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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Pub Date : 2021-08-20DOI: 10.1080/20419112.2021.1945816
Dave Loder
This article presents a practice-based research enquiry to investigate and develop the concept of digital intimacy. Contextualised by the Airbnb peer-to-peer accommodation sharing platform, this enquiry proposes the interior-as-image as located within the mediation of the ‘Instagram-able’, providing a distinct aesthetic category. Airbnb delivers an infrastructural condition, a global circulation system that penetrates the domesticity of the home, with value emerging to attach itself to qualities of individuality and authenticity of the interiors and their hosts. The mediation of the interior-as-image is co-constitutive of digital intimacy as the confluence of structures of power and inequality, troubling established conventions of public and private across a complexity of scales, from the home to urban and the global. The research explores the regimes of machine sensing inherent to the circulation of the interior-as-image and the potential strategies for technology platforms and surveillance capitalism in extracting surplus value through the datafication of the interior. The practice-based enquiry gives particular focus to the digitisation practice of photogrammetry, and the reconstruction of 3D environments from 2D images, as a methodology to explore and decrypt the apparatus of machine vision in the context of the Airbnb interior. The research indicates how digital intimacy in an active condition in the contemporary experience of the home and speculates potential tactics to evade the datafication of the interior.
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Pub Date : 2021-07-27DOI: 10.1080/20419112.2021.1938832
Rachel Carley
On Wednesday, March 25 at 11.59 pm, 2020, Prime Minister Jacinda Ardern placed Aotearoa (New Zealand) into lockdown to shelter citizens from the catastrophic impacts of the Covid-19 global pandemic. Entire households were placed in isolation, permitted only to travel locally to access food or medical supplies. The media messaging was resoundingly clear: stay at home. This contemporary context contributes to an analysis of sculptor Michael Parekowhai’s The Lighthouse: Tū Whenua-a-Kura (2017), a full-scale model of a State House building typology. State Houses have been lauded as symbols of Aotearoa’s ongoing commitment to the principles of egalitarianism. First produced in the 1930s under the leadership of Michael Joseph Savage’s Labour government, they were intended to house those unable to afford their own homes. However, in recent years this form of social housing and, in particular, those who have access to it have been the subject of vociferous political debate. A current housing shortage has exacerbated matters as exponential increases in accommodation costs have coincided with increases in homeless numbers in the city. These developments make Parekowhai's public sculpture particularly timely. Sited at the terminus of Queens Wharf on the Waitematā Harbour in Tāmaki Makaurau (Auckland), the sculpture contains a single room and a single man: the eighteenth-century English explorer Captain James Cook. He is larger than life-size and adopts a penitent deportment. Cook's heroic legacy has been questioned by revisionist historians and Māori scholars who have identified a plethora of negative impacts colonization had and continues to have on indigenous communities. Cook is now under house arrest, quarantined in a prototypical State House, appearing to reflect on his actions. This paper examines how the artist assiduously reinvents this housing typology as a beacon on a prime piece of real estate. The familiarity of the exterior form is belied by the sculpture's provocative interior contents, where the artist manipulates an elaborate suite of figurative and abstract forms rendered in an array of dazzling surface treatments to shed light, both literally and metaphorically on troubling aspects of our colonial history and access to the provision of land and housing in Aotearoa. Here, at the end of the wharf, we lose our footing; we have to consider where we stand in relation to our colonial past and our contemporary relationship to whenua (land). As calamitous events unfold on the global stage that make us all turn toward our domestic interiors, the conceptual ideas that underpin The Lighthouse: Tū Whenua-a-Kura make one consider what it means to stay at home now in Aotearoa.
