Pub Date : 2022-09-02DOI: 10.1080/20419112.2022.2162311
M. Hübschmann, Masashi Kajita
The spatial planning of present-day housing in Denmark is formed by social conventions and market forces that predominantly rely on objective values. Developed from previous housing models, Danish multi-story housing, and its typical interior, today has left behind true diversity, use-value, bodily pleasures, and a broader notion of openness. By analyzing a typical Danish case this study discusses how today’s concept of open plan living is in fact not-so-open. It argues that marketized housing and its open plan interior logic, displayed in repetitive and optimized floorplans, for stereotypical users, is no longer appropriate in contemporary society. To support the development of a more nuanced architectural logic for interiors today, the paper interrogates the concept of domesticity and spatial practice from a feminist perspective, and review in what ways the growing body of knowledge produced by feminist thinkers can challenge conventions in housing design cultures. By employing a feminist perspective and highlighting prosperous aspects in specific contemporary design practices in Zürich and London, this paper aims to highlight what agencies architects and users can reclaim to improve the typical Danish interior beyond the so-called open plan.
{"title":"The not-so-open open plan – A feminist critique of the typical Danish interior","authors":"M. Hübschmann, Masashi Kajita","doi":"10.1080/20419112.2022.2162311","DOIUrl":"https://doi.org/10.1080/20419112.2022.2162311","url":null,"abstract":"The spatial planning of present-day housing in Denmark is formed by social conventions and market forces that predominantly rely on objective values. Developed from previous housing models, Danish multi-story housing, and its typical interior, today has left behind true diversity, use-value, bodily pleasures, and a broader notion of openness. By analyzing a typical Danish case this study discusses how today’s concept of open plan living is in fact not-so-open. It argues that marketized housing and its open plan interior logic, displayed in repetitive and optimized floorplans, for stereotypical users, is no longer appropriate in contemporary society. To support the development of a more nuanced architectural logic for interiors today, the paper interrogates the concept of domesticity and spatial practice from a feminist perspective, and review in what ways the growing body of knowledge produced by feminist thinkers can challenge conventions in housing design cultures. By employing a feminist perspective and highlighting prosperous aspects in specific contemporary design practices in Zürich and London, this paper aims to highlight what agencies architects and users can reclaim to improve the typical Danish interior beyond the so-called open plan.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42945537","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: 10.1080/20419112.2023.2168096
Julia Capomaggi
The article sets out to revisit a series of projects published in the Italian magazine Domus from the mid-1950s and early 1970s which prompt a journey in the logical of systematic thinking explored through the way domestic interiors are composed and occupied. Through these examples, modular systems are explored as project/design strategies that dictate a thinking process “from the outside in” and “from the inside out”, that is, from architecture to furniture and from furniture to architecture and the city. Some of those projects were in an intermediate position between a highly industrialized and a standardized architecture that was beginning to absorb the autonomous systems developed from the field of cybernetics in the 1960s. Others were dealing with the acceleration of industrialization and sought to reverse, control, and incorporate aspects of differentiation within serialization. Finally, the last examples reveal the ways in which the furniture absorbed the abstract order of the grid and freed itself from architecture by proposing different versions of “houses that don’t exist” and proclaiming and defending positions like “ambiguity” as a field with the potential to articulate this dialectic.
{"title":"The houses that don’t exist: Openness in domestic modular systems","authors":"Julia Capomaggi","doi":"10.1080/20419112.2023.2168096","DOIUrl":"https://doi.org/10.1080/20419112.2023.2168096","url":null,"abstract":"The article sets out to revisit a series of projects published in the Italian magazine Domus from the mid-1950s and early 1970s which prompt a journey in the logical of systematic thinking explored through the way domestic interiors are composed and occupied. Through these examples, modular systems are explored as project/design strategies that dictate a thinking process “from the outside in” and “from the inside out”, that is, from architecture to furniture and from furniture to architecture and the city. Some of those projects were in an intermediate position between a highly industrialized and a standardized architecture that was beginning to absorb the autonomous systems developed from the field of cybernetics in the 1960s. Others were dealing with the acceleration of industrialization and sought to reverse, control, and incorporate aspects of differentiation within serialization. Finally, the last examples reveal the ways in which the furniture absorbed the abstract order of the grid and freed itself from architecture by proposing different versions of “houses that don’t exist” and proclaiming and defending positions like “ambiguity” as a field with the potential to articulate this dialectic.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44416262","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: 10.1080/20419112.2023.2166745
Lachlan B. Barber, M. Münster
Until recently, café and restaurant design in modern Hong Kong has been characterized by closed facades that keep cooled air inside in the hot and humid subtropical climate, and interiors that allow limited visual contact with the street and with the kitchen. A new tendency of openness, however, has appeared in specialty coffee shops that have opened over the last decade. In this article we study this phenomenon, querying its significance in relation to the social dimensions of design trends and ideas about openness. The article is based on field studies of over 80 local specialty coffee shops in Hong Kong from 2020 to 2022 and includes analysis of facade and interior design from participant observation studies, photographs and interviews with store owners focusing on the factors that shape design intentions. Our analysis identifies characteristics of open coffee shop facade and interior design and discusses these in relation to openness as a conceptual paradigm in urban research and design studies. Our findings highlight the significance of international and local trends, social media visual cultures, and sustainability issues as considerations in open facade and interior design.
