Much like Walter Benjamin's analysis of the Parisian arcades during the interwar years of the early 20th century, emerging methods of seeing interior spaces reveal a deeper gaze into the contextual, material, and phenomenological conditions that produce more nuanced visions of interiority. A collective consciousness surrounding these constructed narratives is reflected in charged associations with the most salient imperatives of our time—globalisation, resource depletion, ecological degradation, and political instability—as well as their corresponding effects on the built environment. These visual provocations have incrementally percolated up to embody an expanding field of design activism for educators, theorists, practitioners, and students. How do these avant-garde techniques operate? What do they reveal about socio-political, economic, and consumptive forces shaping the global built environment? How do these speculative methods offer more critical ways to communicate dynamic conditions?
{"title":"Material Atmospheres: Theorising Recent Shifts in Interior Visualisation","authors":"Gregory Marinic","doi":"10.7454/IN.V2I1.54","DOIUrl":"https://doi.org/10.7454/IN.V2I1.54","url":null,"abstract":"Much like Walter Benjamin's analysis of the Parisian arcades during the interwar years of the early 20th century, emerging methods of seeing interior spaces reveal a deeper gaze into the contextual, material, and phenomenological conditions that produce more nuanced visions of interiority. A collective consciousness surrounding these constructed narratives is reflected in charged associations with the most salient imperatives of our time—globalisation, resource depletion, ecological degradation, and political instability—as well as their corresponding effects on the built environment. These visual provocations have incrementally percolated up to embody an expanding field of design activism for educators, theorists, practitioners, and students. How do these avant-garde techniques operate? What do they reveal about socio-political, economic, and consumptive forces shaping the global built environment? How do these speculative methods offer more critical ways to communicate dynamic conditions? ","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44206303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Everyday space is a setting where ordinary acts, activities and events take place. It is interesting to examine closely how interiority is defined, understood and manifested in everyday space as a way to understand the inhabitation of the interior. The interiority of everyday space is defined not only by occupation but also through materiality. This issue of Interiority presents articles that address the relationships between interior materiality and different perceptual constructs and experiences of architectural space as inherent in the occupation of the everyday space.
{"title":"Interiority in Everyday Space: A Dialogue between Materiality and Occupation","authors":"P. Atmodiwirjo, Y. Yatmo","doi":"10.7454/IN.V2I1.56","DOIUrl":"https://doi.org/10.7454/IN.V2I1.56","url":null,"abstract":"Everyday space is a setting where ordinary acts, activities and events take place. It is interesting to examine closely how interiority is defined, understood and manifested in everyday space as a way to understand the inhabitation of the interior. The interiority of everyday space is defined not only by occupation but also through materiality. This issue of Interiority presents articles that address the relationships between interior materiality and different perceptual constructs and experiences of architectural space as inherent in the occupation of the everyday space.","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41275504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Surface articulation is a critical issue for interior architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation and a site of performance, built volumes and surface embellishments blur and reinforce edge conditions and ornament as embellishment and essential structure merge. This paper explores a sculptural relief Copper Crystals (1965) constructed by Jim Allen for the ICI (Imperial Chemical Industries) House (1964) situated at 61 Molesworth Street in Wellington, New Zealand. Following the building's failure, due to a 7.8 magnitude earthquake, the sculptural relief survived a five thousand tonne demolition. Construction, size and position of the work have contributed to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior. Surface, layer and structure extend beyond the planar, producing a range of complicated effects. Visible and invisible incrustations, geometric forms and structural matrices, transform and become linked to depth, substance, mass and thickness (Papapetros, 2013). The demarcation of the essential and inessential is blurred, and the perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation and points to new ways of interrogating the materiality and functionality of surface and places over time.
