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Exhibition
Through the Liminal
01




I’ve been walking for a while now. Walking and lingering. The road stretches on, just like my thoughts. I took the train to regroup. Will I ever reach where I’m going? I’m going in the passageway, and turn on the left. My route gets dark, then there’s light, then dark again. I smell rain coming. I’m grabbing the first exit I can find, but I’m somehow stuck in a loop. I walk as closely as I can to the wall on my right. The rough surface rubs onto my body, scratching my skin, but I keep walking. I have a sense that this hallway I’m at is alive, observing me. As if it expects from me to make a choice I’m not ready to make.

That’s it, I’m here. What could there be at the end of this route?

Transitional spaces, in other words, liminal spaces or thresholds, are physical or metaphorical representations of the stage ‘in between’ two other distinct stages. Hallways, waiting rooms, passageways, empty parking lots, or areas of transport like airports or train stations, all fall into this category. When entering a threshold, the person is neither here, or there, in a place that is rather unrecognizable, but yet intimately known. Balancing between the existent and the non-existent, the real and the surreal, the physical and the mental, liminal spaces are challenging both the notions of space and time within the context of a narrative.



The relation to time

‘The heterotopia begins to function at full capacity when men arrive at a sort of abso- lute break with their traditional time.’ (Foucault, 1984)

A liminal space prepares and introduces a story – and can powerfully emerge within the ‘cracks’ of traditional notions. This state of being can be rather unsettling and disorienting, but is pivotal in order to complete one’s transition.

Benjamin Whorf distinguishes two types of spatial and temporal realities, one inextricable to the other; the manifested (objective) and manifesting (subjective).

‘It (manifested reality) includes all that is or has been accessible to the senses, the present as well as the past, but it excludes everything that we call the future. Manifesting or subjective reality is the future and the mental. It lies in the realm of expectancy and of desire.’ (Yi-Fu Tuan, 1977) Within this framework, liminal spaces can exist between the manifested and the manifesting realities, amplifying the tension between the objective and the subjective realms. Time becomes fluid, and the visitor navigates between the tangible reality and the mental landscape of possibility. That’s where the narrative is about to unfold: when one is about to confront change, explore new identities, and ultimately reshape their journey.
(cont’d )



The relation to space

Why is the notion of liminal so unsettlingly familiar? Maybe because it resonates with a feeling that most people recognize: being out of place.

In architecture, sometimes these types of spaces are merely zones of transition within a built environment. They connect one distinct space to the other, and facilitate movement. Often overlooked, considered to be serving exclusively functionality, they come across as distant, neglected, cold and indifferent. But instead of still moments in time, these areas could use their simplicity in order to become a breeding ground for change. Instead of existing outside life rhythms, they could facilitate discourse acknowledging their unique role as places of transition. Creating an interplay between lights, shadows, materials, entering ways and exit doors, the experience within the liminal can be heightened. If the transitional space becomes the main setting, it can create a unique narrative atmosphere, emphasizing themes of uncertainty and transformation. This focus allows for deeper exploration of characters’ inner conflicts and their relationships with the environment, blurring the lines between reality and perception.

Liminal spaces hold a certain power onto them. Whether they’re physical or emotional, they are territories of uncertainty and reflection. Through their discomfort, they push the boundaries between space and time, and can be a valuable tool in order to amplify the embodied experience. In these liminal moments one can come to understand the deeper connections between place, time and itself, and face all the inevitable transitions that all these notions come with. Liminality forces introspection, compelling us to confront the unknown before emerging on the other side with a new sense of self or purpose.

And just like that, the hallway behind me dissolves. As if it was never there – or has it always been there?



BIBLIOGRAPHY

Bachelard, G., 1969. The Poetics Of Space. Boston: Beacon Press.

Benjamin, W., 1972. A Short History of Photography. Screen, 13(1), pp.5-26.

Berger, J., 1977. Ways Of Seeing. London: British Broadcasting Corporation.

Foucault, M. “Of Other Spaces, Heterotopias.” Architecture, Mouvement, Continuité 5 (1984).

Tuan, Y., 2018. Space and place: The perspective of experience. Minneapolis, Minn: University of Minnesota Press.


Margarita Voyatzi


Margarita Voyatzi is an Athens-based architect and spatial designer. She is a distinguished graduate of the University of Thessaly, where she obtained her Master’s degree in Architecture. She also studied architecture in Paris, at ENSA Paris-Est. She holds an MA in Narrative Environments from Central Saint Martins, London. She has previously worked in practices in Amsterdam and Athens for the past four years, specializing in creating unique commercial and retail spaces. She currently works at Urban Soul Project, bringing her expertise to innovative design projects, translating stories into immersive, multisensory design experiences.
Thresholds
02






What constitutes a transitional space within the architectural framework?

How do such spaces, often devoid of explicit programmatic function, contribute to the experience and understanding of the built environment?

Can we conceive of an architecture composed solely of transitions, a fluid continuum of in-between spaces?

How do these spaces contribute to the social value of architecture? Do they hold the key to understanding the deepest desires and anxieties of a society?

Can we decipher the social coherence of a civilization by examining the thresholds and passages it creates in its architecture?

Can the design of thresholds shape not only our movement through space, but also the evolution of our social structures?






What is a transitional space?

How do these often-functionless spaces shape our very experience of architecture?

Do they dare to redefine boundaries?

Can we create an architecture of pure transition, a liminal symphony of in-between?

Do these spaces defy typology, resisting categorization?

How do they imbue architecture with social value, fostering interaction and exchange?

Do these spaces transcend the ephemeral whims of style, echoing through time and revealing the enduring essence of human habitation?



 

This publication, "Thresholds," explores these questions  through the lens of "Books of Copies," a project initiated by the architectural collective San Rocco.  We have created a digital artifact titled "Thresholds," presented in the distinctive layout of these books.  Books of copies contain images intende to inspire the creation of architecture. Books of copies embrace a diversity of architecturalexpression, excluding only natural forms. The act of copying here is one of selection and reinterpretation, guided by an appreciation for the inherent beauty of existing forms.







P4architecture


Margarita Voyatzi is an Athens-based architect and spatial designer. She is a distinguished graduate of the University of Thessaly, where she obtained her Master’s degree in Architecture. She also studied architecture in Paris, at ENSA Paris-Est. She holds an MA in Narrative Environments from Central Saint Martins, London. She has previously worked in practices in Amsterdam and Athens for the past four years, specializing in creating unique commercial and retail spaces. She currently works at Urban Soul Project, bringing her expertise to innovative design projects, translating stories into immersive, multisensory design experiences.
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Athens, Greece