Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1580058
Tijen Roshko
Abstract As science and technology continue to accelerate and change our society, disciplinary core beliefs are also changing, leading to an erosion of the boundaries between exterior and interior and a diminishing of the distinction between object and subject. In this technology driven era, where interiors are exclusively conceived and produced digitally, surfaces have gained a particularly prominent role. This is attributed to the fact that surfaces are more conducive to the formation process and are responsive to a variety of production methods from folding to segmentation to inscription. Inscribed, ornamented and textured surfaces make immediate connection with the senses, leaving the subject unclear about where the body ends and exterior elements begin. In the graduate level studio described here, the study of surfaces and boundary conditions was employed as a medium to investigate material potentialities as well as to explore the erosion of the disciplinary-specific binary oppositions. The purpose of the studio was to seek novel approaches and possibilities for new interiorities that are defined by data, fields and interactions.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1504417
Paulette Singley
This essay introduces the operative term of pellicular to describe zones that confound foundational canons of classical purity with oblique metaphors concerning bodies, cosmetics, permeability, and semantic emulsions. Stemming from the Latin pellis, meaning skin, the word pellicular has evolved to encompass such concepts as leather, fur, parchment, hide, film, scum, layer, and membrane. Exploring architectural enclosure through these linguistic tangents leads to fleshing out its potential to perform as ornamental layers, performative skins, adhesive wraps, or film screens. The dematerialized distinction between inside and out, which pellicular surfaces exploit from the perspective of differential interior and exterior pressures, help to push, pull, and stretch the architectural enclosure into spaces where these two realms nearly slip into one another.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1475528
Heather Scott Peterson, Rossen Ventzislavov
The assertion of scholarly and creative insight is usually accompanied by discomfort. Anything worth saying carries the hazard of refutation or, if proven irrefutable, of growing pains. But this is especially so in the case of one category of insight—the unmentionable. This article examines the nature of the unmentionable, the ways in which it is sanctioned in the worlds of philosophy and design, and the redemptive power its rehabilitation has for various forms of discursive stagnancy. Beyond the normative boundaries of the present an open zone beckons us to challenge the assumptions of ethics, aesthetics, predictability, and intelligibility. Mentioning the unmentionable is an essential part of this challenge and its projected successes.
{"title":"Beckonings","authors":"Heather Scott Peterson, Rossen Ventzislavov","doi":"10.1080/20419112.2018.1475528","DOIUrl":"https://doi.org/10.1080/20419112.2018.1475528","url":null,"abstract":"The assertion of scholarly and creative insight is usually accompanied by discomfort. Anything worth saying carries the hazard of refutation or, if proven irrefutable, of growing pains. But this is especially so in the case of one category of insight—the unmentionable. This article examines the nature of the unmentionable, the ways in which it is sanctioned in the worlds of philosophy and design, and the redemptive power its rehabilitation has for various forms of discursive stagnancy. Beyond the normative boundaries of the present an open zone beckons us to challenge the assumptions of ethics, aesthetics, predictability, and intelligibility. Mentioning the unmentionable is an essential part of this challenge and its projected successes.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"9 1","pages":"111 - 118"},"PeriodicalIF":0.1,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20419112.2018.1475528","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42733868","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 : 2018-01-02DOI: 10.1080/20419112.2018.1485383
Deborah K Schneiderman
A set of interiors can comprise a networked infrastructural system. Typically, infrastructure is understood as transportation, communication or utilities. Recently, infrastructure has been defined to include replicable building models that maintain an organization or information network. As individual buildings become reproducible products engineered for function they can be defined as a networked infrastructure. Likewise, a reproducible interior element can transcend its architecture and produce a networked infrastructural interior. This Hypothesis is analyzed though interior conditions without architecture (though various subway system conditions), within a non-architectured sites (the parking garage), and as a part of a systematically networked interior condition (Library/disaster relief and Privately Owned Public Spaces (POPS)).An expanding investigation into the interior requires an examination of interiority beyond quotidian occupation. Infrastructure is typically considered as physical or data driven interconnectivity, for example transportation, communication or utilities. Recently, infrastructure has expanded to include replicable building models that maintain an organization or information network. As individual buildings become reproducible products, no longer uniquely designed by architects but rather engineered for function, they can be defined as infrastructure (Easterling 2014). Likewise, a reproducible interior element set within an architecture can transcend that architecture and become a networked infrastructural interior condition. Infrastructural interiors can exist either without architecture at all, within a structure that is not typically considered an inhabitable architecture (or non-architectured), or where the functionality of the interior is networked.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1482119
Tsz Yan Ng
