Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1573520
A. Suárez
The essay, Archive Agency asserts a new “scenic” by examining the concept of the productive as a fertile and evolutionary space across multiple didactic environments. Technology and the Internet shift and guide our gaze, recalibrating familiar regimes. From 19th century “prefilmic” acts of virtual travel via a room to an imaginative elsewhere, to the implications of modern post-disciplinary educational models, to the addition of a digital archive within a Master-level design-research curriculum – these environments shape other kinds of interiors and coincidental micro-relationships in the production of meaning.
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1589692
Cristina Nan
Over the past decade, architecture as well as other affiliated fields have been exposed to several waves of almost techno-fetishistic exuberance related to emerging technologies. One of these waves has been and still is additive manufacturing. The omnipresence of this topic has almost caused a 3D printing fatigue, as repetitiveness—in terms of both material and form aesthetics— and design related self-referencing started to creep it. Printing Architecture manages to offer a reinvigorating perspective on the subject, extending architecture’s material palette and defying the ‘plastic-fantastic’ association related to 3D printing. The authors, Virginia San Fratello and Ronald Rael, founders of the design practice Emerging Objects, demonstrate a unique material expertise, showcased through innovative material strategies. They use their broad competence to compile a significant contribution to the field of architecture and beyond, by expanding and re-conceptualizing current material landscapes and environments. The declared aim of the authors is ‘to bridge the wide gap that In te rio rs D O I: 10 .1 08 0/ 20 41 91 12 .2 01 9. 15 89 69 2
在过去的十年里，建筑以及其他附属领域已经暴露在与新兴技术相关的几波近乎技术恋物癖的热潮中。增材制造业一直是其中的一股浪潮，现在依然如此。这个主题的无处不在几乎引起了3D打印的疲劳，因为在材料和形式美学方面的重复性以及与设计相关的自我参考开始蔓延。印刷建筑设法为这个主题提供了一个充满活力的视角，扩展了建筑的材料调色板，挑战了与3D打印相关的“塑料幻想”联想。作者Virginia San Fratello和Ronald Rael是设计实践Emerging Objects的创始人，他们展示了独特的材料专业知识，并通过创新的材料策略进行了展示。他们利用自己的广泛能力，通过扩展和重新概念化当前的物质景观和环境，为建筑及其他领域做出了重大贡献。作者所宣称的目标是“弥合《经济学人》一书中的巨大差距：10.1080/204119112.2019。15 89 69 2
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1573519
Toni Kauppila
In this text, I have elaborated my thoughts on some of the contemporary challenges in higher education and how they relate to teaching and learning within the discipline of the interiors. I see the field of interiors deeply rooted in multisensory ways of knowing. The predominant condition of the discipline in my view is a certain persistence towards ambiguity, towards a professional and creative field that is in constant state of being in-between and becoming. I have also elaborated that the embedded approach in education cannot fall under a specific theory of learning, but rather celebrate the diversity of activities in teaching and learning that go beyond singular didactics. I have structured the text around three case examples of different pedagogical situations in order to reflect on various teaching and learning conditions within interiors education. The examples wish to buttress the necessity for holistic discourse for comprehending the pedagogy of interiors, that span from encountering of an individual to curriculum development. I wish to draw attention to the potential in the discipline of interiors itself, that may embed inherent pedagogical qualities as abilities for shared approaches towards the uncertain; Interiors of pedagogy. Thus, arguing that the practice of interiors may leap far beyond vocational didactics as an active agent continuously defining its own way of learning. The text wishes to contribute further discussion on how to approach and find ways of knowing and learning in interiors. This hopefully springs debate around professional practice and pedagogy in higher education.
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1565174
C. Priest
The nature of interdisciplinary interior and spatial practice is explored through a series of public projects associated with rope by Low-Tech/High-Tech Community of Practice from the University of the Arts London. Referencing Jean Lave and Etienne Wenger’s theories around situated learning, and Barthes definition of interdisciplinary working, early ice-breaker activities and public actions of making Rope Songs were central to the culmination of a public event titled Ropery Songs. These were inspired by the Bow Gamelan Ensemble and Paul Burwell Archive performed at the Historic Dockyard Chatham, Kent with students collaborating from many Art and Design disciplines including sound arts, fine art, textile design, interaction design, interior, and spatial design. Through experimental forms of performance and social engagement, students and tutors introduced a range of spatial settings and practices to underscore the value and appreciation of time and sensory considerations in the design of a public experience. This article identifies various opportunities within the conception and realization of these project narratives to frame an innovative pedagogic “slack” space.