{"title":"Aspects of openness in Hong Kong coffee shops","authors":"Lachlan B. Barber, M. Münster","doi":"10.1080/20419112.2023.2166745","DOIUrl":"https://doi.org/10.1080/20419112.2023.2166745","url":null,"abstract":"Until recently, café and restaurant design in modern Hong Kong has been characterized by closed facades that keep cooled air inside in the hot and humid subtropical climate, and interiors that allow limited visual contact with the street and with the kitchen. A new tendency of openness, however, has appeared in specialty coffee shops that have opened over the last decade. In this article we study this phenomenon, querying its significance in relation to the social dimensions of design trends and ideas about openness. The article is based on field studies of over 80 local specialty coffee shops in Hong Kong from 2020 to 2022 and includes analysis of facade and interior design from participant observation studies, photographs and interviews with store owners focusing on the factors that shape design intentions. Our analysis identifies characteristics of open coffee shop facade and interior design and discusses these in relation to openness as a conceptual paradigm in urban research and design studies. Our findings highlight the significance of international and local trends, social media visual cultures, and sustainability issues as considerations in open facade and interior design.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42129468","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: 10.1080/20419112.2022.2154996
S. J. Raj, Adith K. Suresh
The concept of the kitchen is an integral part of household interiors that defines a space of interactivity essential to the organic existence of individuals in society. The traditional Indian kitchen is a closed space separated from the living room and other open spaces where members interact regularly. It is conventionally established as a gendered space restricted for women members to partake in activities of food production, serving, and cleaning. The modern idea of the kitchen, especially seen in Western architecture, is articulated through the notion of ‘openness’ which strictly contradicts the ‘closeness’ of the Indian kitchen. This paper examines how the transformation from an Indian spice kitchen (separated structuring of the kitchen in a way to contain the smell of spices from spreading to other parts of the house) to a modern open kitchen redefines the existing gender coordinates of the land. It uses two critically acclaimed Malayalam films—from the south Indian cinema of Kerala— namely Salt N’ Pepper (2011) and The Great Indian Kitchen (2021) to analyze and differentiate the visual representations of the open and closed kitchens in India. It argues that a restructured modern kitchen challenges the traditional gendered kitchen and nourishes a participatory culture that demands open interaction from all participants.
{"title":"From closeness to openness: Repositioning of the Indian kitchen and restructuring of the gender system","authors":"S. J. Raj, Adith K. Suresh","doi":"10.1080/20419112.2022.2154996","DOIUrl":"https://doi.org/10.1080/20419112.2022.2154996","url":null,"abstract":"The concept of the kitchen is an integral part of household interiors that defines a space of interactivity essential to the organic existence of individuals in society. The traditional Indian kitchen is a closed space separated from the living room and other open spaces where members interact regularly. It is conventionally established as a gendered space restricted for women members to partake in activities of food production, serving, and cleaning. The modern idea of the kitchen, especially seen in Western architecture, is articulated through the notion of ‘openness’ which strictly contradicts the ‘closeness’ of the Indian kitchen. This paper examines how the transformation from an Indian spice kitchen (separated structuring of the kitchen in a way to contain the smell of spices from spreading to other parts of the house) to a modern open kitchen redefines the existing gender coordinates of the land. It uses two critically acclaimed Malayalam films—from the south Indian cinema of Kerala— namely Salt N’ Pepper (2011) and The Great Indian Kitchen (2021) to analyze and differentiate the visual representations of the open and closed kitchens in India. It argues that a restructured modern kitchen challenges the traditional gendered kitchen and nourishes a participatory culture that demands open interaction from all participants.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46670842","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: 10.1080/20419112.2023.2171228
Evan Pavka
Open relationships – involving deliberate, consensual and intimate activity outside of conventional fidelity – have become increasingly commonplace as a way of forming connections outside the firmer structure of marriage or partnership. If the architectural organization of the home is bound to the institution of marriage and format of the nuclear family, what are the implications of nonmonogamy on the conception, arrangement and shaping of domestic interiors? To answer such a prompt, this essay explores the slippery nature of not only the term “open relationship” but “design” as it relates to the production of sexual encounters. Unpacking media representations of polyamory and its intersection with design initiates a reflection on the concept of a “spatial doppelgänger,” then taken up as a defining feature of an unconventional residence to unpack how operations of doubling and duplication looked to reconcile nonnormative arrangements in the monogamous space of the home. The tension and anxiety of the double are contrasted with two contemporary residences – one purpose-built by GRT Architects and the other an interior renovation by ScottWhitbyStudio – conceived for openly nonmonogamous clients. By skirting and questioning the nature of the spatial doppelgänger, expanding on the multitude of intimacies inherent in polyamory, both projects may reveal strategies of “making room” for other relations beyond monogamy, the family and other social conventions to emerge.
