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Thinking inside the box interiors forum WHAT'S IN A CANON? Suzie ATTIWILL
Abstract A canon can be defined as a collection of works deemed significant for a particular practice at a point in time; as a repository of those works and as a transmitter of this knowledge through images and words. Writing on the architectural canon, Miriam Gusevich observes that ‘the significance and status of a building as architecture is not dependent on some pre-established set of attributes, on some essential features, but on its status as a cultural object established through critical discourse’ [1]. Are there canonical interiors; spaces that have influenced the practice of interior design more than others? Or does the nature of this multidisciplinary practice make a canon, as it is known from architecture, impossible? Undesirable, even? The focus of this paper is a forum titled What’s in a canon? The state of interior design at the beginning of the 21st century. The forum was held in Melbourne, Australia on 17 October 2006 and invited editors of Australia’s design media, academics, graduates and interior design practitioners to respond to the provocation: ‘What’s in a canon?’ The question had two potential readings in this context: to question and evaluate the value of a canon for interior design; and as an invitation to identify examples of interior design which are significant at this point in time to the practice of interior design. It should be noted that there was not an underlying assumption that there should be a canon. This paper will analyse the debates, discussion and interiors offered at the forum. In the process, it will consider the design of interiors where the concept of interior is re-posed and in so doing, pose the question of what a history and theory of interior design could be and what kind of platform for practice might be produced. It is hoped that it will provide impetus for new ways of thinking and designing interiors. Keywords: canon, interior, design history/ theory, architecture, practice References [1] Gusevich, M. The Architecture of Criticism: A Question of Autonomy. In Kahn, A., ed. Drawing, Building, Text, p.11 (Princeton Architectural Press, New York, 1991). [2] Deleuze, G. What is a dispositif?. In Armstrong, T. trans. Michel Foucault. Philosopher, p. 164 (Harvester Wheatsheaf, Hertfordshire, 1992). [3] Downton, P. The Canon: a site of architectural epistemology. In Firm(ness) commodity de-light:: questioning the canons, p. (Society of Architectural Historians of Australia and New Zealand, 1998). [4] Gusevich, M. p.11 (1991). [5] Downton, P. p. ? (1998). [6] Downton, P. Theory’s Cupboard: myths of knowing, form, memes and models. In Ostwald, M. and [7] Deleuze, G. p. 164 (1992). [8] Rice, C. Rethinking histories of the interior. The Journal of Architecture, 2004, 9(3), 275-287. [9] [10] Bourriaud, N. Relational Aesthetics, Trans. Pleasance, S. and Woods, F. (Les Presses [11] Pile, J. A History of Interior Design, p. 9 (Laurence King, [12] Deleuze, G. Postscript on the Societies of Control. In Leach, N. ed. Rethinking Architecture. A reader in cultural theory, p. 309 (Routledge, London, 1997).
[1][1] The speakers were: Cameron Bruhn, editor, Artichoke. Interior Design and Architecture. The Design Institute of Peter Geyer, strategic director, Geyer. Established in 1970s, Geyer is David Clark, editor of Vogue Living, a magazine of interior decoration. Eliza Downes, recent RMIT graduate Professor Leon van Schaik, academic, curator, writer (author of Design City Melbourne) Caroline Vains, interior designer, PhD student (UTS, Andrew Mackenzie, editor-in-chief, inside (Australian Design Review) and Architectural Review Note: any quotes with out reference are transcriptions from the forum. Thinking inside the box interiors forum TEACHING INTERIOR DESIGN STUDIO BASED ON A COLLABORATIVE PROCESS, SOCIAL EMBEDDEDNESS José BERNARDI 1 ,Beth HARMON-VAUGHAN 2 Abstract This paper explores the potentials of interior design education in a studio setting and its impact on future practice. Through the exploration of the poetic capacity of materials and of processes involved in their assemblage, this course addresses three important facets: A collaborative design process involving criticism from several disciplines of design, research on environmental issues and a reflective process of making. For the last four years this upper division interior design studio has been working on community-oriented and sustainable design projects. The students are assigned a semester-long project that allows them the opportunity to explore real-life design at very important locations in downtown The studio is complimented by a lecture series in collaboration with Gensler and Herman Miller. The lectures are open to all students in the Keywords: design and the environment; design education; environmental design; REFERENCES [1] Zambonini , G,Notes for a theory of making,” Perspecta 16,
Thinking inside the box interiors forum FROM ORGANISATION TO DECORATION Graeme BROOKER1, Sally STONE2 1Manchester Abstract Interior architecture, interior design and building reuse are very closely linked subjects, all of them deal in varying degrees, with the transformation of a given space, whether that is the crumbling ruins of an ancient building or the drawn parameters of a building proposal. This alteration or conversion is a complex process of understanding the qualities of the given existing building while simultaneously combining these factors with the functional requirements of new users. Traditionally this subject has been associated with interior design/decoration and has been seen as peripheral to the central subject of architecture. Recently several large and high profile projects designed by eminent practices have changed the perception of interior architecture. The study of Interiors is a growing intellectual discipline. Issues of conservation and sustainability have become vital to the development of cities. The reuse of existing buildings is a subject that is central to the evolution of the urban environment. Interior Architecture is beginning to be seen as a serious academic subject, an area of interest in its own right rather than an adjunct of architecture or an expansion of surface decoration. Although, some degree courses have been renamed to reflect the reorientation of the subject, the actual subject of interior architecture has very little theoretical background. This paper will examine a number of the main theories of interior architecture, interior design and building re-use. It will attempt to assemble the different ideas, from concepts about installation art to issues of urban design. It will consider the problems of conservation and restoration as well as questions of decoration and ornamentation. From this examination, this paper will summarize the position that interior architecture now finds itself and propose an approach for the future of the subject. Keywords: Interior Architecture, Interior Design, Building Reuse, Remodelling Existing Buildings, Urban Design, Installation Art, Decoration, Design Education.
