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ISSN / EISSN : 2614-6584 / 2615-3386
Total articles ≅ 58
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Interiority, Volume 4, pp 223–248-223–248;

Inhabitants of UK housing have more possessions than ever, whilst space for living in standardised houses is at a premium. The acquisition of material possessions, and how it affects both space and inhabitants’ wellbeing, has not previously been considered in architectural practice or housing policy research fields. This paper addresses this gap, by exploring how practising architects design for the storage of material possessions in housing. For the first time, it places storage practices at the centre of housing design thinking, by engaging practising architects in a design intervention to explore original design solutions that support inhabitants’ lives and lifestyles, and therefore their wellbeing. The study uses a new storage-focused conceptual design framework to seek design knowledge, to better understand how storage practices could be considered when designing. The findings have implications for design practice research, providing an account of how architects consider storage in housing design, drawing on novel design intervention methods.
Ane Pilegaard
Interiority, Volume 4, pp 139–158-139–158;

When visiting museums, we meet various types of physical barriers, such as glass vitrines, railings, and extended ropes, which have been put there to protect the objects on display. Such barriers are often accused of creating an unfavourable distance to museum objects but can also be thought of in more positive terms, as this article will seek to demonstrate. Based on analyses of museum display boundaries at Rosenborg Castle in Copenhagen, where visitors can experience objects from The Royal Danish Collection within historic interiors, the article looks into the effects of such boundaries on the museum experience. The article explores the particular threshold experiences that take place at Rosenborg where you constantly fluctuate between, on the one side, looking at objects and interiors that have been put on display in front of you, and, on the other, being inside the historic interiors. It argues that this spatial ambiguity opens up productive, albeit obscure, in-between spaces for the museum visitor to inhabit and points to the importance of truly attending to the design of display boundaries when creating museum exhibitions.
Rana Abudayyeh
Interiority, Volume 4, pp 249–266-249–266;

Design is approaching a crucial period where the exchange between interior and exterior systems needs to be rethought and addressed from the standpoint of resilience and innovative environmental responses. The era of the detached interior bubble that is climate controlled and therein severed from natural systems is no longer justified or feasible. Interior spaces must respond to environmental conditions and proactively engage natural systems. The paper examines grafting methodology as an interior spatial formula that aims to generate complex sectional strategies for new programmatic typologies. It showcases work from a third-year interior architecture studio where students utilised natural landscapes as the premise to develop generative computational models that informed their design interventions.While placing interior interventions between natural and synthetic processes, interior grafts outline a design tactic that challenges the disjunction between internal settings and external parameters. The potential to draw relevance from external parameters and integrate the derivative systems into the interior volume carries many implications for interior architecture and urban dynamics. This approach demarks a radical repositioning of the interior volume as a continuation of the exterior scape, proliferating a fluid and active interiority.
Interiority, Volume 4, pp 135–138-135–138;

An animated interior represents a departure from the idea of interior space as a permanent and timeless entity. The understanding of animated characters in the interior allows for the emergence of our complex relationship with space through various forms of engagement. The understanding of an animated interior offers further possibilities that become the basis of design practice. This issue of the Interiority journal presents a collection of inquiries and approaches that reveal various animated qualities of the interior in various contexts. The articles address the character of the interior, which is dynamic and dependent upon various temporal conditions of inhabitation. At the same time, they demonstrate the possible design practices that could emerge from the understanding of animated interiors.
Interiority, Volume 4, pp 159–180-159–180;

What defines an interior space? Is a traditional threshold the only building element considered as a clear component demarcating interiority from the outside environment? Could light or water be just as clear? How can scale challenge the identification of an internal space? Is a living space more identifiable as an interior volume? What about an internal courtyard for a family house outlining the beginning of a nation or the opposite extreme in the time-space continuum, a 24,000 square meters domed roof over a series of intimate spaces establishing a nation’s cultural intention internationally? Can a central space act as a gravitational point to other space fragments and elements? Can the ephemerality of the space bind it together in a unique, memorable encounter?We set ourselves to answer these questions using different phenomenological responses methods including digital video, photography, drawings, and architectural observations. All depict different layered trajectories through the segments of the architectural strata that compose a cultural enclosure, such as Jean Nouvel’s Louvre Abu Dhabi. As we transverses through space and time, we use regional typologies to create a timeline spectrum connecting regional context, culture and architecture, attempting to emphasise the interiority qualities of the space under the dome.
Interiority, Volume 4, pp 181–190-181–190;

El Croquis is one of the most prestigious architectural magazines in the world. Founded in 1982 by Richard Levene and Fernando Marquez, it publishes five monographs every year. The volumes dedicated to established Pritzker Prize names like OMA Rem Koolhaas, SANAA Sejima & Nishizawa, Herzog & de Meuron, Alvaro Siza or Rafael Moneo, are considered their respective oeuvre complète. The journal almost never publishes nocturnal photographs of interior spaces. The same goes for other major architecture magazines. In February 2020, HEAD – Genève invited Richard Levene to create a night edition of El Croquis. The workshop focused on the idea that night is a forgotten paradigm in the construction of modern and contemporary architectural discourse.
Interiority, Volume 4, pp 191–206-191–206;

At a time where boundaries within society, culture, and technology are continually challenged and redefined, even the commonly understood binary oppositions within areas such as gender, age, and digitality (Negroponte, 1995) are becoming less visible, measurable, and socially accepted. In this new realm where even physical reality is encroached upon by the digital, are the tangible and perceived distinctions between interior and architecture also becoming extinct? The emergence of more flexible and transitional space appears to not only blur the boundaries of inside and outside, interior and architecture, but also the previous distinctions of function. Space is no longer solely intimated by visual cues, materiality, or the physicality of walls and interior objects. Instead, we see increased ‘function neutrality’ within buildings, with rising opportunity for user interpretation and take-over. This renewed focus on the user can enrich our built environment as we embrace new equality of the interior and relish its new freedom and voice.
Interiority, Volume 4, pp 207–222-207–222;

A practice of the virtual offers to interior design a dynamic conception of interiority that transcends simplistic representative notions of space, recognising the inseparable relationship of space and time, as well as an understanding of interiority as lived experience and its attendant amenability to active interpretation and therefore design. Ultimately, a practice of the virtual facilitates an understanding of interior as a dynamic and ongoing network of relations, and interior design as individuating participation in this network. In this article, we describe in detail an expanded notion of the virtual, and extrapolate how an understanding of this notion might help shape future interior design practice. We then offer some examples that might help translate these ideas into practice.
Interiority, Volume 4, pp 63-78;

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 1-4;

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.
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