{"title":"Interior Decoration to Exterior Surface: The Beleaguered Relief","authors":"S. Hedges","doi":"10.7454/IN.V2I1.45","DOIUrl":"https://doi.org/10.7454/IN.V2I1.45","url":null,"abstract":"Surface articulation is a critical issue for interior architecture, and this paper sees the wall as a point of intersection where art and structure may converge and collide. A place of experimentation and a site of performance, built volumes and surface embellishments blur and reinforce edge conditions and ornament as embellishment and essential structure merge. \u0000This paper explores a sculptural relief Copper Crystals (1965) constructed by Jim Allen for the ICI (Imperial Chemical Industries) House (1964) situated at 61 Molesworth Street in Wellington, New Zealand. Following the building's failure, due to a 7.8 magnitude earthquake, the sculptural relief survived a five thousand tonne demolition. Construction, size and position of the work have contributed to its survival, partly because the relief shifted from surface activation to structural member. This paper investigates the relief as it protrudes from the surface of the building’s interior. \u0000Surface, layer and structure extend beyond the planar, producing a range of complicated effects. Visible and invisible incrustations, geometric forms and structural matrices, transform and become linked to depth, substance, mass and thickness (Papapetros, 2013). The demarcation of the essential and inessential is blurred, and the perception of ornament as dangerous during earthquakes is subverted. This paper focusses on material mediation and points to new ways of interrogating the materiality and functionality of surface and places over time.","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44252986","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Our sense of place in the world is mediated through our everyday interactions with both people and space (Seamon, 1985). Everydayness is one of the most profound levels and shapers of human experience, yet too often this level of relation is overlooked and taken for granted in the design of environments (Dyck, 2005; Tuan, 1977). In this article, I present a first-person phenomenological account of my everyday interactions with doors on a university campus to uncover contested notions of interiority. My body-space routines reveal how a sense of outsideness/insideness is controlled through my interactions with objects such as doors, door handles and thresholds. These accounts suggest that given our everyday activities are intrinsically linked to designed environments (Upton, 2002) and that interiority is relational (Atmodiwirjo & Yatmo, 2018), adopting an everydayness frame from diverse users’ perspectives is imperative to improve human experiences and spatial justice within design practice. This is critically important for non-normative bodies like mine whose subjective experience of interiority is constantly being disputed and denied by hostile materiality.
{"title":"Contested Interiority: Sense of Outsideness/Insideness Conveyed through Everyday Interactions with University Campus Doors","authors":"Lisa Stafford","doi":"10.7454/IN.V2I1.47","DOIUrl":"https://doi.org/10.7454/IN.V2I1.47","url":null,"abstract":"Our sense of place in the world is mediated through our everyday interactions with both people and space (Seamon, 1985). Everydayness is one of the most profound levels and shapers of human experience, yet too often this level of relation is overlooked and taken for granted in the design of environments (Dyck, 2005; Tuan, 1977). In this article, I present a first-person phenomenological account of my everyday interactions with doors on a university campus to uncover contested notions of interiority. My body-space routines reveal how a sense of outsideness/insideness is controlled through my interactions with objects such as doors, door handles and thresholds. These accounts suggest that given our everyday activities are intrinsically linked to designed environments (Upton, 2002) and that interiority is relational (Atmodiwirjo & Yatmo, 2018), adopting an everydayness frame from diverse users’ perspectives is imperative to improve human experiences and spatial justice within design practice. This is critically important for non-normative bodies like mine whose subjective experience of interiority is constantly being disputed and denied by hostile materiality.","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42328697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses Icelandic installation artist Olafur Eliasson’s approach of the threshold as a productive liminal space rather than as a static boundary between the inside and the outside. Often defined as the physical division between the interior and the exterior in architecture, the authors argue that by looking at Eliasson’s works in detail, the threshold’s inherent capacity of comprising a dynamic dialogue between inside and outside where one is determined by the other unfolds. This paper proposes that designing the relationships between inside and outside involves subtle renegotiations and redefinitions of conventionalised notions of their boundaries and a resultant emergence of new design strategies. Eliasson designs thresholds in diverse ways that he analyses and provokes the spatial associations between inside and outside, interior and exterior. While in Eliasson`s work the categories of inside and outside remain mutually exclusive, they physically co-exist at the same time; deliberately refracted, juxtapositioned, connected or confounded in an experimental yet rigorous approach that employs different scales and common characteristics. Seventeen of his works are analysed and grouped into four different threshold design strategies that result in an object, an association, an event and an immersive space.