References [1] Irwin, R. Being and Circumstance, Notes Towards a Conditional Art. In Kristine Stiles and Peter Sels (eds), Theories and Documents of Contemporary Art, (University of California Press, USA, 1996). [2] ibid [3] Machado, R, [4] Brooker, G. Stone, S. Rereadings. RIBA Publications. 2004
Thinking inside the box interiors forum THE TAILORED HOME - CREATING AN ALTERNATIVE TO THE NORTH AMERICAN COOKIE CUTTER HOUSE Abstract The North American residential construction industry is dominated by large land development conglomerates, home building corporations, and big box retail outlets. The cheaply made and thoughtlessly designed houses they produce are like fast food, homogenous and standardized. These houses and neighbourhoods are conceived, marketed and consumed in manners little different from that for handbags, soap or cars. In many ways this situation parallels the impact of the fast food industry on Keywords: all-in design process, design & innovation processes, interdisciplinary, residential interiors, alternatives to suburbia References [1] Ford, Edward The Details of Modern Architecture. ( MIT Press, Cambridge, 1990, P. 4). [2] Schlosser, Eric Fast Food Nation: The Dark Side of the All-American Meal. (Houghton Mifflin Co., [3] Hayden, Dolores Redesigning the American Dream. (WW [4] Leach, William Country of Exiles: The Destruction of Place in American Life. ( Books, 1999, p.13). [5] Archer, John Architecture and Suburbia: From English Villa to American Dream House 1690- 2000. (University of Minneapolis, Minneapolis, 2005, p. 292). [6] Borgmann, Albert Technology and the Character of Contemporary Life: A Philosophical Inquiry. (University of Chicago Press, Chicago, 1984, p.51). [7] Washburn, Katharine and Thornton, John eds. Dumbing Down: Essays on the Strip Mining of American Culture, ( W.W. Norton & Co., New York, 1996, p.15). [8] Waxman, Nahum ‘Cooking Dumb, Eating Dumb’, In Katharine Washburn and John Thornton eds., Dumbing Down: Essays on the Strip Mining of American Culture, ( W.W. Norton & Co., 1996, p.302). [9] Archer, John Architecture and Suburbia: From English Villa to American Dream House 1690- 2000. (University of Minneapolis, Minneapolis, 2005, p. 336). [10] Honoree, Carl In Praise of Slow, (Random House, [11] Petrini, Carlo, Available HTTP. http://www.slowfood.com (Accessed on 2006, 1 September). [12] Borgmann, Albert Technology and the Character of Contemporary Life: A Philosophical Inquiry. (University of Chicago Press, Chicago, 1984, p.271). [13] Honoree, Carl In Praise of Slow, [Random House, [14] Archer, John Architecture and Suburbia: From English Villa to American Dream House 1690- 2000. (University of Minneapolis, Minneapolis, 2005, p. 318). [15] Archer, John Architecture and Suburbia: From English Villa to American Dream House 1690- 2000. (University of Minneapolis, Minneapolis, 2005, p. 350).
Thinking inside the box interiors forum Hertzian Space: Differentiating the Modern Interior Mark BURRY, Mark Abstract Design practice tends to exclude the generation of a specific interior environment from particular bodies, occupations and activities unless it is deemed to be exceptional – such as in the automotive industry or hostile climatic environments. Rarely are everyday occupational activities elevated to this status but are held within generalised ‘flexile’ space that can accommodate change through the repositioning of furnishings décor and occupational activity. Moreover boundaries or the physical delimitations of space tend to define territories that are based on visual constructions of space. This paper describes a design studio that investigates the possibility of defining space beyond conventional perceptions of space, movement and interaction. Drawing from recent writing on hertzian space, a condition that transcends physically constructed boundaries, connectedness between overlapping fields of occupation and activity are used to generate architectural form and space. For this studio the inside as interior is described through the lived traces of use, occupation and environment. As such the interior is generated in response to a field of data that affect, interfere and overlap, creating intensities that are responsive to the changing nature of information. For example they engender kinetic response to shifts in activity or occupation. The paper presents hertzian space as exemplified through student design research, and discusses design outcomes that transcend the comfort of everyday practice including new techniques and processes. The pedagogical objectives for this exercise privilege process as a precursor to product, with modelling rather than drawing the methodology for design investigation. For many students there is a large skills-based learning component included when investigating a design space that precludes convention representational techniques, design collaboration and communication between groups. REFERENCES [1] Syncopated space – wireless media shaping human movement and social interaction, Teri Rueb, http://www.receiver.vodafone.com/10/articles/06_page02.html, accessed June 2006. [2] Anthony Dunne and Fiona Raby, Tunable Cities, Architectural Design, vol 68, no 11/12, 1998, p 78. [3] Michael Hensel and Achim Menges, Differentiation and Performance: Multi-Performance Architectures and Modulated Environments, Architectural Design, vol 76, no 2, 2006, p 60–9. [4] Hensel and Menges, Differentiation and Performance , p 61. [5] Hensel and Menges, Differentiation and Performance, p 63. [6] Sulan Kolotan and Bill MacDonald, Lumping, Architectural Design, vol 72, no 1, 2002, p 79. [7] See Mark Burry, Homo Faber, Bob Sheil (ed), Design Through Making, Architectural Design, vol 75, no 4, July/August (2005), pp 30–37. [8] See, Burry, J., Maher, A., Burry, M. C., and Taylor, M., Experiments in Sublimation in Design Education, in Design + Research: Project Based Research in Architecture, (Eds)., Clare Newton, Sandra Kaji-O'Grady and Simon Wollan, ISSN: 1449 – 1737, Published in Melbourne, Australia, by the Association of Architecture Schools of Australasia, 2003. This volume is available on the web at http://www.arbld.unimelb.edu.au/events/conferences/aasa/papers [9] Teri Rueb in conversation with Sabine Breitsameter: http://www.swr.de/swr2/audiohyperspace/engl_version/interview/rueb.html#bio accessed November 2006.