{"title":"Nonmonogamous Interiors","authors":"Evan Pavka","doi":"10.1080/20419112.2023.2171228","DOIUrl":"https://doi.org/10.1080/20419112.2023.2171228","url":null,"abstract":"Open relationships – involving deliberate, consensual and intimate activity outside of conventional fidelity – have become increasingly commonplace as a way of forming connections outside the firmer structure of marriage or partnership. If the architectural organization of the home is bound to the institution of marriage and format of the nuclear family, what are the implications of nonmonogamy on the conception, arrangement and shaping of domestic interiors? To answer such a prompt, this essay explores the slippery nature of not only the term “open relationship” but “design” as it relates to the production of sexual encounters. Unpacking media representations of polyamory and its intersection with design initiates a reflection on the concept of a “spatial doppelgänger,” then taken up as a defining feature of an unconventional residence to unpack how operations of doubling and duplication looked to reconcile nonnormative arrangements in the monogamous space of the home. The tension and anxiety of the double are contrasted with two contemporary residences – one purpose-built by GRT Architects and the other an interior renovation by ScottWhitbyStudio – conceived for openly nonmonogamous clients. By skirting and questioning the nature of the spatial doppelgänger, expanding on the multitude of intimacies inherent in polyamory, both projects may reveal strategies of “making room” for other relations beyond monogamy, the family and other social conventions to emerge.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47430013","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 : 2022-02-02DOI: 10.1080/20419112.2022.2018799
Hande Atmaca Çetin, Funda Uz, Zeynep Tuna Ultav
This study analyzes the socio-spatial qualities of hotel interiors built in Turkey after the opening of the İstanbul Hilton Hotel in 1955. It aims to reveal the construction of the modern interior in Turkey and its effects on social life at the Divan Hotel (1956) and Çınar Hotel (1958), which were Turkey’s first modern hotels built with local capital and local architects. As Turkey’s first modern hotel, İstanbul Hilton was regarded as a model for subsequent tourism buildings. Çınar and Divan Hotels hotels were usually compared with the Hilton’s aesthetics, and seen as reminiscent of the Hilton, particularly the outer shell and building formation. However, their interiors have been completely overlooked. This is an important omission, because, contrary to its modernist outer shell, the İstanbul Hilton Hotel interiors were designed with a contrasting orientalist approach. This study therefore investigates how this dichotomy influenced the interiors of the Divan Çınar Hotels. Drawing on the theory of transculturation by Ortiz, this study challenges the view that these hotels were mere host sites, embodying and copying modern architecture without any filtering. A complete interior atmosphere was analyzed in terms of the hotels’ materiality, such as furniture and art objects, but moreover, the social meaning of the space and transformation of social habits are examined to discuss local-global dichotomies. Information for the analysis was gathered through a literature review, observations, and an analysis of images obtained from personal archives and databases. This data was supported with oral interviews with architects, interior designers, craftsmen, tourism professionals, and contemporary witnesses. The findings show that the Divan Hotel and Çınar Hotel were both spatially and socially influenced by the İstanbul Hilton Hotel. However, they also sought a modernity of their own by carefully selecting and blending western influences, both spatially and socially. Most importantly, since the Divan Çınar Hotels refrained from the image difference between the “modern” and connotations of the “orient,” these spaces can be read as interpretations of an internalized modernity.
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Pub Date : 2022-02-01DOI: 10.1080/20419112.2022.2030956
Esen Gökçe Özdamar
Initially constructed for raising objects from one level to another with less effort, the science of inclined planes as simple machines was discovered in the Renaissance period, with their mechanical advantages of prior importance and secondly, linking spaces at different levels both in landscape architecture, interior spaces and in architecture. Although inclined planes are used in many places, in today’s architectural spaces, studies on the perception of the inclined planes are few in architecture; they have also been discussed in psychology in the context of the “oblique effect” since the 1970s. Transgressing functionality of access from levels in a space, inclined spaces can be regarded as places of habitation as they have a polyvalence spatiality that evokes emotions and different behaviour and movements of the body. The inclined plane provides kinaesthetic perception and motion and provides triggers and dynamism in space. As gravity-defying circulation elements that stimulate the viewer’s mind and their movement through proprioceptive senses, this article focuses on the perception and the sensations of the inclined planes with an emphasis on Claude Parent and Paul Virilio’s oblique function through its evolution in history within a theoretical approach to the relationship between architecture and movement.