{"title":"Designing the Threshold: A Close Reading of Olafur Eliasson’s Approach to ‘Inside’ and ‘Outside’","authors":"Demet Dincer, T. Brejzek, Lp Wallen","doi":"10.7454/IN.V2I1.48","DOIUrl":"https://doi.org/10.7454/IN.V2I1.48","url":null,"abstract":"This article discusses Icelandic installation artist Olafur Eliasson’s approach of the threshold as a productive liminal space rather than as a static boundary between the inside and the outside. Often defined as the physical division between the interior and the exterior in architecture, the authors argue that by looking at Eliasson’s works in detail, the threshold’s inherent capacity of comprising a dynamic dialogue between inside and outside where one is determined by the other unfolds. This paper proposes that designing the relationships between inside and outside involves subtle renegotiations and redefinitions of conventionalised notions of their boundaries and a resultant emergence of new design strategies. \u0000Eliasson designs thresholds in diverse ways that he analyses and provokes the spatial associations between inside and outside, interior and exterior. While in Eliasson`s work the categories of inside and outside remain mutually exclusive, they physically co-exist at the same time; deliberately refracted, juxtapositioned, connected or confounded in an experimental yet rigorous approach that employs different scales and common characteristics. Seventeen of his works are analysed and grouped into four different threshold design strategies that result in an object, an association, an event and an immersive space.","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45118186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘Performative’ is an emerging term in architectural discourse. The word ‘performative’ is able to describe spatial qualities and design approaches. The term is mostly linked to the concepts of open-form, and flexibility which are characters that give the spatial design a strategic aspect as the ability to anticipate and host predicted and unpredicted occurrences, and to adjust to future changes, which also gives architecture the character of an unfolding ‘event’ in time and in space. This paper seeks to investigate the terminological and the theoretical dimensions of the term ‘performative.’
{"title":"Performative Interiors: Terminological and Theoretical Reflections on the Term 'Performative'","authors":"Ayman Kassem","doi":"10.7454/IN.V2I1.51","DOIUrl":"https://doi.org/10.7454/IN.V2I1.51","url":null,"abstract":"‘Performative’ is an emerging term in architectural discourse. The word ‘performative’ is able to describe spatial qualities and design approaches. The term is mostly linked to the concepts of open-form, and flexibility which are characters that give the spatial design a strategic aspect as the ability to anticipate and host predicted and unpredicted occurrences, and to adjust to future changes, which also gives architecture the character of an unfolding ‘event’ in time and in space. This paper seeks to investigate the terminological and the theoretical dimensions of the term ‘performative.’","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43919750","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This architectural historical study aims to interrogate rituals of contemporary inhabitation in the United Kingdom by tracing the rise of the self storage facility. While the proliferation of domestic self storage in the UK is derived from a web of correlations, this research considers self storage as a lens through which the subjective experience of inhabiting the neoliberal city, may be understood. Drawing from archaeological methods to conduct a material study of the contents of abandoned storage units, this study engages specifically with self storage as a long-term solution to domestic storage inadequacies. The material and theoretical engagements of this research raise three interpretations of the architecture of self storage and the material contents kept within, as situated in relation to domestic interiority. Pertaining respectively to excessive accumulation, intergenerational transference and emotional deferral; this research seeks to understand the span of motivations behind the depositing of domestic contents to self storage, thus exploring the psychic relationships inhabitants construct in response to this extended spatiality of the home’s contents. Articulating a meeting point between the economic and the existential, this research presents modern forms of self storage as a deeply metaphorical spatial phenomenon which is able to produce a reading of contemporary patterns in an urban and suburban dwelling.