Thinking inside the box interiors forum CONSENSUS OR CONFUSION? Shashi CAAN Shashi Caan Collective, INTRODUCTION “Interiors is a slippery discipline. Among all designed artifacts, Interiors themselves are uniquely ephemeral and hard to define. The practice of Interiors is relatively unregulated. The history of Interiors is patchy and contested. The theoretical basis of Interiors is largely unexplored in comparison to those of other disciplines. How, therefore, might we speculate about the role, validity and purpose of Interiors in the 21st century?” This descriptor introducing the questions for the 2007, Interiors Forum Most importantly, as a holistic discipline, we must quickly strive for a unity of voice and get beyond our self created confusion pertaining to the core of Interior Design. We must strive for a consensus of the most important and fundamental attributes so that we are in a position of being able to articulate why we do what we do and how we do it and why it is so unique and great and show what Interior Designers can best do…design interiors.
Thinking inside the box interiors forum BUT IS IT INTERIOR DESIGN? CONSIDERING THE INTERVENTION OF THEORY IN INTERIOR DESIGN EDUCATION Lynn CHALMERS and Susan CLOSE, Department of Interior Design, Faculty of Architecture, Abstract This paper examines the application of interdisciplinary theory to Interior Design education and practice. Specially, it argues that interior designers should use theory to enrich both its disciplinary education and its practice. This argument is built from a dialogue between a two interior design educators, one with a background in cultural analysis and the other in practice, and draws on their common concerns. To date, there is no actual canon of design theory. Like art and architectural theory most design theory is drawn from interdisciplinary sources that includes pertinent issues such as gender identity, performativity and privacy. Research for a theoretical framework that informs this study includes critical and cultural theorists: Mieke Bal, Roland Barthes, Jean Baudrillard, Walter Benjamin and Michel De Certeau. This study also questions the delimited practice of traditional interior design and resituates it in relation to contemporary design culture. Evidence of this paradigm shift is examined in light of recent work of such design theorists as Guy Julier, Tiiu Vaikla-Poldma, Mark Taylor, Julianne Preston and Elizabeth Grosz. A number of significant questions are considered such as: how and why should the connection made between theory and practice be made, why it is important to have theory in the interior design curriculum and what are some of the key challenges involved in teaching theory to visual thinkers? Theory provides an intellectual framework for Interior Design that affords designers with language and tools to understand and enhance the meaning of their work. The place of theory is significant in both the design process and design education as it encourages both students and practitioners to think critically about the creative design process. It is not enough to merely consider what to make but it is necessary to reflect upon how and why it is made. The future relevance of design theory is to inform and encourage designers to think about significant concepts related to contemporary society. Keywords: Interior Design, Cultural Theory, Education and Practice References [1] Culler, J. Philosophy and Literature: The Fortunes of the Performative Poetics Today, 2000, 21(3), 48-67. [2] Bachelard, G. The Poetics of Space (Beacon Press, Boston, 1994). First published as Poetique de l’espace (Orion Press, New York, 1964). [3] Baudrillard, J. The System of Objects. (Verso, London, 1996). Trans. James Benedict. First published as Le systeme des objets (Gallimard, Paris, France, 1968). [4] Bal, M. Looking In: The Art of Viewing. (G & B Arts International, [5] Hays, M. Foreward in.Baudrillard, J and Nouvel. J The Singular Objects of Architecture, pp. ix ( [6] [7] de Certeau, M. The Practice of Everyday Life (University of California Press, Berkeley, 1984). [8] Culler, J. What is Theory, in Literary Theory, A Very Short Introduction pp.15. ( [9] Bal, M. Travelling Concepts in the Humanities. pp.5 ( [10] Tagg, J. Practising Theory: an Interview with Joanne Lukitsh in Grounds of Dispute: Art History, Cultural Politics and the Discursive Field, pp.69 (University of Minnesota Press, Minneapolis, 1992). [11] Julier, G. The Culture of Design (Sage, [12] Vaikla-Poldma, Tiiu. An investigation of learning and teaching processes in an interior design class: an interpretive and contextual inquiry (Magill University Unpublished PhD Thesis, [13]. Grosz, E. Space, time and perversion: essays on the politics of bodies ( 1995) [14] [15] Benjamin, W. (Harvard Press Harvard 2002)
[1][1] For example, see books designed specially for introducing theory to architecture and in art history: Nesbitt, Kate, ed. Theorizing A New Agenda for Architecture An Anthology of Theory, 1965-1995, Princeton Architectural Press, [2][2] Bal (2001) defines cultural analysis as the study of an object usually taken from the past that is analyzed in the present based on the interdisciplinary use of theory and close reading.
Thinking inside the box interiors forum TOWARDS A HISTORY OF INTERIOR ARCHITECTURE Luis DIAZ Abstract The ideas and questions raised in this paper began with a consideration of a dedicated history and theory programme for the interior architecture course at the Keywords: History and theory; identity; historiography; discourse References [1] For this reason the research material for this paper consists primarily of survey history texts. The same process and questions raised here could be paralleled in a study of theories of interior architecture or even history of theories of interior architecture. [2] Banham, R “A Black Box: The Secret Profession of Architecture” in A Critic Writes [3] Ibid. p.294. [4] Ibid. p297. [5] The ideas that follow are based on a close reading of Foucault, M. The Archaeology of Knowledge [6] Scully, V. Modern Architecture (New York: Braziller, 1961) p.24. [7] Watkin, D. Ref. p.8. [8] See Tafuri, M. Architecture and Utopia (Cambridge: MIT Press, 1976), Theories and History of Architecture (Ref), and ‘There is no criticism, only history: Richard Ingersoll interviews Manfredo Tafuri’ reprinted in Casabella, Jan-Feb 1995. [9] Tafuri, M. ‘There is no criticism, only history’, p.97. [10] Kayvanian, C. ‘Manfredo Tafuri: From the Critique of Ideology to Microhistories’ in Design Issues, vol. 16, no. 1, Spring 2000. The following notes on Tafuri and microhistories is primarily derived from this article. [11] To be clear, questioning or suspending concepts does not mean discarding them. Chronology, for example, is pedagogically useful in providing students with an organisational structure. What should be avoided is the idea that chronology necessarily or automatically explains things. [12] Crouch, D. History of Architecture, From [13] For example, Etruscan and Roman Architecture by A. Boethius and J.B. Ward-Perkins (Harmondsworth, 1970) and History of ArchitectureStonehenge to Skyscrapers by Dora Crouch (NY: McGraw Hill, 1985). See also William MacDonald’s The Architecture of the [14] Ref. [15] Allen Brooks, H. Frank Lloyd Wright and the Destruction of the Box in The Journal of the Society of Architectural Historians, Vol. 38, No. 1 (Mar., 1979), pp. 7-14. [16] Wright, F.L. ‘The Destruction of the Box’ from Writings and Buildings (Cleveland: World Publishing, 1960) [17] The notion of its anachronism comes from its relative notoriety, but general absence in history texts. During a lecture at the Berlage Institute (1991) Kenneth Frampton admitted to a difficulty in fitting the project within the broader narratives of modern architecture. The project does not appear in his History of Modern Architecture.
