Journal Information
ISSN / EISSN : 2614-6584 / 2615-3386
Total articles ≅ 42
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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.
Interiority, Volume 3, pp 219-242; doi:10.7454/in.v3i2.78

Space for living in new build houses in the UK is at premium and households have more stuff than ever before. The way this stuff is accommodated in dwellings can significantly affect residents’ quality of life and well-being. This paper presents a new conceptualisation of material possessions that could be of use to those involved in housing design. Three universal characteristics of material possessions; value, temporality and visibility are used to identify the space in the home that possessions might require. A conceptual framework that integrates these characteristics with spatial information about the interior of the home is developed. The paper argues that the conceptual framework could help designers, policymakers and house builders to better understand first the nature of material possessions, and second how those possessions could be accommodated in contemporary homes, ultimately supporting improved quality of life and wellbeing for households.
Interiority, Volume 3, pp 185-200; doi:10.7454/in.v3i2.101

This paper expands the theoretical understanding of building layers proposed by Brand (1995) by investigating changes in the domestic environment during the COVID-19 pandemic. Brand’s layer framework breaks a built environment into “shearing layers” to examine its adaptation processes. This paper argues that ways of managing the risk of virus transmission in the built environment redefine the understanding of these layers. This paper takes the perspective of interiority to address these layers as instruments with the spatial qualities required of a resilient domestic environment. The study unpacks the theory of Brand’s layer framework, proposing the principles by which layers adapt to protect the domestic environment during the COVID-19 pandemic. It then offers readings on the occurrence of change in the domestic environment in which such adaptation principles are performed. Such occurrences consist of intensifying layer changes to assist intense uses, merge between layers to assist movements, the construction of new layer forms, and reconfiguration of multiple layers for a prolonged change. Apart from redefining the very understanding of layers, this paper addresses how spatial change is not driven only by physical deterioration, but also by the performative creation of scenarios to protect the domestic environment during the pandemic.
Interiority, Volume 3, pp 121-144; doi:10.7454/in.v3i2.98

This paper speculates on the potential long-term impact of the COVID-19 pandemic on the way we interact with each other in cities by focusing on the socio-spatial concept of the urban interior. How will our everyday life in cities change? What changes will be wrought on our informal encounters and our temporal occupation of places and spaces? What impact will future urban planning have on the way we move through, work and study in and act as individuals and collectives in our cities? In order to look ahead, it is worth reflecting on historical examples. Studying the ways diseases have influenced how we shape and design, control and govern, explore and occupy urban environments suggests that we will likely have to rethink of our cities in anticipation of future pandemics. No doubt, post-COVID-19, we will witness changes in urban politics with consequences in urban planning and design. We will see a continued impact on an informal level too, on how people interact and what sort of individual and shared activities they will engage with. Will public space become increasingly controlled, politicised or irrelevant for political expression? It is clearly too early to come to a conclusion, but based on the past and based on observations of already emerging spatial practices in urban settings, we can speculate upon what kinds of futures might emerge.
Interiority, Volume 3, pp 201-218; doi:10.7454/in.v3i2.97

This moment, the 2020 COVID-19 pandemic, has provided an opportunity—sometimes forced via crisis, or via moments of quiet reflection—to consider the inside, interior time and space, in new ways. In America, like other countries, architectural styles have come to us from foreign lands. Numerous domestic structures were influenced by British events from the 1700s–1800s. These styles—these architectures—were transformed by local/regional/national influences and events—events like this current international pandemic—that push the proverbial pause button, and cause us to re-think design. The author, who now resides and works (along with his family) in an 1886 Queen Anne style home, contemplates the various attributes and transformations of domestic architectures and the influences that shape them over time, asking: Why Queen Anne in America? How was it Victorian? And why is it relevant today? Empirical methods include observations and precedents-analysis, design work, the study of technological advances and interior-architecture history of the Victorian era. Emphasis on domesticity acknowledges both past and present by recognizing the importance of domestic architecture from the late 1700s through the 1800s, and into the present. Thus, we better understand how/why the Queen Anne style became ubiquitous in New England, and how its attributes of innate flexibility may help us today.
Interiority, Volume 3, pp 117-120; doi:10.7454/in.v3i2.106

During COVID-19 pandemic, the whole world has witnessed and experienced dramatic changes in all aspects of life. As we adapt our everyday lives to restrictions and limitations to fight the pandemic, it also has become a trigger for us to rethink and re-position knowledge on spatial design disciplines. This Interiority issue compiles contributions that respond to a special call for papers that address these questions: How does the pandemic, including its impacts from lockdowns and physical distancing, affect how we think about interior and architecture? What lessons can we learn from this situation that we can use in future interior and architectural spaces and practices? How does the idea of interiority shift in this challenging situation?
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.
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.
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.
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