Pub Date : 2022-09-02DOI: 10.1080/20419112.2023.2171640
Carola Moujan
Augmented interiors are here to stay, yet their overall capacity to increase well-being remains unclear despite decades of technical improvements and content development. This article highlights the need to design new ecologies of spatial augmentation, grounded in materials vibrancy and able to reconnect us with ourselves, with places, and with time. To move beyond "things that glitter", information overload, and extended automation, augmented interiors ought to bring about new kinds of interior experiences that are not just novel, or more efficient, but transformative. Reflecting on [RIP]_Montevideo, an interactive installation depicting images from urban archives, it highlights the importance of edge qualities in achieving openness, arguing that a shift of focus from content to edges is essential to resolve the conflicting requirements of digitally augmented interiors, between cognition and sensibility.
{"title":"The edge of experiences. Towards a material ecology of augmented interiors","authors":"Carola Moujan","doi":"10.1080/20419112.2023.2171640","DOIUrl":"https://doi.org/10.1080/20419112.2023.2171640","url":null,"abstract":"Augmented interiors are here to stay, yet their overall capacity to increase well-being remains unclear despite decades of technical improvements and content development. This article highlights the need to design new ecologies of spatial augmentation, grounded in materials vibrancy and able to reconnect us with ourselves, with places, and with time. To move beyond \"things that glitter\", information overload, and extended automation, augmented interiors ought to bring about new kinds of interior experiences that are not just novel, or more efficient, but transformative. Reflecting on [RIP]_Montevideo, an interactive installation depicting images from urban archives, it highlights the importance of edge qualities in achieving openness, arguing that a shift of focus from content to edges is essential to resolve the conflicting requirements of digitally augmented interiors, between cognition and sensibility.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"307 - 329"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41519096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2023.2177047
Kendra Locklear Ordia
This essay proposes a conceptual framework to understand how urban, nature-centered interiority can create more social-spatial ecologies to support well-being, access, and delight. The approach expands on established research and strategies to filter design decisions for nature-spatial integration in urban environments that are dynamic, ecologically meaningful, and express human values. The narrative investigates the juxtaposition of natural and artificial, wild and controlled, open versus closed, and interior versus exterior within a Midwest city’s downtown as a case study. By speculating on nature interiority as a spatial system for human discovery and interaction through shared values, the series of illustrations expresses the possibility of augmenting urban interiority with nature to shape dialogue, participation, and access for further integration with culture and place within the surrounding environments.
{"title":"Nature-centered interiority as an urban social-spatial ecology","authors":"Kendra Locklear Ordia","doi":"10.1080/20419112.2023.2177047","DOIUrl":"https://doi.org/10.1080/20419112.2023.2177047","url":null,"abstract":"This essay proposes a conceptual framework to understand how urban, nature-centered interiority can create more social-spatial ecologies to support well-being, access, and delight. The approach expands on established research and strategies to filter design decisions for nature-spatial integration in urban environments that are dynamic, ecologically meaningful, and express human values. The narrative investigates the juxtaposition of natural and artificial, wild and controlled, open versus closed, and interior versus exterior within a Midwest city’s downtown as a case study. By speculating on nature interiority as a spatial system for human discovery and interaction through shared values, the series of illustrations expresses the possibility of augmenting urban interiority with nature to shape dialogue, participation, and access for further integration with culture and place within the surrounding environments.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"356 - 372"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46096821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2022.2160135
Huichao Feng, Jieling Xiao, Yun Gao, Fan Xia
This study investigates the Mosuo culture identity and transitions in the context of contemporary China. The Mosuo people are a small ethnic group who live in the highland regions close to the border with Tibet. At the center of values and architectural forms of Mosuo dwellings, the Grandmother’s house is explored in this study to see how identity is expressed through spatial organization, from houses, ornamentation, furniture, and furnishings to daily activities, life cycle events, and rituals. In April 2017, data was collected through ethnographical observations and interviews with 23 family members from five Mosuo households on their perceptions of the Grandmother’s house. Drawings were also used as a method to understand and analyze interior and architectural features of the Grandmother’s house. Elements of the Grandmother’s house that are meaningful and preserved include the female and male columns, low doors, hearths, Zambala, Guozhuang stone and Situo, the back room, and wood shingle roof. These elements constitute a “constant” in the construction of a Grandmother’s house and serve to promote the continuity and consistency inherent in traditional Mosuo dwelling, embodying Mosuo culture and values in the built form. The methods and findings presented in this paper aim to provide a comprehensive study/investigation of the Grandmother’s house and its spatial evolution, and to start a debate on the fate of this building.