Thinking inside the box interiors forum ACROSS / BETWEEN: Julia DWYER Abstract Art practice is an essential reference for interior architecture and design (IAD) education and practice, but the terms of its use are questionable. This paper discusses the issue of appropriation, and reviews discourses connected with art practices that critically define site and audience, and those which are paralleled in participative practices in architecture. It presents some recent interdisciplinary art/design projects that draw on the critical positions described, and asks whether IAD is implicated in similar critical theories and practices. Keywords: Multi and interdisciplinary thinking, audience, practitioner, student, theory and practice [1] Studio 2 , BA Interior Architecture programme, the [[1][ii]] The readymade books were usually paperbacks, and were selected from a shortlist of contemporary American writers, or from texts students had discovered when researching their dissertations. [[1][iii]] The word ‘designer’ will be used to include ‘architect’ in this paper, unless the source (as does Fernie), only refers to architects. [[1][iv]] MA Theory and Practice of Public Art, then MA Design for the Environment, [[1][v]] Includes the BA Design and Public Art programme at [[1][vi]] Fernie,J. ed. Two Minds: Artists and Architects in Collaboration. p.110 ( [[1][viii]]“Engagement with critical and theoretical issues is an integral part of practice for staff and students in Critical Fine Art Practice…Historical and contemporary developments in the practical and critical aspects of art are studied in the wider contexts of culture and society”. Programme specification 2005, BA Critical Fine Art Practice, [[1][ix]]‘Artists who work beyond the confines of the gallery or studio and who use context as an impetus or research tool to make art.’ Clare Doherty in Fernie, J. ibid. p.11. [[1][x]] ‘I developed a method or a dialectic that involved what I call site and non-site…(it’s a back and forth rhythm that moves between indoors and outdoors).‘ Robert Smithson in Rendell, J. Art and Architecture: A Place Between, p.23 ( [[1][xi]]Deutsche, R. Uneven Development: Public Art in [[1][xii]] Lacey, S. ed. Mapping the Terrain:New Genre Public Art, (Seattle, Bay Press, 1995). [[1][xiii]] Felshin, N. ed. But is it Art?: The Spirit of Art as Activism, (Seattle, Bay Press, 1995). [[1][xiv]] Lacey, S. ibid, p.19. [[1][xv]] Jencks, C.The Language of Post-Modern Architecture, p.9 (London, Academy, 1977). [[1][xvi]] Gablik, S. Connective Aesthetics:Art After Individualism in Lacey, S. ibid. [[1][xvii]] Felshin, N. ibid, p.9. [[1][xviii]] Avant-garde art, which claims utter development, is infected by strains of maintenance ideas, maintenance activities, and maintenance materials … I am an artist. I am a woman. I am a wife. I am a mother. (Random order.) I do a hell of a lot of washing, cleaning, cooking, renewing, supporting, preserving etc. Also, (up to now separately) I “do” Art. Now I will simply do these maintenance everyday things, and flush them up to consciousness, exhibit them as art.’ Mierle L. Ukeles in Phillips,P.C. Maintenance Activity: Creating a Climate for Change, in Felshin, N. ibid. [[1][xix]] Phillips,P.C., in Felshin, N. ibid. p.165. [[1][xx]] Gablik, S. ibid,p.86. [[1][xxi]] Zucchi, B. Giancarlo de Carlo, pp. 204 – 215, (London, Butterworths, 1992). [[1][xxii]] Till, J. The Negotiation of Hope, in Blundell-Jones, P., Petrescu, D., Till, J. eds., Architecture and Participation, pp 23 - 41 (Abingdon, Spon Press, 2005). [[1][xxiii]] atelier d’architecture autogerée / studio of self managed architecture [[1][xxiv]] Petrescu, D., Losing Control, Keeping Desire, in Blundell-Jones, P., Petrescu, D., Till, J. ibid, pp 43 - 63. [[1][xxv]] ‘‘vacuoles’, to use Guattari’s term, which are meetings where ’nothing special is expected other than that things just happen and that what is important is said’ Petrescu, D. ibid p.50. [[1][xxvi]] [[1][xxvii]] [[1][xxviii]] Augé, M. Non Places in Architecturally Speaking Read, A. ed. (Routledge, [[1][xxix]] Performed at Taking Place 2, [[1][xxx]] Performed at Taking Place 5 as part of ‘Technologies of Place’ interdisciplinary symposium, February 2005. [[1][xxxi]] Michael Warner is author of Publics and Counterpublics (2002). Quotations from Warner’s talk at the Tate Modern, [[1][xxxii]] Boys, J. Defining Patterns, in Ridge, S. and Dwyer, J. Digitate Catalogue ( [[1][xxxiii]] Light box with full-scale image 1930 x 780mm Forty Hall Enfield 2003– [[1][xxxiv]] Temporary installation: Printed paper, foamcore.1900 x 2100 mm, Forty Hall Enfield 2004. [[1][xxxv]] Tondo light [[1][xxxvi]] 12 temporary signs: 400 x 400mm, printed plastic. 2004. [[1][xxxvii]] Greene, L., All about a Place in Ridge, S. and Dwyer, J. ibid. [[1][xxxviii]] Exhibited at Performance Furniture, [[1][xxxix]] Rendell, J. ibid, p.6. [[1][xl]] Julia Kristeva in Rendell, J. ibid, p.11. Julia Dwyer Mithras House, 0044 1273600900 0044 2086744846 Thinking inside the box interiors forum TRANSLATION University of Abstract How we design interiors is affected by our understanding of space and how we represent that spatial understanding and investigate and interrogate this through drawings and appropriate representations. Interior space can be recorded or mapped in various ways. Some techniques can be transposed from other areas of culture or artistic impression, including dance, film, urban design and painting. Dance is an expression of the understanding of the movement of a body through space and choreographic annotation describes the motion of a body through a space. Storyboards are techniques used by film makers to communicate and describe the translation of a narrative into movement and actions in space. An idea of a series of views that describe a journey through interior space, related to a map or plan of