Pub Date : 2022-01-02DOI: 10.1080/20419112.2022.2047527
Tom Cubbin
This article examines the role of the gay leather community in the development of the home sex dungeon since the 1970s. The author maps points of contact between commercially produced equipment, publications containing advice on furnishing, and the approaches production of a domestic space that was documented by its owner. By tracing how style developed in tandem with collective making processes, the author reveals the centrality of collective making processes to the development of gay leather culture and identity in the United States. However, as the production of spaces for sexual fantasy have a limited space for expression in the home, the sex dungeon can also reveal tensions inherent in the construction of the leather identity.
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Pub Date : 2021-09-02DOI: 10.1080/20419112.2021.1956151
Johan Liekens
_room within this article is approached through projective architectural interpretations of the room type studiolo. The notion of the projective here refers to a projecting activity – of latent possibilities, of possible futures—through projects, regardless their scope and scale. The article builds on two architectural artifacts of our office STUDIOLO architectuur 1 that substantiated in an interweavement with a doctoral research-through-practice 2 . Almost every project worked on in the office, operating in the city on the scale of the dwelling through acupuncture-like interventions, contains such a studiolo. In turn, and in line with this room type’s historical signification as a place of study – a retreat from and yet a probing lens which, fascinated, draws in the world – each of these studiolos contains or emanates what could be characterized as its specific object(s) of study. A mutual inscription of interior and polis is explored in this article as one of the main objects of study stored on each of these studiolos’ shelves. The two specific studiolos figuring in this article will be approached by foregrounding how thinking and designing from within them about the contraction of interior and polis substantiated architectural artifacts with a certain political and ethical agency. The two projects subsequently serve to briefly propose and discuss the idea of an agonistic staging as a potential for (interior-)architecture, if it wants to pick up its capacities of acting politically and ethically in the world.
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Pub Date : 2021-09-02DOI: 10.1080/20419112.2021.1962055
J. Preston
The live art performance Being Under Symphony was delivered as a keynote presentation at the 2019 Interior Design Educator’s Council’s annual conference held in Charlotte, North Carolina, USA. The drama of Being Under Symphony redirected long-revered conventions of learning about an interior as if it were a collection of merely functional materials and systems to being with an interior as a mutual assemblage of thriving energetic forces. Such a critical shift in perspective and experience is allied to my commitment to practice the tenets of New Materialism in a direct, immersive, and embodied manner with respect to everyday materials, objects and interior surfaces. As such, this performative lecture attended to the venue’s ceiling in an effort to incite its vitality and to point to the merits of practicing in the spirit of under.
在美国北卡罗来纳州夏洛特市举行的2019年室内设计教育者委员会年会上，现场艺术表演“Being Under Symphony”作为主题演讲发表。“在交响乐之下”的戏剧重新引导了长期以来受人尊敬的关于室内的学习惯例，就好像它仅仅是功能性材料和系统的集合，与内部作为蓬勃发展的能量力量的相互组合。这种观点和经验的关键转变与我对新唯物主义的承诺有关，我致力于以一种直接、沉浸式和具体化的方式实践日常材料、物体和室内表面。因此，这次表演讲座是在场地的天花板上进行的，旨在激发场地的活力，并指出在地下精神下练习的优点。
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Pub Date : 2021-09-02DOI: 10.1080/20419112.2021.1956157
Shu-chuan Yan
This essay examines late nineteenth-century advice literature, such as the magazines for young adults, domestic advice manuals, and home decoration books, to determine how guidelines about the spatial and material construction of a girl’s bedroom supported the idea of teen femininity in fin-de-siècle Britain. These primary sources of information, boosted by the rise of household art, offered an effective means of understanding adolescent girls’ relationships to the modern interior. Fin-de-siècle advice literature, a mixture of facts and fancies, frequently illuminated the tasteful design of a room of one’s own as a socially aspirational model to help female adolescents reach the ideal and practical perfection of girlhood. Bedroom décor constituted a type of visual vocabulary that demonstrated a young girl’s sense of spatiality and materiality along the lines of upholstered refinement and artistic display. In a broader sense, the spatial configuration of a bedroom provided scope for a girl’s orientation toward artistic furnishing in keeping with the law-and-order paradigm.
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Pub Date : 2021-09-02DOI: 10.1080/20419112.2021.1962620
Marta Silveira Peixoto, Angélica Paiva Ponzio
One of the commitments of modern architecture was to transform home living. Spaces were to be reviewed through new notions on use, fluidity, and transparency, often leading to formerly compartmentalized areas occupied by bulky furniture and pre-arranged compositions being opened up. In this way, some architects started experimenting with new arrangements, not only for single-family housing, but also in new apartment building configurations. This article, therefore, takes a perspective on two different but complementary home living experiments, by comparing Gio Ponti's Via Dezza apartment (Milan, Italy) and Paulo Mendes da Rocha's Butantã house (São Paulo, Brazil). Even though they come from different backgrounds and time periods, these works are similar in some of their fundamental principles, especially regarding the way they conceive the room. While designing their own home environments, these architects were able to freely express the essence of their ideas about home living. In both cases though, issues believed to be undeniable, such as privacy and intimacy, were treated in a very authorial way, sharing in common a particular way of interpreting the notion of the room.