{"title":"Self Storage: A Contemporary Archaeology of Domestic Interiority","authors":"Emma Filippides","doi":"10.7454/in.v2i1.50","DOIUrl":"https://doi.org/10.7454/in.v2i1.50","url":null,"abstract":"This architectural historical study aims to interrogate rituals of contemporary inhabitation in the United Kingdom by tracing the rise of the self storage facility. While the proliferation of domestic self storage in the UK is derived from a web of correlations, this research considers self storage as a lens through which the subjective experience of inhabiting the neoliberal city, may be understood. Drawing from archaeological methods to conduct a material study of the contents of abandoned storage units, this study engages specifically with self storage as a long-term solution to domestic storage inadequacies. The material and theoretical engagements of this research raise three interpretations of the architecture of self storage and the material contents kept within, as situated in relation to domestic interiority. Pertaining respectively to excessive accumulation, intergenerational transference and emotional deferral; this research seeks to understand the span of motivations behind the depositing of domestic contents to self storage, thus exploring the psychic relationships inhabitants construct in response to this extended spatiality of the home’s contents. Articulating a meeting point between the economic and the existential, this research presents modern forms of self storage as a deeply metaphorical spatial phenomenon which is able to produce a reading of contemporary patterns in an urban and suburban dwelling.","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46854753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores key characteristics of spatial narratives, which are called narrative environments here. Narrative environments can take the form of exhibitions, brand experiences and certain city quarters where stories are deliberately being told in, and through, the space. It is argued that narrative environments can be conceived as being located on a spectrum of narrative practice between media-based narratives and personal life narratives. While watching a screen or reading a book, you are, although often deeply emotionally immersed in a story, always physically ‘outside’ the story. By contrast, you can walk right into a narrative environment, becoming emotionally, intellectually and bodily surrounded by, and implicated in, the narrative. An experience in a narrative environment is, nonetheless, different from everyday experience, where the world, although designed, is not deliberately constituted by others intentionally to imbed and communicate specific stories. The paper proposes a theoretical framework for space as a narrative medium and offers a critical analysis of two case studies of exhibitions, one in a museum and one in the public realm, to support the positioning of narrative environments in the centre of the spectrum of narrative practice.
{"title":"Some Distinctive Features of Narrative Environments","authors":"Patricia Austin","doi":"10.7454/IN.V1I2.20","DOIUrl":"https://doi.org/10.7454/IN.V1I2.20","url":null,"abstract":"This paper explores key characteristics of spatial narratives, which are called narrative environments here. Narrative environments can take the form of exhibitions, brand experiences and certain city quarters where stories are deliberately being told in, and through, the space. It is argued that narrative environments can be conceived as being located on a spectrum of narrative practice between media-based narratives and personal life narratives. While watching a screen or reading a book, you are, although often deeply emotionally immersed in a story, always physically ‘outside’ the story. By contrast, you can walk right into a narrative environment, becoming emotionally, intellectually and bodily surrounded by, and implicated in, the narrative. An experience in a narrative environment is, nonetheless, different from everyday experience, where the world, although designed, is not deliberately constituted by others intentionally to imbed and communicate specific stories. The paper proposes a theoretical framework for space as a narrative medium and offers a critical analysis of two case studies of exhibitions, one in a museum and one in the public realm, to support the positioning of narrative environments in the centre of the spectrum of narrative practice.","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44611415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores the perceptions of the spatiality of individuals who self-harm, with the aim of understanding the design aspects which foster supportive therapeutic environments. Analysis of responses found that there were key similarities in areas of perception of architectural interior space, refuting the commonly held view that all architectural response is purely subjective, and that subjective experience cannot be shared. Three examples of perceptions of interior therapeutic environments are discussed to highlight how the perceptions of spatiality of individuals who self-harm consists of a particular cluster of spatial understandings, behaviours and focuses, manifesting as a strong emotional overtone overlaid onto built environments. This includes common kinds of triggers and emotional reactions provoked by aspects of the built environment. This paper discusses architectural aspects in relation to subjectivity in perception, constructs of interiority, and the role of supramodal engagement in influencing perceptual responses to interior space. By understanding how individuals who self-harm experience a space, a greater comprehension of the design of these environments delivering mental health services may be enabled. This paper tables a series of research-derived design suggestions to facilitate supportive therapeutic spaces. This paper also proposes a series of further research directions to explore the relationships between constructs of interiority, the physical interior space, and the therapeutic function for which they are designed.