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1591754
Lois Weinthal, Igor Siddiqui, Ro Spankie
As academic subject matter, interiors permeate the curricula of multiple interrelated disciplines that together provide the educational foundation for an expanded range of creative and professional practices. Such interiors-oriented academic programs cut across fields like architecture, design, and art and are as diverse as the types of practices that shape contemporary interiors spatially and discursively. Any overall view of interiors education as such resists singularity, simplification, or standardization, benefiting instead from frameworks that embrace diversity, multivalence, and heterogeneity. The most innovative, influential, and effective pedagogies have the capacity not only to mirror practice, but also shape its future trajectories. This theme issue of Interiors: Design/Architecture/Culture brings together a wide variety of exemplary pedagogical approaches that represent the latest innovations of interiors education. The call for contributions posed a series of questions for authors to consider in their method of teaching, which would then be reflected in the student work being produced. Significant questions such as what constitutes an entry into interiors education, and how does one define its intellectual and technical foundations? How does the space of the studio impact learning? What methods of instruction advance students’ spatial thinking? Which models of experiential learning are particularly impactful and effective? What constitutes interiors-based design research and how is it taught? In te rio rs D O I: 10 .1 08 0/ 20 41 91 12 .2 01 9. 15 91 75 4
作为学术主题，室内设计渗透到多个相互关联的学科的课程中，这些学科共同为广泛的创造性和专业实践提供了教育基础。这些以室内设计为导向的学术课程跨越了建筑、设计和艺术等领域，与在空间和话语上塑造当代室内设计的实践类型一样多样。任何内部教育的整体观点都抵制单一、简化或标准化，而是受益于包含多样性、多价性和异质性的框架。最具创新性、最具影响力和最有效的教学法不仅能够反映实践，而且能够塑造其未来的轨迹。本期《室内设计/建筑/文化》主题杂志汇集了各种各样的典型教学方法，代表了室内教育的最新创新。对投稿的呼吁提出了一系列问题，供作者在其教学方法中考虑，然后这些问题将反映在正在制作的学生工作中。重要的问题，如什么是进入室内教育的入口，以及如何定义其知识和技术基础?工作室的空间如何影响学习?哪些教学方法能促进学生的空间思维?哪种体验式学习模式特别有影响力和效果?什么是室内设计研究?如何教授?在里约热内卢rs D O I: 10 .1 08 0/ 20 .1 91 12 .2 01 9。15 91 75 4
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1575011
I. Higgins
This paper describes a first year project on the MA Interior Design programme at the Royal College of Art in London. The ‘Identities’ project is formulated to ensure that students consider the material qualities of their work and develop design proposals that reslove a small scale interior design problem in finite detail. To achieve this a project structure has been developed where materials selection is the departure point for the work. The problem of planning is removed from the equation as students are given a fixed plan with which to work and the focus of the work then concentrates on the three-dimensional development of an interior design proposal where the consideration of structure, materials, form, detail, colour, pattern, texture and finish are key. Development work utilises model making as the principle means of communication. The project is broken down into clear phases that demand students work through progressively larger scales (from 1:20 through to full size) allowing detailed development of schemes as appropriate. The notion of ‘learning through making’ is crucial and the utilisation of model-making and prototyping is important. Tutorials are tailored to fit around the project structure to provide both support and rigorous critique throughout the process. The results of this approach are project outcomes that fully resolve interior design proposals in an unequivocal way at scales up to full size. Keywords: RCA, Interior Design Project, Materials, Detail, Making, Learning, Teaching
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1568702
N. Feliz
Sloterdijk’s view of the world as a “grand interior” responds to the progressive interiorization of the environment “where both culture, and even nature, have increasingly become indoor affairs.”1 A junior design studio offered at the University of Texas at Austin (Fall 2016 and 2017) sought to examine interior space as an autonomous microcosm, both in meteorological and atmospheric terms. Students were asked to design an interior space for collective bathing. The bathhouse, as a design exercise, responds to the increasingly autonomous nature of the interior at a material, climatic, cultural, and social level. Bathhouses can be understood as manufactured microcosms, in other words, man-made environments that establish an analogous and dialectic relationship between its internal microsphere and the external natural world. In the context of a design studio, students were encouraged to design how both tangible and intangible conditions concurrently contribute to the perception of space. Modulating meteorological variables, light, temperature, and humidity were key compositional tools within the studio. Material surface treatments and meteorological conditions were designed in conjunction to enrich one another in the production of an enhanced atmosphere. A multisensory design approach sought to expand the student’s understanding of the body’s physiological engagement with space. The most intimate contact between the body and architecture takes place at the bath space. The body, as generator of interior space, in its physiological and cultural complexity, was at the heart of this design exercise.