{"title":"Inclined Planes and the Oblique Function as a Resistance to Gravity","authors":"Esen Gökçe Özdamar","doi":"10.1080/20419112.2022.2030956","DOIUrl":"https://doi.org/10.1080/20419112.2022.2030956","url":null,"abstract":"Initially constructed for raising objects from one level to another with less effort, the science of inclined planes as simple machines was discovered in the Renaissance period, with their mechanical advantages of prior importance and secondly, linking spaces at different levels both in landscape architecture, interior spaces and in architecture. Although inclined planes are used in many places, in today’s architectural spaces, studies on the perception of the inclined planes are few in architecture; they have also been discussed in psychology in the context of the “oblique effect” since the 1970s. Transgressing functionality of access from levels in a space, inclined spaces can be regarded as places of habitation as they have a polyvalence spatiality that evokes emotions and different behaviour and movements of the body. The inclined plane provides kinaesthetic perception and motion and provides triggers and dynamism in space. As gravity-defying circulation elements that stimulate the viewer’s mind and their movement through proprioceptive senses, this article focuses on the perception and the sensations of the inclined planes with an emphasis on Claude Parent and Paul Virilio’s oblique function through its evolution in history within a theoretical approach to the relationship between architecture and movement.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45306396","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 : 2022-01-11DOI: 10.1080/20419112.2022.2018790
A. Chatterjee
Indian visitors to late-Victorian London like Mukharji, Pandian, Baijnath and Pillai, whose accounts carefully essayed the city’s Victorian homes, have been hailed as agents of cosmopolitan and aesthetic subjectivity in the history of Indian nationalism. Though their accounts have been read as the evidence of growing Indian suitableness for Home Rule, bonds of colonial hospitality, and London’s contestability as a colonial space, the Indian eye’s archetypes of Victorian interiors attempted to spectrally possess an oneiric English home. This paper reviews the place of the phenomenological Indian subject in these accounts, applying Bachelard’s notion of “oneiric values” and Derrida’s spectral logic of the visible in-visibleness, to suggest that Indian Victoriana harbours spectres of English culture and India’s colonial traumas, rather than simply specimens of middle-class Indian visitors’ aesthetic and cosmopolitan agency. Ultimately, the Victorian home in these accounts is less habitable than spectral; an atmosphere constituted by oneiric and phenomenological values before political ideology.
{"title":"“Soft thick carpet under your feet”: The Indian eye on Victorian London’s homes","authors":"A. Chatterjee","doi":"10.1080/20419112.2022.2018790","DOIUrl":"https://doi.org/10.1080/20419112.2022.2018790","url":null,"abstract":"Indian visitors to late-Victorian London like Mukharji, Pandian, Baijnath and Pillai, whose accounts carefully essayed the city’s Victorian homes, have been hailed as agents of cosmopolitan and aesthetic subjectivity in the history of Indian nationalism. Though their accounts have been read as the evidence of growing Indian suitableness for Home Rule, bonds of colonial hospitality, and London’s contestability as a colonial space, the Indian eye’s archetypes of Victorian interiors attempted to spectrally possess an oneiric English home. This paper reviews the place of the phenomenological Indian subject in these accounts, applying Bachelard’s notion of “oneiric values” and Derrida’s spectral logic of the visible in-visibleness, to suggest that Indian Victoriana harbours spectres of English culture and India’s colonial traumas, rather than simply specimens of middle-class Indian visitors’ aesthetic and cosmopolitan agency. Ultimately, the Victorian home in these accounts is less habitable than spectral; an atmosphere constituted by oneiric and phenomenological values before political ideology.","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-01-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45976972","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 : 2022-01-02DOI: 10.1080/20419112.2022.2051870
B. Plevoets
This article reflects upon the practice of material reuse in contemporary interior design through a case study of the decomposition of the interiors of the Generale Bank in Brussels and the reuse of its fragments in new projects. Three research questions steered the analysis: How were the fragments of the interiors of the Generale Bank preserved and reused? Can the decomposition of historic interiors and the reuse of their fragments be a valuable strategy for their conservation? How does the meaning of the fragment shift in its new context? The first part of the paper presents documentation and critical reflection on the process of decomposition and reuse of the fragments of the Generale Bank. The second part includes a more general discussion of the comparison between modern forms of material reuse and the ancient practice of spolia and considers the potential and pitfalls of reusing fragments as a method for the preservation of historic interiors. The conclusion elaborates on the meaning of the fragment in a new ensemble.
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