Liminal Odyssey

Master thesis (2022)

Authors

D. Nalmbantis Architecture and the Built Environment

Contributors

H.J. Bultstra Public Building and Housing Design (mentor)
H.F. Eckardt Design of Constrution - Architecture and the Built Environment (mentor)
N. Marzot Public Building and Housing Design (mentor)
A. Mulder Education and Student Affairs (graduation committee member)
N. Katsikis Urban Design - Architecture and the Built Environment (graduation committee member)
Faculty
Architecture and the Built Environment, Architecture and the Built Environment
Copyright: © 2022 Dimitri Nalmbantis
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Published Date

17-06-2022

Language

English

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Faculty

Architecture and the Built Environment

Abstract

Exploring the possibilities of the future ambition for Binckhorst in The Hague, a key music venue is set to integrate a modern high density residential neighborhood as part of the city centre.
However, contemporary music buildings functioning as catalysts for urban development are often focused on urban connectivity. As a result, they tend to forget the true function of music, which is to provide a mental escape for the audience. Therefore it becomes paramount for future projects to consider a migration from an exterior iconic character to an introverted oasis for musical performance. This notion establishes a degree of transposition in the experience of a visitor, a passage between the public realm and the specific main function of the building, which can be referred to as liminality. Layering phases of separation, transition and incorporation can be used as a strategy in architectural route design to construct a liminal odyssey. Finally to conceive the greatest sense of escapism within the musical oasis, parameters of intimacy and visual relations play a significant role. Nevertheless, other parameters can be used, depending on audience personality, which is related to musical genre.
Another aspect of designing for escapism is to create a world specific to music. To achieve this, the architecture should be a complete opposite to the organisational and contextual rules. In spite of this contrast, the building will still have to respond to the surroundings in a way that is characterised by its own architectural language. Only then will it become a fluid visitor route free of all limitations, purely based on the people and their liminal odyssey in anticipation of attending a concert.