现代建筑的承诺之一是改变家庭生活。空间将通过使用、流动性和透明度的新概念进行审查，通常会导致以前由笨重家具和预先布置的构图占据的区域被打开。通过这种方式，一些建筑师开始尝试新的安排，不仅适用于独栋住宅，也适用于新的公寓楼配置。因此，本文通过比较Gio Ponti的Via Dezza公寓（意大利米兰）和Paulo Mendes da Rocha的Butantãhouse（巴西圣保罗），来看待两个不同但互补的家庭生活实验。尽管他们来自不同的背景和时间段，但这些作品在一些基本原则上是相似的，尤其是在他们构思房间的方式上。在设计自己的家居环境时，这些建筑师能够自由地表达他们关于家居生活的想法的本质。然而，在这两种情况下，被认为是不可否认的问题，如隐私和亲密关系，都以一种非常权威的方式处理，共同分享了一种解释房间概念的特殊方式。
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Pub Date : 2021-09-02DOI: 10.1080/20419112.2021.1943190
C. Nuijsink
After the Second World War, Japan fell under the spell of a post-war ideology that popularized an ideal middle-class nuclear family. Mainstream housing options responded to this ideology with the introduction of a typical floorplan that contained a hierarchy akin to the nuclear family and stressed the need for individuality with multiple private (bed)rooms. By the mid-1960s, this nLDK-model — a layout system in which n came to indicate the number of rooms in addition to the Living room and the Dining-Kitchen space, had become a national code, not only creating homogeneity in the type of houses but also pushing one specific type of family. This study focuses on the two case-study houses of Kazuyo Sejima’s Bairin no Ie (2003) and Sou Fujimoto’s T-House (2005) to highlight a recent transformation in the conception of a house from a standard ‘container’ for the nuclear family into a particular house for a tangible lifestyle. By situating the two case studies in a socio-historical context, this paper aims to identify a redefinition of house-family relations that no longer relied on established notions of “wall” and “room,” but supported the free movement of people and the spontaneous formation of new relationships between rooms and functions.
第二次世界大战后，日本受到战后意识形态的影响，这种意识形态普及了理想的中产阶级核心家庭。主流的住宅选择回应了这种意识形态，引入了典型的平面图，包含类似于核心家庭的层次结构，并强调了多个私人(床)房间的个性需求。到20世纪60年代中期，这种nldk模式——一种布局系统，其中n表示客厅和餐厅厨房空间之外的房间数量——已经成为国家规范，不仅在房屋类型上创造了同质化，而且推动了一种特定类型的家庭。本研究以Kazuyo Sejima的Bairin no Ie(2003年)和Sou Fujimoto的T-House(2005年)这两个案例为重点，以强调最近住宅概念的转变，从核心家庭的标准“集装箱”转变为具体生活方式的特殊住宅。通过将这两个案例置于社会历史背景中，本文旨在重新定义房屋-家庭关系，不再依赖于“墙”和“房间”的既定概念，而是支持人们的自由流动和房间和功能之间自发形成的新关系。
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Pub Date : 2021-09-01DOI: 10.1080/20419112.2021.1966990
Linda Zhang, Jonathon Anderson
OPEN/CLOSED: ROOMS/CORRIDORS rethinks the conventional tradeshow experience by reimagining and reconfiguring walls, openings, and paths to produce a series of corridor-ish rooms and room-ish corridors.
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Pub Date : 2021-09-01DOI: 10.1080/20419112.2021.1942616
Francesca Forlini
The salotto buono is a typically Italian room that plays a central role in contemporary domesticity and epitomizes the permanence of traditional family structures within Italian society. This essay explores how this room, and the objects contained in it, defined and consolidated Italian middle-class identity, and how they subsequently had an impact on domestic practices and cultures. Interviews and photographs collected during fieldwork in Italy illustrate how the salotto is used and decorated today, and how it has spatially evolved in the past century. Moreover, this analysis offers further considerations on the mechanisms of permanence, imitation, as well as conformity and how these played a fundamental role in the definition of Italian society and culture by influencing the design and use of domestic interiors, among which the salotto stands out. This essay ultimately demonstrates that the salotto is the room that encapsulates, both physically and symbolically, the conservative thrust that has marked Italian society and politics from the post-war period onwards.
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Pub Date : 2021-08-20DOI: 10.1080/20419112.2021.1962619
Rana Abudayyeh
Rooms are the proto-spatial modules that define our engagements with space. They hold our intimate narratives whilst projecting our curated public images. Within their jurisdiction, we assume the persona of their typologies and act under the code of their determinants. However, the candour of this exchange is not all it promises to be, as it only works in the presence of various types of rooms in one place/building, where our everyday life plays out episodically in various compartments. What happens to our understanding of rooms when users are not afforded multiple room types to traverse? When one has to sleep, live, work, cleanse, eat, pray, and play in a single room? When instead of changing rooms, the occupants have to dwell in a changing room, one that adapts and mutates to accommodate needs and desires. This paper speculates on the increased demand for functional multiplicity in our interior settings and the changing nature of rooms. It presents various interior acts that aim to activate a variability of spatial configurations, making a case for layering multiple living narratives to respond to the ever-changing programmatic needs of contemporary life.
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