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Pub Date : 2021-06-21DOI: 10.1080/20419112.2021.1928912
Tara Chittenden
The typological and practical boundaries of what is, and what is not, “_ Room” remain fluid in the twenty-first century. As contemporary theatre has offered a renewed focus on spatial and material affordances, so it draws closer to rooms, inviting an explicit emphasis on the assemblages which position a staged encounter, be that in a private domestic dining room, its reassembly within a museum scenario, or a temporary fine art installation in dialogue with that particular dining room. Theatre has a long and established history of scenography and experimentation of spatial configurations to convey intangible sentiment. By deploying a scenographic lens, this article explores the emotional relationship between multiple renditions of a single, celebrated, historic dining room: James Abbot McNeill Whistler’s Aesthetic masterpiece, the Peacock Room; the Smithsonian’s restaging of this room; and American artist, Darren Waterston’s fine art installation Filthy Lucre. Filthy Lucre is an artist’s reimagining which presents an agitated and alternative vision of the illustrious Peacock Room, embodying the dramatic conflict of its creation, and the tensions which emerged between patron and designer. Together these rooms initiate a dialogue between the acts of preserving a room-space and interrogating its complex and multifaceted histories. Waterston exposes dramaturgical and material languages of the interior, deploying the performative to expose the power and tensions beneath the dazzling surfaces of Whistler’s Peacock Room. The article encourages us to consider our rooms as more than their typological designation, and instead offers the provocation of room-making as a form of scenography.
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Pub Date : 2021-03-05DOI: 10.1080/20419112.2020.1833555
Louise Martin
This paper reflects on an interior design practice developed within the specialist area of exhibitions and museums. Re-examining discussions around the contested territory of interiors, the paper argues for taking up perspectives and processes outside of the familiar, being unfixed whilst remaining inherently ‘of the interior’. Using exhibition design as a distinct lens, ‘the collection’ and its mediation are examined through a personal creative research project Mitteleuropa: A Story of Lust & Furniture. The project’s ‘design fiction’ nature expounds ‘what I’m drawn to, what I do, and how I do it’ within the context of the discipline. This is a personal journey constructed through a process of assembling learning and seeking to disrupt settled conditions, in which ‘collecting’ has come to be understood as a research technique that underpins an expansive interior design practice.
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Pub Date : 2021-01-02DOI: 10.1080/20419112.2020.1865669
Lorella Di Cintio
The contested interior space of the museum and its artifacts are receiving due attention. Museum objectors are altering content, examining unacknowledged assumptions and biases, and developing new ways of seeing and experiencing that will act as new models for critical, creative discourse. Museum objectors range from entire countries (notably Greece, which has been asking the British Museum to return the marble gods of the Parthenon since 1833), to community groups and creative practitioners. A prime example of the latter type of museum objector was Marcel Duchamp. His interiorist interventions of the 1930s and 1940s set the tone for creative practice within the notion of interiority, informed exhibition display and experience, and expanded museum discourse. This paper proposes that Marcel Duchamp extended his creative artistic practice into the field of interior design to subvert critical discourse on authoritarian aesthetics and display. Within this context of critical reflection, the museum as an artistic medium is also fast becoming an accepted methodology of creative practice. To examine this practical, creative work, we first draw on Jacques Derrida’s theoretical discussion about the concept of ‘the archive,’ to acknowledge the language of interiority and to focus on the ‘curated interior’ by juxtaposing the domestic and institutional interior and the notion of topology as a form of creative methodology. As a stepping-off-point, we will explore Marcel Duchamp’s conceptual nuances of the interior, specifically his La Boîte-en-valise, as a masterful blending of the archive (collection), the melding of creative disciplines, and commentary on the museum practices. We will then examine the challenges faced by two American and one Canadian museums’ exhibitions in the 1980s, followed by a review of more recent works highlighting progressive change within these museums. The works by Spring Hurlbut in 2001 and Kent Monkman and Wangechi Mutu in 2019 illustrate evolving discussions about the use of creative practitioners working with museum collections and interiors. As the landscape of the curated interior within the institutional setting (museum) has changed, it is a crucial time to take stock of the different possibilities when addressing the spaces between the memories of the archive: what is remembered, how it was/is remembered? This new methodology of museum as artistic medium is substantially expanding modern critical discourse on the interiority and the archive.