a building provides a personal interpretation of a journey. Using shadow, tone to describe spaces, the negative impression of the space, chiaroscuro: using the contrast between light and dark to define space. All these techniques allow a translation of activities into physical space. Understanding these representational processes can provide insights into the design of spaces themselves. The way we chronicle our understanding of external and internal environments is critical analysis to inform the assembling of new environments and subsequent design. Using examples of experimentation in translating interior space into abstract representations, which demonstrate the range of possibilities that can be interpreted and understood, these techniques will be explained to show a range of responses to these analytical exercises and indicate how they can affect subsequent spatial design. A visual language and dialect of interior scale can be developed, a spatial code that is different from architectural and urban scale, more intimate, connected to the body in space and the narrative or story which surrounds it. Keywords: spatial translation, creative processes and design, critical design, critical thinking , representation, abstraction References [1] Cullen, R. Concise Townscape ( Architectural Press 1995) [2] Crowe, N and Laseau P . Visual Notes for Artists and Designers (Von Nostrand Rheinhold 1984) [3] Tschumi , B. Event City ( MIT 2001) [4] De Wit , S. The [5] Goldberg R. Oscar Schlemmer's notes .(Thames and
Hudson, 1988). [6] Saskia de Wit The ACKNOWLEDGMENTS Caroline Broadhead for use of her images’ Still light 1999 Thinking inside the box interiors forum Joyce Fleming Abstract We teach Interior Design – that specialist branch of architectural design, which is not covered adequately in any architectural course. It is a vocational program, supplying the needs of a growing and increasingly professional industry. The sectors’ main clients fall within the commercial, retail and leisure industries. The industry and its’ client base are well established in Three areas are important; creativity, communication and practise. Identification of, and problem solving is the designers’ role. Combining pragmatic functionalism with an idea of quality and aesthetic ingenuity is the main objective. Original imaginative and conceptual solutions are sought. To facilitate the communication of these ideas, free-hand and orthographic drawing is taught, together with various Computer Aided Drawing, and the usual ICT packages. Direct, verbal communication is encouraged, to supplement the visual, and to engender confidence. Building construction and interior detailing are taught in a variety of ways. An understanding of the statutory & business framework in which an Interior Designer works is also important, so requirements such as Building Regulations, together with procurement and contract are covered in the latter stages of the degree course. Teaching methods are customized to the further education student. Tuition is intensive in the early stages of the course. Students are challenged. The apprentice model is widely used, the tutor showing ‘how to’, or showing examples of solutions to similar problems, and the student applying the acquisition of learning to a given brief. Most learning is organised around and integrated into a design project, and will normally be carried out in a wide variety and subsequently more onerous applications to reinforce the acquisition of a variety of skills. This layering of experience in constantly producing solutions to different design briefs, expands horizons, enables the student to become adept at handling increasing levels of complexity and hones visual articulacy.
Thinking inside the box interiors forum A REGULATED IRREGULARITY Patrick Hannay Abstract The References [1] The UCAS website is www.ucas.ac.uk: Given that a recent fashion is for an Interiors team in a Universityto join a language to interiors or for example property development to an Interiors BA, it is difficult, without an awful lot of extra research, to ascertain what size of cohort are within each of these components. So I have tended to count only one BA per educational institution. [2] “Facing the future: a report on advanced courses in Architecture of Higher education in [3] For information on [4] For information on Interiors in the [5] For information on the Netherlands www.bni.nl also contact Ingeborg Holtman at Stichting Bureau Architectenregister, Nassauplein 24, 2585 EC Den Haag, Netherlands. 070 3467020: e-mail info@architectenregister.nl [6] For information on France go to www.fnsia.org or write to FNSAI, 14 rue Fontaine, 75009 Paris, France: e-mail info@fnsai.org: Also look for Conseil Francais des Architectes d’ Interieures (CFAI) 5 rue Saint Anastase, 75003, Paris, France 01 40 27 91 24: e-mail cfia@wanadoo.fr [7] Information on the ASAP Association for the recognition of Studies in Architecture and Planning, in English, from Elke Kaiser at the BDIA Kaiser@bdia.de [8] November 1991 conference under auspices of AIDDC ( Association of Interior Design Degree Courses) ‘What is Interior Architecture?’ at the Mall Gallery, [9] Information supplied from Erich Weiler; International liason officer on the Interior Architecture course at the Facchoccschule Mainz, Germany. [10] Letters have gone from IE (Interiors education) to Frayling; and from various practitioners ( Fred Scott, Ben Kelly, Julian Powell Tuck, Dinah Casson, Lumsdens etc) The RCA claim nothing has changed. Simply the title. IE has argued for a distinct course in Interiors not one absorbed into Architecture. [11] For information on the European Council of Interior Architects (ECIA) www.ecia.net [12] Interviews and questionnaires have been conducted with 8 former Erasmus students who attended Interior Architecture Cardiff. [13] Interiors Education (IE) formed in November 2006 out of the former AIDDC. It held its first meeting at
