This article draws attention to the spaces in-between and employees’ lived experiences of liminal spaces at work. It illustrates how and why liminal spaces are used and made meaningful by workers, in contrast to the dominant spaces that surround them. Consequently, the article extends the concept of liminality and argues that when liminal spaces are constructed, by workers, as vital and meaningful to their everyday lives they cease to be liminal spaces and instead become ‘transitory dwelling places’. In order to examine this shift from ambiguous space to meaningful place, the works of Casey (1993), amongst others, are used to make further sense of the space/materiality/work nexus in organizational life. This article is based on empirical data gathered from a nine-month study of hairdressers working in hair salons and explores the function and meaning of liminal spaces used by hairdressers in their everyday lives. The contribution of this article is three-fold; it argues that space is not just about dominant spaces; it extends the concept of liminality; and in connection with the latter, it demonstrates how transitory dwelling places offer fertile ground in which we might further develop our knowledge of the lived experiences of space at work.

Visual methodologies for researching organizational life have grown in popularity over the past decade, with conceptual and methodological foundations now well documented. However, analytical critique has not kept pace and so in this paper, we offer grounded visual pattern analysis (GVPA) as a rigorous means of analysis that mines the discursive meanings of individual photographs and the visual patterns apparent across multiple still images. We illustrate GVPA's value through an ethnographic field study investigating the relationship between workplace environments and identity formation among hair salon workers in the UK. Specifically, we explain how to combine the strengths of both 'dialogical' and 'archaeological' approaches to visual research (Meyer et al. 2013), which have hitherto been seen as distinct endeavours. We argue this is particularly valuable in field studies addressing material turns in organization studies, such as studies of space, strategy-as-practice, embodied cognition and servicescape aesthetics. The paper concludes by putting forward a series of potential directions for the future of visual organizational research based on the bridging of Meyer et al.'s (2013) five different methodological approaches.

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This article introduces a confluent method of evaluation from the qualitative paradigm that encourages student feedback via a sensory route, namely, participant-produced drawings. Through a phenomenological qualitative inquiry carried out at a UK university where the use of participant-produced drawings were piloted, three areas for consideration with regards to enhancing the evaluation of undergraduate provision in management education were identified: (a) giving students space to emotionally respond to their learning, (b) acknowledging the temporal aspect of student learning and (c) offering students the opportunity to set and shape the evaluative agenda. Participant-produced drawing is offered as a method of evaluation that is appreciative of the cognitive-affective learning debate and the rapidly changing nature of higher education practice. We argue that this method provides rich evaluative data on the affective nature of learning that is not as easily explored by traditional, quantitative methods.

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