Abstract Labor Visible and Invisible examines the process of concrete casting to discuss the invisible types of labor involved in the making of the formwork - something that is designed and constructed but invisible being removed from the final cast artifact, yet visible by virtue of having shaped, with fidelity in its negative form, the design intentions of the positive cast within it. Two concrete projects are elaborated, Lafayette 148 and Thermoplastic Concrete Casting. Both projects explore alternative techniques for formwork production to address design parameters that traditional methods fall short of accomplishing. Lafayette 148 also highlights when labor itself becomes the design criteria, to accommodate workers in a well-lit and well-ventilated environment for garment manufacturing. For the discussion on shifting modalities for design inquiry in architectural production (as in what constitute new forms of labor for designers) raised by Thermoplastic Concrete Casting, a similarly labor-intensive process for mold making for textile pleating is described. Here, the close alliance between clothing and architectural production offers an opportunity for textile pleating, advanced by the Japanese fashion designer Issey Miyake, to serve as an example where innovations and emergent forms of creative productions are possible when traditional methods are challenged. In this parallel read, questions emerge as to whether concrete forming, whose methods steeped in true and tried processes could be reinvested with new life - especially in light of new types of technology and fabrication tools that are available today.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1485384
Sylvia Faichney
Frequently featuring avocado tapered curtains and vinyl wallpaper, the domestic interiors of the 1970s are now considered remnants of ?the decade that taste forgot.? This paper beckons to ask under what conditions domestic architectural taste was rendered within this abundantly decorated era. An interdisciplinary study of design, history, and advertising is enabled through a semiotic reading of an advertisement that is guided by the sociological research by Pierre Bourdieu. The effort to contextualize the role of domestic architectural taste in 1970s is found upon developing domestic interiors as advertised vehicles of upward mobility that showcased taste as a constructed object that is sutured with signs of cultural capital.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1473131
Annie Coggan
This paper examines unconventional interiors that “over imagine” the narrative of historic space. Reconstructions test not only historic accuracies but question spatial concerns and resulting atmosphere. The spaces to be interrogated are committed to providing a visceral experience whether or not they possess the rigors of taste, design, and scholarship. Examining spaces that reconstruct history is valid path to assessing the emotional quality of the interior and immersive historic constructs can be viewed as lessons for contemporary space making.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1485382
Lara Hoad, T. Erlandson, Vera Mulyani
With the impending colonization of MARS the human race is on the precipice of becoming a multi-planetary species. Who will decide what the future habitats and cities will look like, and how they will function spatially? The global space industry is one dominated by Scientists and Engineers. At this critical point in time, will it be left to these professions to determine the interior environments of these future Martian cities, those that will envelope colonists for extended periods of time? This article attempts to explore the relevancy of the role of Architects and Interior Designers in the conception and development of future Martian cities, and how those that are trained to understand the importance of form, light, space and materiality are imperative to the success of a future Martian population.
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1504418
Virginia San Fratello
San Fratello VirginiaThis essay discusses 3D printed material ombrés created by combining clay bodies from different regions around the world. It focuses specifically on the Bad Ombré vessels designed by Ronald Rael and Virginia San Fratello and uses them as examples to illustrate how an object, through it's material gradient, can tell a story about politics, borders, geology and place.
本文讨论了通过结合来自世界各地不同地区的粘土体创建的3D打印材料ombracys。它特别关注Ronald Rael和Virginia San Fratello设计的Bad ombr容器，并以它们为例，说明一个物体如何通过它的材料梯度，讲述一个关于政治、边界、地质和地方的故事。
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Pub Date : 2018-01-02DOI: 10.1080/20419112.2018.1486088
Annie Chu
A few people in this generation of architects and designers may recall the knell of post modernism precipitated by the Deconstructivist Architecture exhibition at MoMA in 1988. The cohort of design students educated before that time were introduced to topics in humanistic design by their instructors who were educated in the 1960s. Those instructors were in turn influenced by the countercultural Whole Earth Catalog and the environmental design movement, the educational leadership and writings of Charles Moore, the neo-rationalist Tendenza movement (typologies and the ripple effect of Christopher Alexander, Sara Ishikawa and Murray Silverstein’s A Pattern Language), and Edward T. Hall’s work on proxemics in The Hidden Dimension. Also on those instructors’ reading lists were works by Merleau-Ponty from the embodied branch of phenomenology, and Gaston Bachelard’s seminal The Poetics of Space that introduced the phrase ‘intimate immensity,’ which validated the interior as an arena for exploration. In te rio rs D O I: 10 .1 08 0/ 20 41 91 12 .2 01 8. 14 86 08 8
这一代建筑师和设计师中的一些人可能会想起1988年MoMA的解构主义建筑展览所引发的后现代主义的丧钟。在此之前受教育的设计学生是由上世纪60年代受教育的老师介绍人文设计主题的。这些教师依次受到反文化的《全球目录》和环境设计运动、查尔斯·摩尔的教育领导和著作、新理性主义的倾向性运动(克里斯托弗·亚历山大、萨拉·石川和默里·西尔弗斯坦的《模式语言》的类型学和连锁反应)以及爱德华·t·霍尔在《隐藏的维度》中关于近体学的著作的影响。在这些教师的阅读清单上，还有梅洛-庞蒂(merlo - ponty)在现象学体现分支的作品，以及加斯顿·巴舍拉(Gaston Bachelard)开创性的《空间诗学》(the Poetics of Space)，该书引入了“亲密无间”(intimate ingness)一词，证实了室内是探索的舞台。在里约热内卢rs D O I: 10 .1 08 0/ 20 .1 91 12 .2 01 8。14 86 08 8
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