{"title":"The meanings, changes, and challenges of the Grandmother’s house in Mosuo vernacular dwellings in Northwest Yunnan","authors":"Huichao Feng, Jieling Xiao, Yun Gao, Fan Xia","doi":"10.1080/20419112.2022.2160135","DOIUrl":"https://doi.org/10.1080/20419112.2022.2160135","url":null,"abstract":"This study investigates the Mosuo culture identity and transitions in the context of contemporary China. The Mosuo people are a small ethnic group who live in the highland regions close to the border with Tibet. At the center of values and architectural forms of Mosuo dwellings, the Grandmother’s house is explored in this study to see how identity is expressed through spatial organization, from houses, ornamentation, furniture, and furnishings to daily activities, life cycle events, and rituals. In April 2017, data was collected through ethnographical observations and interviews with 23 family members from five Mosuo households on their perceptions of the Grandmother’s house. Drawings were also used as a method to understand and analyze interior and architectural features of the Grandmother’s house. Elements of the Grandmother’s house that are meaningful and preserved include the female and male columns, low doors, hearths, Zambala, Guozhuang stone and Situo, the back room, and wood shingle roof. These elements constitute a “constant” in the construction of a Grandmother’s house and serve to promote the continuity and consistency inherent in traditional Mosuo dwelling, embodying Mosuo culture and values in the built form. The methods and findings presented in this paper aim to provide a comprehensive study/investigation of the Grandmother’s house and its spatial evolution, and to start a debate on the fate of this building.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"193 - 220"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42780994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2022.2161283
Nicholas Lee
This article addresses the topic of ‘openness’ by interrogating established interior boundaries within the home through the speculative design of a 25 m2 microhouse, as a direct response to a ‘crisis’ in domestic architecture that has been abruptly placed in public discourse to an unprecedented extent by the COVID-19 global flu pandemic. During lockdown, our homes have had to accommodate a broader variety of activities with varying and sometimes conflicting requirements, which are often overlapping, both spatially and temporally. Over the course of the pandemic, this programmatic implosion of the home has starkly highlighted the failure of ‘open-plan’ spaces as individuals have struggled to establish personal territory, as well as the limitations of ‘mono-functional’ rooms. While the SARS-CoV-2 virus has tragically affected so many people globally, its associated social restrictions have provided an important catalyst for a much-needed spatial discourse on the domestic interior. The article posits the following question, amid a ‘crisis’ in domestic architecture that has been amplified by the Covid-19 flu pandemic and its associated lockdowns, how might the architect reconceptualize the spatial organisation of the contemporary dwelling interior to better accommodate the needs of its inhabitants through the speculative design of a 25m2 microhouse? A ‘Research by Design’ method has resulted in ‘Refugium’, a microhome situated on the Danish Island of Bornholm. Through the design of ‘Refugium’, established domestic boundaries have been reimagined as liminal ‘frontiers’ of opportunity through spatial layering, a denser and less open ‘atomised’ plan arrangement & the articulation of deep inhabitable threshold places.
