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ISSN / EISSN : 26146584 / 26153386
Total articles ≅ 35
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Dak Kopec, Kendall Marsh
Interiority, Volume 3, pp 97-116; doi:10.7454/in.v3i1.71

Traumatic Brain Injuries (TBIs) are often connected to the development of Chronic Traumatic Encephalopathy (CTE), a degenerative brain disease commonly found in athletes, military veterans, and others that have a history of repetitive brain trauma. This formative exploratory study looked at person-centred design techniques for a person with CTE. The person-centred design method used for this study was based on a two-tiered reductionist approach; the first tier was to identify common symptoms and concerns associated with CTE from the literature. This information provided specific symptoms that were addressed through brainstorming ideations. Each singular ideation accommodated the singular, or small cluster of symptoms, that affected a person with CTE in a residential environment. This method of understanding a health condition through its symptoms, and then designing for those symptoms can extend the practice of interior design by providing probable solutions to specific health symptoms, thereby including designers into the healthcare team. Commonly identified behavioural and physical symptoms of CTE served as the factors of analysis and thus a variable of design. The health condition symptoms became the variables of design, and each symptom was assessed through additional data obtained from the literature for environmental causality, mitigation, or accommodation. Once the outcomes were determined, each design implication was assessed for its relationship to specific design actions.
Pieter Marthinus De Kock
Interiority, Volume 3, pp 41-60; doi:10.7454/in.v3i1.68

This paper presents a theoretical framework that explores visual meaning in the design and use of interior space. It is comprised of three main parts. The first outlines the framework and draws on several key theories. The second introduces three very different constructs as case studies that in#uence (or are a product of) spatial quality, namely: buildings, faces, and songs of alienation. The third part is a discussion about how each of these three constructs are linked to each other as well as to the idea of interiority. While architectural forms are containers of meaning, the way in which interior space is curated is driven by deeper meaning–one that transcends form and function because people ultimately produce the meaning. And because each person is different, the conditions of interiority (in this case, the meaning that resides within each person) drives the meaning of external constructs that act as enclosures of meaning (buildings and their interiors). The findings are that the mind and body can be projected beyond the facade and into the spaces contained in the buildings we occupy. The role of technology is also important because changes in technology help mediate the process of linking the meaning inside with the meaning out there.
Maria Vidali
Interiority, Volume 3, pp 21-40; doi:10.7454/in.v3i1.59

This article is created out of the architectural space and narratives of village life. The narratives concern the interiority of life in Kampos, a farming village on the Greek Cycladic island of Tinos, on the day when the village celebrates the Holy Trinity, its patron saint. The village area on this festive day is depicted in the movement of the families from their houses to the church, the procession from the patron saint’s church to a smaller church through the main village street, and, finally, in the movement of the villagers back to speci!c houses. Through a series of spatial and social layers, the meaning of the communal table on the day of the festival, where food is shared, is reached. A series of negotiations create a different space, where the public, private and communal blend and reveal different layers of “interiority” through which this community is bounded and connected. In this article, I follow the revelation and discovery of truth through fiction, story or myth, as argued by the French philosopher Paul Ricoeur.
Igor Siddiqui
Interiority, Volume 3, pp 5-20; doi:10.7454/in.v3i1.73

This essay explores the relationship between text and space by considering the notion of writing interiors as a form of creative practice. The research focuses on the textual and spatial uses of the punctuation mark slash (/), as evidenced in a range of text-based works by Barbara Kruger, Glenn Ligon, Dom Sylvester Houédard, Anni Albers, and other artists. The first part of the essay surveys the typographic character’s varied uses in written language; the second part considers its role within artwork titles, namely how its presence shapes spatial interpretations of each artwork in question; in the third part, preceding the conclusion, the focus is on the use of the slash as a mark that is both material and graphic. The resulting interpretations support a call for a change in the conversation about the relationship between writing and interiors.
Nerea Feliz Arrizabalaga
Interiority, Volume 3, pp 83-96; doi:10.7454/in.v3i1.74

This paper explores how interior design could amplify the current discourse on sustainability within urban public space. The consideration of a number of contemporary authors that are questioning the traditional notion of interiority situates this paper within an expansive understanding of interiority in the context of the Anthropocene. Interiority is considered as a transferable condition based on modes of interior occupation, that can take place on the outdoors, and is often found in public spaces within dense urban areas. In the face of an upcoming biodiversity crisis, this text advocates for a necessary disciplinary shift away from traditional anthropocentric views, towards a multispecies conception of the built environment. Both the ideas and the case studies in this article seek to expand the role of interior elements, both semiotics and performance, to foster inclusivity of non-human species, in particular insects, in city environments. Two design proposals illustrate how interior design tactics might positively contribute to raising awareness about this underacknowledged population, and at the same time, help cultivate a sense of intimacy between us and the multiple life forms that inhabit our public urban spaces.
Paramita Atmodiwirjo, Yandi Andri Yatmo
Interiority, Volume 3, pp 1-4; doi:10.7454/in.v3i1.77

