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ISSN / EISSN : 2614-6584 / 2615-3386
Total articles ≅ 50
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Interiority, Volume 4, pp 95-116; doi:10.7454/in.v4i1.111

Architecture’s original project was the invention of interiority, an enclosed area delimited from its context and made available for a narrowly defined public, function, and meaning. This original project was expanded during the Enlightenment with the concept of type as a method for producing architecture and establishing social institutions for molding subjectivities. This quest for interiority has reached its completion with world capitalism and its associated complexes, which, as Michael Hardt and Antonio Negri have argued, are an interior without any possible or imaginable outside. In response to this condition, this essay argues that the original project of architecture—the conception and design of interiority—needs to be replaced by a new one: the conception and design of openings. To demonstrate this, I have assembled Typologies for Big Words, a series of projects that redefines the concept of type through a selection of building and landscape types proposed as openings within this global interior. Using Byung Chul-Han’s portrayal of contemporary society as an achievement society occupied by achievement-subjects, I present one of these projects as an example, Office of Diversity, as an opening for the production of non-paradigmatic subjectivities.
Interiority, Volume 4, pp 1-4; doi:10.7454/in.v4i1.131

Discourses on the urban interior recently have emerged as a series of provocations and experimentations that highlight the critical understanding of the urban realm from the interiority perspective. In the fast-moving development of modern global cities, the urban interior concept becomes increasingly important. Cities are fast becoming containers for contemporary spatial practice, with urban spaces becoming melting pots of diverse cultures and communities. Viewing urban settings from the interiority perspective allows us to comprehend unique local characters in particular contexts. This issue of Interiority presents a collection of works that illustrate the expanded understanding of the urban interior, especially in relation to cultural and spatial practice in urban contexts. This issue presents multiple perspectives on understanding the urban interior, raising arguments on how its spatial condition could perform as a container of cultural practice, while simultaneously offering possibilities on manoeuvring within the urban interior context through various ways of reading, interpretation and intervention. These perspectives and approaches promise further possibilities to expand our interior architectural practice in responding not only to current contemporary practice, but also to the future of urban inhabitation.
Interiority, Volume 4, pp 63-78; doi:10.7454/in.v4i1.115

Architecture in Asghar Farhadi’s The Salesman (2016) is not a mere passive backdrop to an otherwise unaffected narrative; it is an autonomous agent that takes part in the events that unfold, complicates the narrative, and even occasionally defies the ideological position of the film. By analysing interior spaces, architectural elements, urban infrastructure, and maintenance practices, I suggest that 1) the fluid visual boundaries of Farhadi’s spatial settings are instrumental in blurring the borders of truth and morality—themes that are central to his film; 2) the ontological study of architecture, from the moment of excavation to its ultimate fracture/failure serves as a pathological medium to study the troubled masculinity of contemporary Iranian society; 3) spatial infrastructure, as the materialised memory of the film’s determinism, prophetically hints at the inevitable tragedy that awaits. The architectural analysis of The Salesman empowers the audience with additional tools to reflect upon questions of masculinity and determinism. Architecture-as-a-reflection personifies the social filth that cannot be decontaminated through vain beautification strategies. Architecture-as-a-stage reflects the temporality of space and its incidental existence vis-à-vis the dominating presence of infrastructural facilities. Architecture-as-a-confinement embodies the oppressive nature of a society in which restriction, surveillance, and control are imposed upon its residents.
Interiority, Volume 4, pp 43-62; doi:10.7454/in.v4i1.87

This paper explores inscription as a projection of the spatial dynamics of a setting, beyond a historical or cultural symbol in a context, and highlights that inscription—a written or carved message on a surface—is an element that immaterially demonstrates a more in-depth narrative of an interior. This paper focuses on exploring inscriptions embedded in various production settings in Jakarta and Central Java, collecting individual and observational accounts on the production of such inscriptions and their meanings. The study suggests that inscriptions demonstrate various roles, from providing information, mediating different spaces and performing as tools to assist activities. Inscriptions may traverse the trajectories of different spaces and exist in different layers of time, creating an interior connection across space and time. These layers and trajectories project the dynamics of material and bodily processes, assembling the immaterial interior.
Gregory Marinic, , Gregory Luhan
Interiority, Volume 4, pp 27-42; doi:10.7454/in.v4i1.79

Across time and cultures, the built environment has been fundamentally shaped by forces of occupancy, obsolescence, and change. In an era of increasing political uncertainty and ecological decline, contemporary design practices must respond with critical actions that envision more collaborative and sustainable futures. The concept of critical spatial practice, introduced by architectural historian Jane Rendell, builds on Walter Benjamin and the late 20th century theories of Henri Lefebvre and Michel de Certeau to propose multi-disciplinary design practices that more effectively address contemporary spatial complexities. These theoretical frameworks operate through trans-scalar means to resituate the built environment as a nexus of flows, atmospheres, and narratives (Rendell, 2010). Assuming an analogous relationship to the contemporary city, critical spatial practices traverse space and time to engage issues of migration, informality, globalisation, heterotopia, and ecology. This essay documents an interdisciplinary academic design studio that employed critical spatial practices to study correspondences between Chinese and American cities. Here, the notions of urban and interior are relational. Urbanism and interior spaces are viewed as intertwined aspects in the historical development of Beijing hutongs and Cincinnati alleyways. These hybrid exterior-interior civic spaces create sheltered public worlds and socio-spatial conditions that nurture people and culture.
Interiority, Volume 4, pp 79-94; doi:10.7454/in.v4i1.108

