factors helped in the analysis of four dimensions in the concept of the in- between. Space is the most significant dimension of the i n - b e t w e e n . A m b i v a l e n c e o f t h e i n - b e t w e e n w a s expressed through ideas such as the overlap of two elements, continuity of one into another, or articulation of elements to create a gap as a third space. Environmental factors were shown by bringing delicacy to design, using transparency, color, water, light, or greenery. JAABE vol.8 no.1 May 2009 Maryam Farhady 23
Journal
Journal of Asian Architecture and Building Engineering
– Taylor & Francis
Published: May 1, 2009
Keywords: in-between; Aldo Van Eyck; Kisho Kurokawa; twin phenomena; symbiosis
