Pub Date : 2019-01-01DOI: 10.5040/9781474289856.0017
L. Armstrong
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Pub Date : 2019-01-01DOI: 10.5040/9781474289856.0016
J. Glover
{"title":"Design Culture in the sex toy industry: A new phenomenon","authors":"J. Glover","doi":"10.5040/9781474289856.0016","DOIUrl":"https://doi.org/10.5040/9781474289856.0016","url":null,"abstract":"","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"55 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84467469","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 : 2018-09-02DOI: 10.1080/20419112.2019.1616925
D. Littlefield
This interesting and useful book, part of a series of visual arts textbooks by Bloomsbury, corrals a wide range of design tactics and strategies which affect the phenomenological condition of interior space. Through this book, Jean Whitehead attempts to deconstruct the ways in which interiors can “whisper softly in our ear, whispering suggestions, conjuring a mood, evoking emotions and responses... the experiential qualities of the interior, in other words, what is it like to actually be in?” (pp 10 & 18). Whitehead makes a particular point of referencing film to emphasize the nature of the interior – especially the notion of mise-en-sc ene and the use of lighting, surface, props, scale, and color to propel a narrative and engage the viewer. Thus film classics such as Nosferatu, The Cabinet of Dr Caligari, A Clockwork Orange, Playtime and The Cook, The Thief, His Wife & Her Lover receive some examination, as well as notable interiors by, for example, DillerþScofidio, TraastþGruson, Steven Holl and even Horace Walpole. Through seven chapters, each comprised of a generic overview and short case studies, Whitehead introduces readers to the manner in which adventures in, say, surfaces or special effects can seduce or otherwise affect a viewer/user. As a quick assessment of the value of this book, I would certainly recommend it as a reader for undergraduate students of interiors. If any diligent student read this book, they would encounter some of the key reference points of phenomenology, perception and experience (Merleau-Ponty, Bachelard, Benjamin, Tanizaki, Baudrillard and others). Further, they will be presented with a set of case studies from designers, architects, artists and film-makers with whom we might all hope that our students are familiar. I do find the textbook format awkward, however; it is occasionally patronizing, often repetitive and structured in a way that allows only a brief investigation into the issues or studies at hand. Each chapter comprises an introduction or commentary, followed by case studies and conclusion. Too often the case studies are brief, and are more descriptive than detailed analysis, and the conclusions tend towards summarizing, or even repeating, what has already been outlined. Texts are broken down into sub-sets, which can feel artificial or only ever-so-slightly distinct. Sections on “Mise-en-sc ene – a definition,” “What is an interior mise-en-sc ene?” and “Interior mise-en-sc ene – a definition” follow each other quickly, creating an In te rio rs
{"title":"Creating Interior Atmosphere: mise-en-scène and interior design","authors":"D. Littlefield","doi":"10.1080/20419112.2019.1616925","DOIUrl":"https://doi.org/10.1080/20419112.2019.1616925","url":null,"abstract":"This interesting and useful book, part of a series of visual arts textbooks by Bloomsbury, corrals a wide range of design tactics and strategies which affect the phenomenological condition of interior space. Through this book, Jean Whitehead attempts to deconstruct the ways in which interiors can “whisper softly in our ear, whispering suggestions, conjuring a mood, evoking emotions and responses... the experiential qualities of the interior, in other words, what is it like to actually be in?” (pp 10 & 18). Whitehead makes a particular point of referencing film to emphasize the nature of the interior – especially the notion of mise-en-sc ene and the use of lighting, surface, props, scale, and color to propel a narrative and engage the viewer. Thus film classics such as Nosferatu, The Cabinet of Dr Caligari, A Clockwork Orange, Playtime and The Cook, The Thief, His Wife & Her Lover receive some examination, as well as notable interiors by, for example, DillerþScofidio, TraastþGruson, Steven Holl and even Horace Walpole. Through seven chapters, each comprised of a generic overview and short case studies, Whitehead introduces readers to the manner in which adventures in, say, surfaces or special effects can seduce or otherwise affect a viewer/user. As a quick assessment of the value of this book, I would certainly recommend it as a reader for undergraduate students of interiors. If any diligent student read this book, they would encounter some of the key reference points of phenomenology, perception and experience (Merleau-Ponty, Bachelard, Benjamin, Tanizaki, Baudrillard and others). Further, they will be presented with a set of case studies from designers, architects, artists and film-makers with whom we might all hope that our students are familiar. I do find the textbook format awkward, however; it is occasionally patronizing, often repetitive and structured in a way that allows only a brief investigation into the issues or studies at hand. Each chapter comprises an introduction or commentary, followed by case studies and conclusion. Too often the case studies are brief, and are more descriptive than detailed analysis, and the conclusions tend towards summarizing, or even repeating, what has already been outlined. Texts are broken down into sub-sets, which can feel artificial or only ever-so-slightly distinct. Sections on “Mise-en-sc ene – a definition,” “What is an interior mise-en-sc ene?” and “Interior mise-en-sc ene – a definition” follow each other quickly, creating an In te rio rs","PeriodicalId":41420,"journal":{"name":"Interiors-Design Architecture Culture","volume":"9 1","pages":"376 - 379"},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20419112.2019.1616925","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43951789","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 : 2018-09-02DOI: 10.1080/20419112.2019.1589691