{"title":"An atomised interior: Exploring a morphology for a pandemic home","authors":"Nicholas Lee","doi":"10.1080/20419112.2022.2161283","DOIUrl":"https://doi.org/10.1080/20419112.2022.2161283","url":null,"abstract":"This article addresses the topic of ‘openness’ by interrogating established interior boundaries within the home through the speculative design of a 25 m2 microhouse, as a direct response to a ‘crisis’ in domestic architecture that has been abruptly placed in public discourse to an unprecedented extent by the COVID-19 global flu pandemic. During lockdown, our homes have had to accommodate a broader variety of activities with varying and sometimes conflicting requirements, which are often overlapping, both spatially and temporally. Over the course of the pandemic, this programmatic implosion of the home has starkly highlighted the failure of ‘open-plan’ spaces as individuals have struggled to establish personal territory, as well as the limitations of ‘mono-functional’ rooms. While the SARS-CoV-2 virus has tragically affected so many people globally, its associated social restrictions have provided an important catalyst for a much-needed spatial discourse on the domestic interior. The article posits the following question, amid a ‘crisis’ in domestic architecture that has been amplified by the Covid-19 flu pandemic and its associated lockdowns, how might the architect reconceptualize the spatial organisation of the contemporary dwelling interior to better accommodate the needs of its inhabitants through the speculative design of a 25m2 microhouse? A ‘Research by Design’ method has resulted in ‘Refugium’, a microhome situated on the Danish Island of Bornholm. Through the design of ‘Refugium’, established domestic boundaries have been reimagined as liminal ‘frontiers’ of opportunity through spatial layering, a denser and less open ‘atomised’ plan arrangement & the articulation of deep inhabitable threshold places.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"149 - 169"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48174695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2023.2168053
K. Moore, Jennifer Pindyck
Buildings and interiors are often designed by reductive formulas. This is particularly true for housing, where such formulas stunt the potential lives an interior can support. In the face of rigid constraints, however, can designers approach housing optimistically but ruthlessly? Here, a design studio opens up the problem of housing by studying assisted living in Selma, Alabama. Because of the rapidly changing dynamics of the lives of elderly people, the studio proposed swing space, a design concept concerned more with adaptability – changes in social use – than with flexibility – changes in physical arrangement. Swing space defeats simplistic programmatic labels: rooms can evolve, swinging from personal to shared space with few modifications. Relying on a generous redundancy, swing space accepts change to anticipate unforeseen events. A further goal is to dissolve distinctions between assisted and independent living and other forms of co-housing. As a result, swing space opens to a more diverse population through expanded living and rental rearrangements. By celebrating the dynamics of living, swing space also opens to meaningful phenomenological and cognitive possibilities. This upends expectations of clients and sites often considered marginal, aspiring to collect diverse perspectives into a multi-racial community that enriches lives with dignity, hope and joy.
{"title":"Swing space: Opening co-housing to the dynamics of living","authors":"K. Moore, Jennifer Pindyck","doi":"10.1080/20419112.2023.2168053","DOIUrl":"https://doi.org/10.1080/20419112.2023.2168053","url":null,"abstract":"Buildings and interiors are often designed by reductive formulas. This is particularly true for housing, where such formulas stunt the potential lives an interior can support. In the face of rigid constraints, however, can designers approach housing optimistically but ruthlessly? Here, a design studio opens up the problem of housing by studying assisted living in Selma, Alabama. Because of the rapidly changing dynamics of the lives of elderly people, the studio proposed swing space, a design concept concerned more with adaptability – changes in social use – than with flexibility – changes in physical arrangement. Swing space defeats simplistic programmatic labels: rooms can evolve, swinging from personal to shared space with few modifications. Relying on a generous redundancy, swing space accepts change to anticipate unforeseen events. A further goal is to dissolve distinctions between assisted and independent living and other forms of co-housing. As a result, swing space opens to a more diverse population through expanded living and rental rearrangements. By celebrating the dynamics of living, swing space also opens to meaningful phenomenological and cognitive possibilities. This upends expectations of clients and sites often considered marginal, aspiring to collect diverse perspectives into a multi-racial community that enriches lives with dignity, hope and joy.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"268 - 283"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48331799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2022.2157148
Grace Ong Yan
This essay explores the transparent wonder material known as plexiglass, analysing not only its transformations from the everyday and generic to the more elevated forms of art and design, but how innovative design and artistic experimentation with plexiglass utilises design, transparency, and human engagement. As a substance, plexiglass’ blank slate nature can be productively considered in a myriad of forms at many levels through the lens of Umberto Eco’s theory of the “open work.” Histories of Plexiglas® as a chemical invention of the Rohm and Haas company will offer insights into its material transformations for the market, and its relationship to capital. To activate theories that engage Plexiglas® in interior space, I will discuss historical and contemporary design examples. In this essay, I offer new perspectives on designing with Plexiglas® within and against the context of capitalism and consider its postmodern condition. It is organized in the following sections: 1) The transparent interface, 2) Desire and the market, 3) “Bad taste” & Resistance, 4) Explosion into Space.
