Unintentional Reenactments

What is the relationship between reenactment and repetition compulsion? By shedding light upon the different levels of reenactment at stake in Yella by Christian Petzold, I analyse the ‘transitional spaces’ where the German filmmaker places his wandering characters who have ‘slipped out of history’. In Yella Petzold mixes up past, present, future, and oneiric re-elaboration to question the memory of the past of GDR, which in his view has never really been constituted as history. The characters that populate this movie move in a setting constructed at the crossroad between a protected environment where the reenacted events are sheltered by the time and the space of the plot and a place weathered by the unpredictable atmospheric agents of the present. How and to which extent can the clash between different temporalities produce a minimal variation?

Colonialism on Spatial Transformation: A Socio-Spatial Analysis of the Outdoor Transitional Spaces of Sri Lankan House

Sri Lanka, under the British from the early 19th century to 1948, saw a rapid growth in urban areas and the emergence of metropolitan bourgeoisie. Increasing demand for housing was met through housing schemes and private houses on smaller plots. Previous colonials, the Portuguese and the Dutch, adapted and continued the traditional house forms where outdoor transitional spaces such as verandas and courtyards remained as an integral part responding to climate and socio-cultural needs. However, the British period saw the advent of two noteworthy types of housing—a smaller re-adapted traditional house and an imported version of an all-enclosed house. This study evaluates the shift in socio-spatial role of the outdoor transitional spaces of single-unit houses from pre-colonial time up to independence using graphical analysis of the plan form combined with interviews on use of space.

TOWARDS REPRESENTING TRANSITIONAL SPACES: DEVELOPMENTAL DIRECTION FOR INDOORGML ANCHOR NODE

Naturally, human beings freely navigate indoor space to outdoor space and optionally to another indoor space. However, currently available data models to represent space do not fully reflect this freedom and continuity of movement. These shortfalls hinder the development of location-based applications from aiding this navigation activity and affect the accuracy and optimality of route analysis. Existing models used for this purpose either represent indoor and outdoor space separately or use direct links that do not fully represent the freedom of movement and the complexity of urban areas. While these approaches use single-feature representations of the connection of these spaces through nodes for the building entrances, Transitional Spaces exist at these locations and must be represented accordingly in navigation networks. In this paper, we illustrate how currently defined IndoorGML concepts can be utilized for integrating indoor and outdoor navigation networks through the Transitional Spaces. We perform an experimental case using sample data to demonstrate the limitations of this model. From this, we discuss the developmental direction of the Anchor Node concept towards developing a model to fully represent navigation on an integrated indoor-outdoor network.

Understanding Transitional Spaces: A Case Study of three different phases of Delhi – Old Delhi, Colonial Delhi and Contemporary Delhi

Any space needs to be conceptualized by thorough study of environment, its surroundings and community needs. These spaces are planned to provide a distinct function but many spaces are created with no definite function and are used as a changeover between two spaces. These spaces are referred as ‘Transition Spaces ’and they generate a ‘Spatial prospect ’for many activities, rather than serving a specific function. In this changing time of urbanization, the skyline of the city is changing from traditional buildings to glittering glass and steel structures, overshadowing the existing fabric of the city. This change is sudden not gradual. One perceives the landmarks and left behind are the unrecognizable edges and nodes. These nodes and edges are spaces where people interact and intermingle and thus transition spaces are formed. These transition spaces play a vital role in environmental behavior. The idea of this study is to understand the essence of a space in which one experiences a shift. This shift is important because that is the area where most of the activities happen. Space, like man, needs an identity else it would be lost in time. It is necessary for us to be able to distinguish between the ideas of such places, else understanding the transitions would be difficult. ‘People and space depend on one another; they share each other their true colours. ’(Hertzberger, 2000)

Queering Cultural Memory Through Technology: Transitional Spaces in AR and VR

While cinema boasts of a long history that has placed the representation and aesthetics of memory at its center, virtual reality (VR) and augmented reality (AR) are only starting to shape their own aesthetic and narrative engagement with memory. Through the analysis of Chez Moi (Caitlin Fisher and Tony Vieira, 2014), Queerskins: Ark (Illja Szilak, 2020), and Homestay (Paisley Smith, 2018), this essay shows how cinematic AR and VR involve the viewers’ movement to produce and transform collective memory and spatial habitation. Feminist digital geographies, film and media theory, and the concept of orientation developed by Sara Ahmed in Queer Phenomenology give sense to how sound, images and viewers’ movement participate in rewriting collective memory and cultural symbols. As these artworks present personal memories of struggles to find a home within present spaces, they queer hegemonic orientations of the subject, and invite viewers to realign body and space within ever-changing virtual and digital spaces.

Queering Cultural Memory Through Technology: Transitional Spaces in AR and VR

While cinema boasts of a long history that has placed the representation and aesthetics of memory at its center, virtual reality (VR) and augmented reality (AR) are only starting to shape their own aesthetic and narrative engagement with memory. Through the analysis of Chez Moi (Caitlin Fisher and Tony Vieira, 2014), Queerskins: Ark (Illja Szilak, 2020), and Homestay (Paisley Smith, 2018), this essay shows how cinematic AR and VR involve the viewers’ movement to produce and transform collective memory and spatial habitation. Feminist digital geographies, film and media theory, and the concept of orientation developed by Sara Ahmed in Queer Phenomenology give sense to how sound, images and viewers’ movement participate in rewriting collective memory and cultural symbols. As these artworks present personal memories of struggles to find a home within present spaces, they queer hegemonic orientations of the subject, and invite viewers to realign body and space within ever-changing virtual and digital spaces.

Comparison of thermal comfort in different kinds of building spaces: Field study in Guangzhou, China

In addition to typical indoor and outdoor spaces, there are numerous transitional spaces in a building that are unlike indoor and outdoor spaces, where most people spend time for entertainment. There is a need to investigate the comparison between these three types of spaces, including indoor spaces, transitional spaces and outdoor spaces. In this study, the thermal responses and thermal environmental parameters of the indoor, outdoor and transitional spaces were simultaneously recorded. Values of standard effective temperature (SET*), physiologically equivalent temperature (PET) and universal thermal climate index (UTCI) were calculated, and relationships between mean thermal sensation vote (MTSV), SET*, PET and UTCI were also analysed. The results indicate that the air velocity fluctuation and mean radiant temperature of the outdoor space were more significant than those of other two spaces. The neutral thermal indices of the outdoor space were higher than those of the indoor and transitional spaces. Additionally, regression models between MTSV and thermal indices (SET*, PET and UTCI) were analysed. There are strong linear relationships between MTSV and SET* in all spaces. The linear relationships between MTSV were significant when compared with PET and UTCI. Thus, the adaption of thermal indices for evaluation of different spaces must be considered.