Marjan Michels, Eva Storgaard, Inge Somers
Today, interior education is characterized by many and variegated approaches and interpretations. Worldwide it is a field in rapid transformation and in search of identity based upon vivid explorations of its theoretical underpinnings. Triggered by the rich perspectives offered within academia, and at the same observing an increased distance towards the everyday, material interior and its basic elements, the Interior Master Program of the Faculty of Design Sciences (University of Antwerp—Belgium) set up a explorative pilot studio: the Morphology of Interior Space. This studio addresses ‘lost’ knowledge and practices of interior design, aiming to re-actualize its elemental premises and promises. It revolves around a profound and critical investigation, rediscovery and reassessment of the basic elements of the material, enclosed interior—the door, floor, wall, ceiling and window—put in relation to phenomenological approaches. This particular format, this studio maintains, holds the key to novel insights in the domain of interiors. This paper explains and explores the studio practices of Morphology of Interior Space, sharing its structure, methodology, educational and disciplinary aims as well as its outcome exemplified by works of students.
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Pub Date : 2018-09-02DOI: 10.1080/20419112.2019.1642571
G. Bruyns
Within Hong Kong’s neoliberal landscape, what insights can an interrogation of its domestic interior deliver in terms of spatial and tactical adaptability in the context of volumetrically compressed living? As an urban necessity, dwelling has globally become a malleable urban resource, part and parcel of speculative development far beyond the control of the individual (Levin and Wright 1997; UNECE 2016). Demonstrative of planning and social policy, housing standards have become socio-spatial registers (Marshall 1950), that at the larger scale essentially expose misread criteria that affect social mobility and the “well-being” of all citizens (Morris 1961). However, beyond the structural issues lies a “lived” reality. The need for equal housing (Yung and Lee 2014), and the rising criticism of public housing’s punitive point system (Yau 2012), has forced the “practice” of dwelling to become a “tactical” environment. In view of Hong Kong’s spatial recoil, this paper commences from a position that sees compressed interiors as a mirror for social needs. First, the investigation of interiors questions how space is tactically mechanized – how and by what means – against compressed living that maximizes moments of “micro-resistance.” Second, in an ethnographic sense, it posits the square-foot-society concept, that triangulates the conditions of quotidian everydayness with the spatial technical affordances that become specific to groups, peoples, and cultures with their customs and habits. As a conclusion the paper harnesses the “tactical” to formulate alternatives to challenge planning attitudes that view compression as a natural consequence of sustainability and at the larger scale of Hong Kong’s approach to Urbanization.
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Pub Date : 2018-09-02DOI: 10.1080/20419112.2019.1622234
Milagros Zingoni
How can education in interior architecture facilitate knowledge and experiences beyond the standard curriculum? Pause + Play was a design-build public installation, which was the result of a participatory collaboration in an interior architecture graduate program in the southwest United States. The collaboration included students from Arizona State University consisting of seven graduate students in interior architecture, one graduate student from architecture, three graduate students from music and 75 sixth graders from Porter Elementary School, a local school in Mesa, Arizona. The studio explored the social capacity for interior design to engage youth, as well as the material expertise (detailing and building) required to practice effectively in this field. The studio explored interior architecture within a social context and without architecture, in the sense that there was not an indoor room. The graduate students engaged with the youth through games, collages, model making, narrative of their models and intergenerational interviews to establish a participatory collaboration to engage them in the design process. They analyzed the work and ideas proposed by the children, designed, fabricated, and mounted the installation during the fall 2017 studio. The final outcome named “Pause + Play” carried the goals set for the process by inviting visitors to explore, discover and reflect on one’s own culture. This article presents the studio approach for a funded participatory research + design + build effort under the umbrella of a common thesis problem: A participatory collaboration that reflects on culture and play through the eyes of children.