{"title":"Plexiglas for sale: Engaging the open work","authors":"Grace Ong Yan","doi":"10.1080/20419112.2022.2157148","DOIUrl":"https://doi.org/10.1080/20419112.2022.2157148","url":null,"abstract":"This essay explores the transparent wonder material known as plexiglass, analysing not only its transformations from the everyday and generic to the more elevated forms of art and design, but how innovative design and artistic experimentation with plexiglass utilises design, transparency, and human engagement. As a substance, plexiglass’ blank slate nature can be productively considered in a myriad of forms at many levels through the lens of Umberto Eco’s theory of the “open work.” Histories of Plexiglas® as a chemical invention of the Rohm and Haas company will offer insights into its material transformations for the market, and its relationship to capital. To activate theories that engage Plexiglas® in interior space, I will discuss historical and contemporary design examples. In this essay, I offer new perspectives on designing with Plexiglas® within and against the context of capitalism and consider its postmodern condition. It is organized in the following sections: 1) The transparent interface, 2) Desire and the market, 3) “Bad taste” & Resistance, 4) Explosion into Space.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"395 - 416"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45453136","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2023.2173471
Johan Liekens, Nel Janssens
In this article, three particular interior-architectural artifacts and environments, connected as past and present expressions of home and (in)(co)habitation, present an idea of openness that invites the reader to re-figure the quasi unquestioned relationship between interior and soil. This involves breaking up the material and conceptual but also the political and moral boundaries that set and keep interior and soil apart. First, two domed interiors of the past are explored, which in our interpretation each have operated as a lens on soil—an element that remains a dark alterity and a matter largely out of scope of interior-architectural interests and investigations. Based on our lived experiences in these interiors, the article constructs an argument for interior practices that more consciously and radically involve with and care for soil. For this it specifically connects to Maria Puig de la Bellacasa’s work Matters of Care. 2015 having been declared as the International Year of Soils by the United Nations and soil being related to various Sustainability Development Goals, there is an urgent challenge for involvements with that vibrant matter. Herein, the interior and interior-architecture, as a material artifact or a practice of care, can play important roles. The two domed interiors of the past serving as an experiential backdrop, the article then foregrounds the active design driven research expedition S for Soil Times, which currently develops as part of a series of 26 artifacts that together constitute a research line and a novel alphabet for re-figuring interior-architecture by introducing to it a particular openness: an openness that makes time for soil.