Words, texts and narratives have the potential to reveal the complexity of interiority; they can tell stories beyond the physical materiality of space to reveal spatial occupation, address social and cultural issues embedded in space and capture the trajectories of inhabitation over time. This issue of Interiority addresses writing and reading as a form of inquiry towards the idea of interiority being embedded within the represented forms of architecture and interior. The articles in this issue demonstrate various forms of inquiry concerning the idea of interiority through various media of ‘writing,’ then explore how their reading becomes a way of revealing interiority.
Liz Teston
Interiority, Volume 3, pp 61-82; doi:10.7454/in.v3i1.72

This essay explores the intersection between interiority, urbanism, and the human perception. I view interiority as a condition of the senses rather than an indoor place. Revelations of interiority can be discovered within urban realm, in public spaces, and in intimate interior conditions. I am especially interested in “public interiority” or these cases of interiority that can be found in exterior urban places. Understanding interiority as a perceived condition grounds the built environment in phenomenology, varied human experiences, and everyday conditions. Herein, I begin with an ontology of interiority, which focuses on various ways of perceiving the nature of things – phenomenology, structuralism and object-oriented-ontology (OOO). From there, I will analyze a taxonomy of public interiorities including various strains of form-based, programmatic, atmospheric, and psychological public interiorities. Using real-world examples from my previous research in Bucharest, Romania, New York and [location hidden] as well as well-established examples in art and design, I will then analyze various urban experiences of interiority and the way built conditions shape experience. In this way, I will bring the interior to the city.
Maria M. C. Sengke, Triandriani Mustikawati
Interiority, Volume 2, pp 213-229; doi:10.7454/in.v2i2.67

This paper discusses the visual mechanisms of seeing and their significance in experiencing an interior space. The discussion investigates what the observers can obtain from seeing activities. The aim is to emphasise on the role of seeing as a way of constructing the relation between human and the interior environment. The paper explores the mechanisms of seeing by focusing on two different ways, which are seeing in a static position from a point of observation, and seeing while moving through a path of observation. The exploration in a hospital setting finds out that seeing from a point of observation gave a visual range determined by the body's shaft motion, head motion, and eye movement. This way of seeing produces visual information on interior space, which consists of vertical and horizontal fields. Seeing while moving will create a path of observation that gave an optical flow containing dynamic and continuous visual information. The understanding of seeing mechanisms in interior environment can generate a design with better human-interior relation.
Roderick Adams, Lucy Marlor
Interiority, Volume 2, pp 113-128; doi:10.7454/in.v2i2.58

The previously static view of the interior is changing, as social, economic and cultural factors produce a new requirement for building flexibility and potentially forcing a change to the normal spatial paradigms. There is an emerging altered dynamic between building, interior and user, posing the question – when does architecture become the interior? Conceptions of the future interior give renewed focus to the more flexible void space, over the opposing static architectural shell. By adjusting the realms of contact within a space and limiting the influence of architecture, the user is re-envisioned as a central adjudicator of spatial experience. Provocatively, conceiving the interior as a more temporal or fluid entity, we may liberate its relationship with its immovable and constant architectural keeper. This paper will argue the dynamic city structure is driving a new conception of the interior and its place within society and architecture.
Cathryn Klasto
Interiority, Volume 2, pp 155-176; doi:10.7454/in.v2i2.63

Born out of conversations with Japanese architects, as well as intimate spatial encounters with small houses (kyōshō jūtaku) in Tokyo, this paper discusses the way in which nature emerges and functions within fourth generation small housing design. Japan’s relationship with nature has generated many interconnecting architectural layers over centuries, arising out of culture, religion and the practicalities and consequences of the country’s economy, climate and experiences of natural disasters. These layers have fostered a deep and complex connection to land, and as a result, there is still a high value placed on owning one’s own plot, no matter how small. Despite how most city-based plots are often accompanied by high taxes and complicated building regulations; the lure of the land prevails. Due to domestic plot sizes rapidly reducing after the burst of the Bubble Economy in 1992, kyōshō jūtaku became a reality for those wanting to remain within the greater Tokyo area. A consequence of this reduction was that Tokyoites had less domestic contact with nature, as gardens became a luxury that most could not afford. Therefore, architects designing kyōshō jūtaku began to creatively consider new and innovative ways nature could be reclaimed and experienced through design. Through discussing examples of Tokyo’s kyōshō jūtakuin relation to inside, outside and the in-between, this paper traces how current connective and fluid manifestations of nature contribute to the destabilisation of the public-private boundary. It demonstrates how nature plays a fundamental role in building more open relationships with the city, relationships which in turn allow small houses to function as critical micro-spaces within Tokyo’s thriving urban ecology.