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Pub Date : 2018-09-02DOI: 10.1080/20419112.2019.1622235
Tine Poot, Els De Vos, M. Van Acker
In his reflection on the Inside the City interior educators conference (London, November, 2018), Andrew Stone acknowledged the growing confidence of interior designers in engaging with the city, which poses a natural conduit for the discipline’s inherent interdisciplinarity. Within this provocation, a central position is taken up by the concept of urban interiority. Breaking out of the confines of domestic and private interior space, urban interiority transposes the mobile notion of interiority into an urban context. This expansive understanding holds the potential to blur the boundaries between interior and urban design disciplines, and foster innovative thinking that goes beyond the fixed dualities of public-private or interior–exterior. Furthermore, this article approaches urban interiority as a spatial condition going beyond the classical understanding of interiority as the subjective feelings of our inner life. Hence, we construct a set of lenses as ways of seeing the spatial configurations of interiority in an urban setting: Time (Ephemerality-Adaptation), Movement (Bodies in Space-Accessibility), Transition (Boundary-Permeability). Using the arcades of Brussels as a test situation, the lenses framework offers a non-deterministic analyzing method by proposing different readings of the historical and analytical data collected through research on the material culture of the arcades, and spatial analysis of the sites through personal observations and cartographic layering. The knowledge gained through the implementation of these set of lenses will be a foundation for design principles which address the configuration of fundamental elements of interior public space.
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Pub Date : 2018-09-02DOI: 10.1080/20419112.2019.1591770
A. Boyd
In 1896, the novelist Henry James became captivated by Lamb House, a Georgian, red brick house at the top of a cobbled street in Rye with a unique, bow-windowed “garden room.” Restoring and decorating it sympathetically, it became his main home for the rest of his life, a comfortable retreat where the observer of society could himself entertain guests. The house and garden feature in subsequent novels, and he worked in the garden room, revising his novels and tales for the New York Edition, a re-examination of his whole career. After James’s death, his friend E. F. Benson moved in, using Lamb House as the inspiration for Mallards in his comic Mapp and Lucia novels (1920–1935). In 1940, the garden room was obliterated by a bomb, which nearly destroyed the house. However, what Edith Wharton called “the centre of life at Lamb House,” still survives in various recreations and re-imaginings, from the novels written by its inhabitants to memoirs and fictions by more recent writers and television adaptations. James utilized the distancing and memorializing effects of nostalgia in his own work, to create a living, modernist interaction with the past, the “conscious memento.” Thus, fictional representations and the writing of place can be part of intangible heritage, enabling the survival of architecture beyond its physical presence.
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Pub Date : 2018-09-02DOI: 10.1080/20419112.2019.1626592
M. Jefferson
At first glance, Drawing Codes: Experimental Protocols of Architectural Representation asks visitors to understand that a game is afoot. Arrayed along the gallery walls are a series of square-framed black and white images, equally dimensioned and spaced evenly. Despite their cohesiveness, the pieces themselves demonstrate a remarkable diversity that produces a constant flicker between the exhibition’s individual parts and its larger whole. The expansive range of works packed within the tightly curated format is a first clue to the layered ambitions of the exhibition, and the extent to which an exhibition about computation in architectural representation is itself curated as if it were an algorithm (Figure 1). Organized by Andrew Kudless and Adam Marcus, who are both Associate Professors at the California College of the Arts (CCA), the second volume of Drawing Codes was introduced at The Cooper Union running from January 29th to February 28th, 2019. Following up on the first edition (which debuted in 2017 at the CCA), the show explores the ways in which emerging technologies inform and influence the practices of architectural representation today. This central theme emerges from the curators’ frustration that the introduction of technologies during the “digital turn” in architecture of the late 90s and throughout the aughts spawned an aesthetic that pervaded the field and reduced computation to a set of tropes that have since overstayed their welcome. In reaction, the exhibition challenges the notion of a unifying stylistic ambition, instead emphasizing computation as a lens through which to register the plurality of voices present in the design field today. In te rio rs D O I: 10 .1 08 0/ 20 41 91 12 .2 01 9. 16 26 59 2
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