This contribution reviews the recent renovation of Z33—House for Contemporary Art, Design and Architecture in Hasselt, Belgium—in the light of its unique implementation of different levels of interiority. The institute is housed in the former beguinage, a site with a rich and layered history and one of the few green public spaces in the city centre. The intervention by architect Francesca Torzo builds further on and strengthens the existing qualities of the site through a creative process of copying and improving. By doing so, she changed the overall appearance of the beguinage, strengthening its quality as an enclosed public space—an intimate yet collective hortus conclusus.
, Lawrence Paul Wallen
Interiority, Volume 4, pp 117-134; doi:10.7454/in.v4i1.94

This article introduces the IKEA x UTS Future Living Lab, a design research collaboration between IKEA Australia and the University of Technology Sydney (UTS), founded in 2018. Authored by the Lab's two directors, the article traces the pedagogical and methodological approach of the IKEA x UTS Future Living Lab. Situated within the Educational Design Research (EDR) discourse, this article demonstrates the development of a productive dialogue between two contrary operating principles: that of infinite creativity afforded to design students, and that of rigorous design development towards mass manufacturing and market distribution by a major global player in the design industry. This article outlines how co-creation principles as practised by IKEA and peer-critique as a long-established pedagogical design school tool accelerate students' understanding of the complex processes involved in contemporary design and provide “real world” experiences in the production of design concepts and outcomes.
Interiority, Volume 4, pp 5-26; doi:10.7454/in.v4i1.114

A most desirable and collectable material object is the ubiquitous book. A bound composite of printed pages with words and images, it contains a microcosm of myriad narrative viewpoints, experiences, and imaginations. Metaphorically, a book compactly conceals a kind of interior space that protects the provocative lives of people, their character, ideas, and explorations, thus communicating different scales of interiority. Book collectors, called bibliophiles, revere and covet books as their object of desire. The bibliophile as seeker-collector-seller partakes of simple and complex transactions that essentially protect the lives of the books. This essay concentrates on two main book browsing locations within the urban context of Istanbul, Turkey, and the everyday interior spaces of the sahaf, the secondhand bookseller, who continues a tradition of selling new, pre-owned or secondhand ordinary or rare books. Its text moves between historic information and first-person narrative based on fieldwork to express and expand views of interiority theory, through reality and metaphor. The many scales of individual and collective impulses found inside the city streets and their inserted passage structures are exemplified by the significant simultaneity of the desire for the hand-held object and its hand-to-hand exchange.
Interiority, Volume 3, pp 145-162; doi:10.7454/in.v3i2.99

This paper will discuss approaches and tools for physical and digital flânerie that emerged within an RMIT second- and third-year Interior Design Studio, during the COVID-19 pandemic. In the third week of classes in March 2020, social distancing measures in Australia led us to transpose urban site-based student projects online. Though unforeseen, this was taken as an opportunity for the interior design studio to explicate modes of physical and digital flânerie, via meandering and looking. We discuss teaching and learning experiences within the digital classroom, which we discovered was a dynamic chat-scape of hyperlinks, fragments, displacements and delays. We discuss how we translated aspects of the philosopher Walter Benjamin’s flaneur with reference to The Arcades Project. The paper is structured as a stroll through key discoveries and works and aims to explicate emerging frameworks for digital flânerie within the teaching and learning of interior design.
Interiority, Volume 3, pp 163-184; doi:10.7454/in.v3i2.100

In March 2020, the World Health Organization officially announced the COVID-19 outbreak as a global Pandemic (WHO, 2020). During this time, the United Arab Emirates (UAE) introduced national preventative measures to slow the spread of the deadly virus by announcing the closure of schools and higher education institutions, and the commitment of online learning. Teaching faculty at the College of Arts and Creative Enterprises (CACE) at Zayed University were suddenly facing the challenge of teaching design through a distance learning approach. As educators of interior design, the authors were part of the team tasked to find ways to teach design without physical contact with the students nor access to campus facilities traditionally used to run the program and its associated courses. This paper charts the pedagogy approach that the authors adopted as a response to the national lockdown. As design faculty, the authors felt that, despite the restrictions imposed on society because of COVID-19 pandemic, it was still possible to explore other alternatives for a particular course, the senior capstone project. The main intention was to successfully fulfil the course learning outcomes and provide students with a suitable pedagogy continuity to the learning process commenced prior to the lockdown.
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