{"title":"Making time for soil","authors":"Johan Liekens, Nel Janssens","doi":"10.1080/20419112.2023.2173471","DOIUrl":"https://doi.org/10.1080/20419112.2023.2173471","url":null,"abstract":"In this article, three particular interior-architectural artifacts and environments, connected as past and present expressions of home and (in)(co)habitation, present an idea of openness that invites the reader to re-figure the quasi unquestioned relationship between interior and soil. This involves breaking up the material and conceptual but also the political and moral boundaries that set and keep interior and soil apart. First, two domed interiors of the past are explored, which in our interpretation each have operated as a lens on soil—an element that remains a dark alterity and a matter largely out of scope of interior-architectural interests and investigations. Based on our lived experiences in these interiors, the article constructs an argument for interior practices that more consciously and radically involve with and care for soil. For this it specifically connects to Maria Puig de la Bellacasa’s work Matters of Care. 2015 having been declared as the International Year of Soils by the United Nations and soil being related to various Sustainability Development Goals, there is an urgent challenge for involvements with that vibrant matter. Herein, the interior and interior-architecture, as a material artifact or a practice of care, can play important roles. The two domed interiors of the past serving as an experiential backdrop, the article then foregrounds the active design driven research expedition S for Soil Times, which currently develops as part of a series of 26 artifacts that together constitute a research line and a novel alphabet for re-figuring interior-architecture by introducing to it a particular openness: an openness that makes time for soil.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"373 - 394"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44059356","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2023.2168072
María Villanueva Fernández, Pablo Arza Garaloces
In the late 1930s, Spain suffered a civil war that led to the establishment of a dictatorship until 1975. In 1959, after the first stage of isolation from other Western powers, the country began the second period of openness to the outside world. In this context, Spain began to participate in several international exhibitions. At the same time, in the 1950s, great personalities such as Sartoris, Zevi, and Ponti visited the country, providing Spanish architects of the time with a breath of fresh air. This international contact and an atmosphere of openness led to the consolidation of design as a discipline through two organizations, SEDI (Sociedad de Estudios para Diseño Industrial [Society of Industrial Design Studies]) and IBID (Institut de Disseny Industrial de Barcelona [Barcelona Institute of Industrial Design]), created in 1957. This institution created the Delta Awards, in 1961, which recognized, throughout its duration, many icons of Spanish design. That same year Catalan architects Bohigas and Martorell began an interesting collaboration with the German magazine Moebel Interior Design. Martorell, Bohigas, and Mackay, the latter joining in 1963, were the magazine’s Spanish correspondents until 1970. During this period they published around thirty reports showing Spanish achievements in the field of design. This paper sets out to analyse this episode, exploring the events that led to it, as well as the clues to understand the magazine’s interest in Spanish design and the image that it projected abroad, as a sign of the opening up of both, the country and the discipline.
20世纪30年代末，西班牙经历了一场内战，导致独裁统治的建立，直到1975年。1959年，在经历了与其他西方大国隔绝的第一阶段之后，该国开始了第二阶段的对外开放。在这方面，西班牙开始参加一些国际展览。与此同时，在20世纪50年代，Sartoris、Zevi和Ponti等名人访问了该国，为当时的西班牙建筑师提供了一股新鲜空气。这种国际接触和开放的氛围促成了设计作为一门学科的整合，这两个组织分别是SEDI（Sociedad de Estudios para Diseño Industrial[工业设计研究学会]）和IBID（Institut de Disseny Industrial de Barcelona[巴塞罗那工业设计研究所]），成立于1957年。1961年，该机构设立了德尔塔奖，在其整个任期内，该奖项表彰了许多西班牙设计的偶像。同年，加泰罗尼亚建筑师Bohigas和Martorell开始与德国杂志《Moebel Interior Design》进行有趣的合作。Martorell、Bohigas和Mackay，后者于1963年加入，在1970年之前一直是该杂志的西班牙记者。在此期间，他们发表了大约30份报告，展示了西班牙在设计领域的成就。本文旨在分析这一事件，探讨导致这一事件的事件，以及理解该杂志对西班牙设计的兴趣及其在国外的形象的线索，这是国家和学科开放的标志。