{"title":"Perceptions of Spatiality: Supramodal Meanings and Metaphors in Therapeutic Environments","authors":"S. Liddicoat","doi":"10.7454/IN.V1I2.17","DOIUrl":"https://doi.org/10.7454/IN.V1I2.17","url":null,"abstract":"\u0000 \u0000 \u0000This paper explores the perceptions of the spatiality of individuals who self-harm, with the aim of understanding the design aspects which foster supportive therapeutic environments. Analysis of responses found that there were key similarities in areas of perception of architectural interior space, refuting the commonly held view that all architectural response is purely subjective, and that subjective experience cannot be shared. Three examples of perceptions of interior therapeutic environments are discussed to highlight how the perceptions of spatiality of individuals who self-harm consists of a particular cluster of spatial understandings, behaviours and focuses, manifesting as a strong emotional overtone overlaid onto built environments. This includes common kinds of triggers and emotional reactions provoked by aspects of the built environment. This paper discusses architectural aspects in relation to subjectivity in perception, constructs of interiority, and the role of supramodal engagement in influencing perceptual responses to interior space. By understanding how individuals who self-harm experience a space, a greater comprehension of the design of these environments delivering mental health services may be enabled. This paper tables a series of research-derived design suggestions to facilitate supportive therapeutic spaces. This paper also proposes a series of further research directions to explore the relationships between constructs of interiority, the physical interior space, and the therapeutic function for which they are designed. \u0000 \u0000 \u0000","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42057291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The interior, as one of the most human and sensual forms of architecture, is an intimate connection with the built environment and a powerful tool in provoking and altering the human mind, stimulating its curiosity, desires and solutions by way of visible and ambient matter. I aspire to explore the sense of interiority as betweenness, a space of transition in which both the human and the architecture body transcend from one state to another through empathetic interaction. Empathy, besides the ability to feel and experience someone else’s emotions and mental state, also depicts our capacity to feel and experience situations, surroundings and non-living bodies. Interiority encounters three states of empathy in which our capacities of memory, imagination and illusion convey the invisible relationships we have with spaces and inanimate matter. Memory conveys the ability of both humans and space to encapsulate presence, activity and emotion through time. Imagination is our capacity to dream and inject a space with our own vision, shape and create new worlds. Illusion, on the other hand, forms a vigorous relationship with the human being through projecting its character and influence onto our minds. The interiority I seek to illustrate surpasses the rationalities, containment and materiality it is commonly related and rather stimulates curiosity in our being, revealing the qualities of a space as a living organism - growing, living, talking, affecting, absorbing, aging and eventually dying...
{"title":"INsideVisible Cities: Transcending Substance","authors":"Zarya Vrabcheva","doi":"10.7454/IN.V1I2.18","DOIUrl":"https://doi.org/10.7454/IN.V1I2.18","url":null,"abstract":"\u0000 \u0000 \u0000The interior, as one of the most human and sensual forms of architecture, is an intimate connection with the built environment and a powerful tool in provoking and altering the human mind, stimulating its curiosity, desires and solutions by way of visible and ambient matter. I aspire to explore the sense of interiority as betweenness, a space of transition in which both the human and the architecture body transcend from one state to another through empathetic interaction. Empathy, besides the ability to feel and experience someone else’s emotions and mental state, also depicts our capacity to feel and experience situations, surroundings and non-living bodies. Interiority encounters three states of empathy in which our capacities of memory, imagination and illusion convey the invisible relationships we have with spaces and inanimate matter. Memory conveys the ability of both humans and space to encapsulate presence, activity and emotion through time. Imagination is our capacity to dream and inject a space with our own vision, shape and create new worlds. Illusion, on the other hand, forms a vigorous relationship with the human being through projecting its character and influence onto our minds. The interiority I seek to illustrate surpasses the rationalities, containment and materiality it is commonly related and rather stimulates curiosity in our being, revealing the qualities of a space as a living organism - growing, living, talking, affecting, absorbing, aging and eventually dying... \u0000 \u0000 \u0000","PeriodicalId":36258,"journal":{"name":"Interiority","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42283650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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