Thinking inside the box interiors forum Interior Architecture Frazer HAY Abstract Interior Architecture is a part of a larger group of professionals referred to by Tony Fretton [Chair of Architectural and Interior Design, Technical University of Delft, the REFERENCES [1] AR, special number: Inscape 05/1966 p365 [2] Rebekah Hieronymus Int. Architecture Foster+Partners [3] Graeme Brooker & Sally Stone, Rereadings RIBA Enterprises Ltd, 2004 Thinking inside the box interiors forum Curatorial thinking: performance space Gini Abstract The theory and practice of Interiors is normally predicated upon the assumption that some type of design intervention is the generator of the spatial and material qualities of enclosed places. This paper reports upon recently completed doctoral research that investigates a curatorial approach to making Interiors; an approach that is responsive to the important ecological and mobility issues that increasingly impact upon how Interiors are conceptualised and realised. The concept of postproduction underpins the theoretical positioning of the paper; a process of intervening that makes use of that which already exists in conceiving of new spaces. Through an examination of existing ‘designed’ places, speculative and event-based Interiors are described through the performed Interior and the performed garden. The performed Interior juxtaposes the Museum of Jurassic Technology in Los Angeles with a humble and ruined blacksmith’s tack shed in the remote outback of South Australia to uncover qualities of event spaces contained within the material arrangement of walls and artefacts. The performed garden is a search for the Interior spaces experienced while walking through the now disappeared 18th century garden Alticchiero, in Keywords: performativity, place, space; critical design; material thinking; design ethics; interdisciplinarity References [1] Zournazi, M, Hope: new philosophies for change, p.244 (Pluto Press Australia Annandale 2002). [2] Rugoff, R, Beyond Belief: the Museum as Metaphor in [3] Bourriaud, N, Postproduction: Culture as Screenplay: How art reprograms the world, p7 ( [4] Bourriaud, p11 [5] Bourriaud, pp 19-51 [6] Bal, M, Double Exposures The Subject of Cultural Analysis, p128 (Routledge, New York, 1996) [7] Foucault, M, Of Other Spaces: Utopias and Heterotopias in Leach, N, ed Rethinking Architecture, a reader in cultural theory, pp354-355 (Routledge, London, 1997) [8] Morton, P in [9] Morton, P, p7 [10] Rugoff, R, p99 [11] The Soane Gallery, p.60, Fig 22, Pages from the Crude Hints towards an History of my House in [incon’s] I[nn] Fields MS. (ff.30-31) [12] Wynne, J, Alticchiero, self-published, 1780 and 1787 [13] Williamson, R, Giustiniana’s Garden: an Eighteenth Century Woman’s Construction in Bonj Szczygiel, Josephine Carubia and Lorraine Dowler, eds. Gendered Landscapes, An Interdisciplinary Exploration of Past Place and Space , pp48-57 (State University, Pennsylvania, 1999) Contact Information: Dr Gini Lee Tel: +61 8 8302 0203 Fax: +61 8 8302 0211 Email: gini.lee@unisa.edu.au
Thinking inside the box interiors forum FOREWORD FOR INTERIORS FORUM Leonie The Lighthouse, Scotland’s Centre for Architecture, Design and the City The Lighthouse is Interiors Forum approached us in Spring 2006 and the first thing we asked is why do you want to do this and why do you want to do it in The Lighthouse? The answer, so people can understand what Interior Design is and because The Lighthouse hasn't devoted a project solely to this discipline. We couldn't say no. Like the Interiors Forum Thinking inside the box interiors forum THINKING INSIDE THE Terry MEADE Abstract Taking a cue from the conference title "Thinking inside the box" this paper will, question the idea that 'Interiors', as a discipline, should ever be, thought about or practised as being within a box. Such a title suggests a conventional view of interior space as static and contained. It also suggests imagined borders around an academic discipline. This paper will attempt to explore questions about Interiors through an examination of certain realities and conditions encountered in the 21st century. New laws rules and regulations in the political sphere, the increased use of surveillance, the militarisation of public space and the use of checkpoints all point to a fear of a disordered and dangerous world. An array of walls and borders have recently emerged, (at gated communities, entrances to shopping malls and barricaded enclaves etc.), all with the intention of isolating, separating and guarding against intrusion of information and unwanted 'others'. This paper will begin by listing some of the forces contributing to the growth of a 'fearful culture' and then examine the spatial consequences. This will in turn, raise questions about the boundaries of 'Interiors' as a discipline in the 21st Century. Specifically, an attempt will be made to unravel the characteristics of the wall as a protective or defensive device, and will examine the effect that security has had on the sense of interior space. The aim will be to challenge an idea that 'Interiors' may be considered as static or fixed within a container formed by defensive boundaries. Keywords: Status, identity, local and global, security. References [1] Taussig, Michael The nervous system [2] De Cauter, Lieven The Capsular Civilization, On the City in the Age of Fear NAi Publishers, Rotterdam 2004 [3] Marcuse, Peter Walls of Fear and Walls of Support in Architecture of Fear Ellin [4] Ballard, J.G. Interviewed by V. Vale on 23/11/04 in J.G .Ballard, Conversations RE/Search Publications, San Francisco 2005 P31 [5] Zizek, Slavoj The Guardian [6] Amis, Martin The Observer [7] Graham, Stephen Specters of Terror in City of Collision Ed