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Pub Date : 2020-12-15DOI: 10.1080/20419112.2020.1826113
R. Roes
This visual essay departs from an artistic practice and explores a number of collections, various spatial contexts they were sourced from and a retrospective exhibition that united them into one large installation. Through visual argumentation the essay sheds light on the way a series of objects and interior spaces interacted over a period of several years.
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Pub Date : 2020-12-09DOI: 10.1080/20419112.2020.1833552
A. Pilegaard
This article discusses questions of spatial configuration and display design in museums, and how this affects the way museum objects are perceived. Based on an in-depth analysis of the Glass Cabinet at Rosenborg Castle in Copenhagen, Denmark, the article explores how the glass items on display are seen not as singular objects, with a curated (hi)story to tell, but more as a collected mass of disparate glass objects with a material reality of their own. When looking at these objects, the spectator is placed within a large glass enclosure which protects the objects on display from the curious hands of museum visitors. However, this glass ‘vitrine’ also has the effect of putting the museum visitor on display, thereby challenging conventional subject-object relations within museums. In order to discuss the particular subversive ways in which the Glass Cabinet presents its objects, the article will partly draw on museological research on object collections and museum display, and partly on current thinking within the fields of object-oriented ontology and new materialism, where a de-centering of humans is proposed and the material realm of objects is emphasized. By speculating about the obscure life of objects within the Glass Cabinet, and the effects this might have upon the visual operations at play, this article will reflect on – and challenge – the ways in which we display and look at objects within museums today.
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Pub Date : 2020-12-05DOI: 10.1080/20419112.2020.1857979
B. Plevoets, Koenraad van Cleempoel
Cabinet paintings showing an (art) collection in an interior developed as a genre in the early seventeenth century in Antwerp. The depicted collection could be the actual art collection in an imagined, idealized interior, or, more metaphorically, it could also be an imagined, fictional collection of paintings, sculptures, scientific instruments, silverwork, textiles, and naturalia such as flowers or shells. Jan Bruegel the Elder (1568–1625) and Pieter Paul Rubens (1577–1640), among others, used this genre in a series illustrating the five senses. These imagined interiors also influenced the caprices by Panini and Piranesi of a cityscape that is a collage of buildings, ruins, and archaeological fragments. In this essay, we relate these fictional representations of collections – objects as well as architectural and archaeological fragments – with the collections and scenography of (house) museums. We consider two house museums in particular: the house of the architect and collector Sir John Soane in London and the Museum of Innocence by writer Orhan Pamuk in Istanbul. House museums traditionally expose collections aside from a museological scenography but in their historical, domestic setting – “frozen” in another context and epoch. The two selected cases, however, were initially conceived as museums and contain an eclectic collection, presented as a pastiche, with a domestic setting that is strongly theatrical or even artificial.
17世纪初，安特卫普发展成为一种室内收藏（艺术）的橱柜绘画。所描绘的藏品可以是想象中的、理想化的内部的实际艺术藏品，或者，更隐喻地说，它也可以是绘画、雕塑、科学仪器、银器、纺织品和自然物（如花朵或贝壳）的想象中的虚构藏品。Jan Bruegel the Elder（1568–1625）和Pieter Paul Rubens（1577–1640）等人在一系列阐述五官的作品中使用了这一流派。这些想象中的内部也影响了帕尼尼和皮拉内西对建筑、废墟和考古碎片拼贴的城市景观的反复无常。在这篇文章中，我们将这些虚构的藏品——物体以及建筑和考古碎片——与（房屋）博物馆的藏品和场景联系起来。我们特别考虑了两个房屋博物馆：建筑师兼收藏家约翰·索恩爵士在伦敦的房子和作家奥尔汉·帕穆克在伊斯坦布尔的无罪博物馆。传统上，家庭博物馆除了展示博物馆的场景外，还展示其历史和国内背景下的藏品——在另一个背景和时代中被“冻结”。然而，这两个选定的案例最初被设想为博物馆，包含了一个兼收并蓄的收藏，以模仿的形式呈现，其国内背景强烈戏剧化，甚至是人为的。
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