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1565358
K. Walter
Felt is an age-old material that has been met with renewed interest in the fields of architecture and interior design due to its rich aesthetic and material properties with its unique look, and practical characteristics including tactility and structure, and ability to resist fire and absorb sound. A quiet study room in the library at Ryerson University in Toronto, presented an opportune site for a felt wall. Working with a local architecture office that recently renovated the library—Gow Hastings Architects, along with a local felt factory and library staff, the course instructor and students had a context for learning how to work with architects, manufacturers and clients. A class competition provided the vehicle for students to present proposals to this committee of professionals in their field, and brought comradery and rivalry into the learning process. Through in-class workshops, presentations, and a final review process, a winning project was selected. The final wall panels were fabricated by the students according to their peers’ design, and installed on site with lighting supplied by the university library. The result was a process of collaboration and experiential learning in a supportive learning environment.
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1565175
Olivier Vallerand
Despite its emergence in architectural discussions in the early 1990s, more than 25 years later, the idea of queerness has yet to fully transform the way we practice, teach or even experience spatial design. While obviously focused on how gender and sexuality play a role in the building of personal and collective identifications, queer theory becomes much more interesting when used to think more broadly about how different elements intersect in our experience and use of space. Unfortunately, despite most of the thinking about the relation between queerness and architecture taking place in the academic world, its impact on architectural pedagogy has been quite limited and very few designers have learned from queer theory’s insights. This essay develops different innovative teaching methods through interviews with educators across the world and focuses on how interiors education can become a vessel for queer and feminist ideas to impact architecture and design education at large. These strategies include embracing failure and disruption, supporting students, and becoming engaged activist educators. They focus on bridging a gap between different groups, on helping designers to acknowledge the limits of their designs and to maximize the possibilities offered by their design decisions. Queering design means building relations, offering layered opportunities, multiplying possible experiences. Queering design pedagogy in turn means multiplying points of views, opening the discipline to not only other disciplines, but to the everyday, and thinking about how our experiences as human beings, impact and transform our designs.
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Pub Date : 2018-05-04DOI: 10.1080/20419112.2019.1565678
O. Hamilton
This paper is concerned with articulating the value of bringing commoning and spatial design pedagogy together. Developing a four-day intensive for the 130 first year interior design students to be held off-campus in the first two weeks of the students’ education became a space to explore this proposition. The purpose of the intensive was to encourage a supportive and robust student culture in and to introduce a more relational understanding of interior design and its capacity to effect social and spatial life early in their design studies. These pedagogical aims were framed and also addressed by commoning values that underpinned the design and delivery of the course work. The interior design studio classroom is particularly suited to teaching approaches guided by processes and frameworks of commoning. Commoning entails locating self-interest within broader interests that privilege the wellbeing and ecology of the community. Although more frequently understood as the processes that occur when people manage and maintain a shared resource, it can also apply to the relations that occur when people maintain a shared interest or project. The values encouraged by commoning processes mean that self-interest is located within broader interests that privilege the well-being and ecology of the community. These attitudes contrast with the prescribed activities and increasingly corporatised conditions preferred by neoliberalism within learning institutions. For these reasons and others, commoning is of specific use within the design classroom in that it produces learning through experience that can result in stronger political, social and critical perspective and develop other values for social-spatial design to those prescribed by commerce. The intensive aimed to encourage inclusive and emergent processes as a way of working together to introduce a more expansive view of the implications and experience of interiors, interior education and interior design. The interior design classroom studio becomes a space of engagement design with and guided by, processes of commoning.
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