Misselwitz, P. and Rieniets, T. Birkhauser Switzerland 2006 P 156 [8] Virilio, [9] Apart from individual writers, there have been conferences, journals and exhibitions devoted to these issues. [10] Massumi, Brian Fear (the spectrum said) in 5 Codes Edited by Igmade Birkhauser Switzerland 2006 [11] Massumi, Brian Ibid. P 286 [12] "President Bush said after September 11th, [13] Jackson, Richard Writing the War on Terrorism Language, Politics and [14] Jackson, Richard Ibid, page 112 [15] Bauman, Zygmunt "Society Under Siege"Polity Press, [17] Bunting, Madeleine The age of anxiety The Guardian [18] [19] Graham, [20] Raban, Jonathan We have mutated into a surveillance society - and must share the blame The Guardian [21] Finkel, Leif. H. The Construction of Perception in "Incorporations" Edited by Jonathan Crary and Sanford Kwinter, Zone books [22] Judge, Brenda Thinking About Things A Philosophical Study of Representation Scottish Academic Press [23] Rose, Jacqueline On Not Being Able to Sleep, Psychoanalysis and the Modern World Vintage, [24] Rose, Jacqueline States of Fantasy Clarendon Press, [25] Schneider, Peter, The Wall Jumper, Penguin Publications 2005 See also Garrett, Jeffrey "Teichoscopy" in the Wall Novels of Peter Schneider and Uri Orlev in Languages of Visuality edited by Beate Allert, Wayne State University Press, Detroit 1996 [27] Marton, Ruchama and Baum, Dalit Transparent Wall, Opaque Gates in Against The Wall, [28] Marton, Ruchama and Baum, Dalit Ibid. P 214 [29] Cousins, Mark The First House [30] Porter, Henry How the Englishman's home ceased to be his castle, The Observer 18.06.06 [31] Weizman, Eyal Lethal Theory published in Log, Winter/Spring 2006. [32] Segal, Sune What Lies beneath, Excerpts from an Invasion, [33] Garrett, Jeffrey "Teichoscopy" in the Wall Novels of Peter Schneider and Uri Orlev in Languages of Visuality edited by Beate Allert, Wayne State University Press, Detroit 1996 [34] Woods, Lebbeus The Wall Game in Against The Wall,
Thinking inside the box interiors forum INTERIOR DIVERSITY in ENVIRONMENTAL DIVERSITY out Andy MILLIGAN1 and Roland ASHCROFT2 Interior and Environmental Design, Duncan of Jordanstone College of Art & Design, University of Dundee, Scotland, UK. Abstract This paper briefly describes the origins, aims and potential futures facing the Interiors Forum Keywords: multiple selves, interdisciplinarity, intersection, diversity. REFERENCES [1] www.interiorsforumscotland.com [2] Brooker, G., Stone, S. ReReadings: Interior Architecture and the Design Principles of Remodelling Existing Buildings,( RIBA Publications, [3] [4] Diaz, L,. Towards a History of Interior Architecture, Interiors Forum [5] Creativity or Conformity: Building Cultures of Creativity in Higher Education, [6] Milligan, A., Nelson, J., ‘Dysfunction, Deconstruction & Reconstruction: Exploring Sustainable Thinking Through Design Making’, 4th E& [7] Collins, B., Robillard, V., ‘The Poetics of Installation; the Poetic Revolt’, SWIG, the Scottish Word & Image Group Conference, [8] [9] Conway, H., Reonish [10] Badke, C., Walker, S., ‘Contextualising Consumption’, 3rd E& [11] Forty, A., ‘Words and Buildings: A Vocabulary of Modern Architecture’, (Thames & Hudson, [12] Mohr, C., Milligan, A., ‘Throwing Pebbles Across the Pond’, Creativity or Conformity: Building Cultures of Creativity in Higher Education, University of Wales Institute, Cardiff, Wales, 8,9 &10 January2007, [13] Lambert, [14] Massey, D., ‘Reinventing the Home’, edited from The Intimate Space: Reinventing the House, Blueprint: Architecture, Design, Culture, No 159, March, 1999 pp 24 -25 [15] Milligan, A., Rogers, J., ‘Experience Design & Artefacts after the Fact’, CoDesign: The International Journal of CoCreation in Design and the Arts, Special Edition: Crossing Design Boundaries, Vol 2, No 2, [16] Michele Foucault, Of Other Spaces, Utopias and Heterotopias, 1967, and pub in Lotus International 48/49, Oct 1984 [17] Anusas, M., ‘Creativity in Mass Education Contexts’: 4th E&
Thinking inside the box interiors forum INTERIOR DESIGN'S IDENTITY CRISIS: REBRANDING THE PROFESSION C. Thomas MITCHELL1, and Steven M. RUDNER2 1Chair, Interior Design Program, Abstract In the Keywords: collaborative design research, perception enhancement, communication, methods and tools for idea generation, rebranding
Thinking inside the box interiors forum THE MASK OUTSIDE THE MACHINE: THE PERSONA INSIDE THE SPACE Saltuk ÖZEMİR Abstract After- Beaux-Arts where the forms without substances had been chosen from the catalogues, the over-designed contemporary world is becoming a world where personas in the form of interior spaces and objects/products help to build personas for people and corporations (brands). In this paper, it is aimed to expose this very nature of the design world in the context of persona, so as to get some insights about the validity of interior design as a discipline in the 21st Century. Therefore, an examination of aestheticisation of the interior space and consequently of the user/corporation from the 20th to the 21st Centuries is made, so as to expose the advertise-ation of the interior space in a world where users become ‘protagonists’, while approaches and processes in design in general become one in the same with those of advertising industry under the ‘brand’ umbrella. The arguments mentioned above will be buttressed with an oxymoronic combination of Walter Benjamin’s historical materialism with post-structuralist theories, while dealing with the value system of the material world and with the psychoanalytical Jungian – Lacanian – Freudian terms so as to expose the driving mechanisms behind the ‘protagonist’ individual’s decision making and desires to consume in the post-optimal design world. In order to illustrate the dark side lurking behind the glossy surface of the contemporary interior spaces, filmmaking, advertising