{"title":"Opening borders. Spanish design in MD Moebel Interior Design (1961–1970)","authors":"María Villanueva Fernández, Pablo Arza Garaloces","doi":"10.1080/20419112.2023.2168072","DOIUrl":"https://doi.org/10.1080/20419112.2023.2168072","url":null,"abstract":"In the late 1930s, Spain suffered a civil war that led to the establishment of a dictatorship until 1975. In 1959, after the first stage of isolation from other Western powers, the country began the second period of openness to the outside world. In this context, Spain began to participate in several international exhibitions. At the same time, in the 1950s, great personalities such as Sartoris, Zevi, and Ponti visited the country, providing Spanish architects of the time with a breath of fresh air. This international contact and an atmosphere of openness led to the consolidation of design as a discipline through two organizations, SEDI (Sociedad de Estudios para Diseño Industrial [Society of Industrial Design Studies]) and IBID (Institut de Disseny Industrial de Barcelona [Barcelona Institute of Industrial Design]), created in 1957. This institution created the Delta Awards, in 1961, which recognized, throughout its duration, many icons of Spanish design. That same year Catalan architects Bohigas and Martorell began an interesting collaboration with the German magazine Moebel Interior Design. Martorell, Bohigas, and Mackay, the latter joining in 1963, were the magazine’s Spanish correspondents until 1970. During this period they published around thirty reports showing Spanish achievements in the field of design. This paper sets out to analyse this episode, exploring the events that led to it, as well as the clues to understand the magazine’s interest in Spanish design and the image that it projected abroad, as a sign of the opening up of both, the country and the discipline.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"417 - 443"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47893013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/20419112.2023.2168052
Patrizio M. Martinelli
The archetypal figure of the enclosure represents the primordial action of inhabiting interior space: this construction creates an inside, as opposed to the outside, and at the same time defines a line (the enclosure) both imaginary and tectonic, that creates the threshold between interior and exterior, and the space of the intermediate and of the in-between. The façade, not only a line or a surface, has this role, containing the realm of the architectural scale and the urban scale, but also playing the role of a theatrical “fixed stage of the vicissitudes of man:” and this happens not only in the urban sphere (the street, the courtyard, the piazza) but also inside the building. Since Renaissance, in fact, theatrical action is staged bringing the outside world inside the interior. In theaters, the city is recreated inside the building as a montage of urban elements (e.g. the façade, the street, the square) that define the stage and the auditorium. Using this historical and theoretical framework the paper explores some contemporary projects where the montage and the reinvention of interior façades bring and transfigure the city inside the building as a stage for everyday life activities, practices, and rituals. These interiors are defined by thresholds and inbetween spaces both real and imaginary, ambiguous metaphors and allegories of openness, suspended between open and close, inside and outside, private and public.
{"title":"Inside/outside: the interior façade as the stage of the architectural and urban in-between","authors":"Patrizio M. Martinelli","doi":"10.1080/20419112.2023.2168052","DOIUrl":"https://doi.org/10.1080/20419112.2023.2168052","url":null,"abstract":"The archetypal figure of the enclosure represents the primordial action of inhabiting interior space: this construction creates an inside, as opposed to the outside, and at the same time defines a line (the enclosure) both imaginary and tectonic, that creates the threshold between interior and exterior, and the space of the intermediate and of the in-between. The façade, not only a line or a surface, has this role, containing the realm of the architectural scale and the urban scale, but also playing the role of a theatrical “fixed stage of the vicissitudes of man:” and this happens not only in the urban sphere (the street, the courtyard, the piazza) but also inside the building. Since Renaissance, in fact, theatrical action is staged bringing the outside world inside the interior. In theaters, the city is recreated inside the building as a montage of urban elements (e.g. the façade, the street, the square) that define the stage and the auditorium. Using this historical and theoretical framework the paper explores some contemporary projects where the montage and the reinvention of interior façades bring and transfigure the city inside the building as a stage for everyday life activities, practices, and rituals. These interiors are defined by thresholds and inbetween spaces both real and imaginary, ambiguous metaphors and allegories of openness, suspended between open and close, inside and outside, private and public.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"12 1","pages":"330 - 355"},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42002317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：