and narrative techniques, dealing with concepts like persona, stereotypes, archetypes, aestheticisation, object fetishism, product personification/user objectification will be deployed in sync with the relevant design economies and psychoanalysis terms. Further, the new ‘skins’ without bodies from the product and interior design fields, particularly the ones made of plastic, a material, which can be likened to language due to its abstract nature, will also be dealt with so as to uncover the veil of the contemporary design world. Keywords: design aesthetics, psychological theory building in the design field, culture and identity, what design is, sign value References [1] Virilio, P. Unknown Quantity. (Thames & Hudson, [2] Özer, B. 19.Yüzyılın Genel Nitelikleri ve Batı Mimarisinde Seçmecilik. Mimari Tasarım, 1961, 3, 107-112. [3] Rykwert, J. The Ecole des Beaux-Arts and The Classical Tradition. In Middleton, R., ed. The Beaux Arts and the Nineteenth Century French Architecture, pp. 17 ( [4] Foster, H. Tasarım ve Suç. pp. 51-54 (İletişim Yayınları, İstanbul, 2004). [5] [6] Benjamin, W. Pasajlar. pp. 55 (YKY, İstanbul, 1993). [7] Maldonado, T. and Cullars, J. The Idea of Comfort. Design Issues, 1991, 8(1), 35-43. [8] Benjamin, W. Pasajlar. pp. 140-141 (YKY, İstanbul, 1993). [9] Ho, J. The Mask of Architecture, Reviewed Work: Privacy and Publicity: Architecture and Mass Media by Beatriz Colomina. Performing Arts Journal, 1997, 19(3), 107-110. [10] Foster, H. (Post)Modern Polemics. Perspecta, 1984, 21, 148. [11] Flusser, V. The Shape of Things| A Philosophy of Design. pp. 17-21 (Reaktion Books, 1999). [12] Dunne, A. Hertzian Tales, Electronic Products, Aesthetic Experience and Critical Design. p. 28 (RCA [13] Whitley, N. Pop, Consumerism, and the Design Shift. Design Issues, 1985, 2(2), 31-45. [14] Foster, H. (Post)Modern Polemics. Perspecta, 1984, 21, 148. [15] Özer, F. Bir Pop-Mimari Örneği. Yapı, 2002, 245, 66-73. [16]Jameson, F. Postmodernism or the Cultural Logic of Late Capitalism. (Duke University Press, [17] Springer, C. The Seduction of the Surface: From 1(2), 197-213. [18] Pryor, F. Britain AD, A Quest for [19] Ackbar, A. Walter Benjamin’s Collector: The Fate of Modern Experience. New Literary History, 1988, 20(1), 217-237. [20] Eco, U. The Mysterious Flame of Queen Loana. (Vintage, [21] Foucault, M. This is not a Pipe. pp6 (University of California Press, Los Angeles, 1983). [22] Mott, R.L. Radio, TV and Film, Focal Press. Available: http://www.filmsound.org [Accessed on 2003, 27 April], (1990). [23] Bode, W. The Bauhaus as Cultural Paradigm. The Journal of Architecture. 1996, 1, 189-205. [24] Benjamin, W. Pasajlar. pp. 99-100 (YKY, İstanbul, 1993). [25] Svendsen, L. Fr. H. A Philosophy of Boredom. p. 101. (Reaktion Books, [26] Mitchell, E. Lust for Lifestyle. Assemblage, 1999, 40, 80-88. [27] Shapiro, P. Turn the Beat Around, The Secret History of Disco. p. 102. (Faber and Faber, [28] Benjamin, W. Pasajlar. p. 26. (YKY, İstanbul, 1993). [29] Ballard, J. G. Crash. (Vintage, 1995). [30] Springer, C. The Seduction of the Surface: From 1(2), 197-213.
* “By the 1890s, concrete was being used extensively for engineering projects, such as docks, riverbanks, and bridges, but not for "proper" architecture. It was the material's intrinsic qualities that were causing something of a moral dilemma. Concrete was considered pagan (given its Roman heritage) and so unsuitable as a construction material for Gothic Revival Christian buildings. As it had no natural form of its own, concrete was viewed as a materia/lacking in moral fibre, without character, and, if used at all, it should be faced with a more" moral" material, such as stone. According to Peter Collins in his book Concrete: The Vision of a New Architecture, when "Victorians first learnt of concrete they were not so much intrigued by the limitless possibilities offered by its plastic potential, as intimidated by the unprincipled character of its fabrication, since such methods found no place in the annals of Christian architecture and had no precedents except in pagan buildings and text.”, from Goventa, S., Concrete Design, Mitchell Beazley, 2001, p. 16.
Thinking inside the box interiors forum THE ARCHITECTURE OF INTERIORS AS SPACE REWRITING: THE CENTRALITY OF GESTURE Gennaro POSTIGLIONE1, Eleonora LUPO2 1Facoltà di Architettura e Società, Politecnico di Milano Abstract Culture of interiors has been often forced to coincide with the architecture history or with the furniture one, misunderstanding that the specificity of inner-space is shared among both of them. This paper aims to contribute to the definition of the discipline of interiors and proposes an interpretation of its specific character, establishing and grounding its ethic and methodology of design, by discussing some theoretical issues. Main focus will be addressed to those human inhabiting activities, like relations between objects, their use and space, which are basic for the creation of the meaning of places and therefore central in a so called ‘interior design approach’. The centrality of the subject experience is relevant (both in the teaching strategy and in the professional practice) because it becomes the parameter to design uses and shapes and determinates those cultural meanings where objects can be properly set. The interiors approach in fact, stresses the importance of these cultural relations between objects and context as possibility of really using and understanding the places, and therefore to design or re-design them, like in the intervention on the existent. Keywords: Interiors Theory, Identity and Design, Social and Cultural human factors References [1] Farinelli, F. Geografia. (Einaudi,Torino, 2003), 16-21. [2] Cornoldi, A. L’architettura dei luoghi domestici. (Jaca Book, Milano, 1994). [3] De Certeau, M. L'invention du quotidian. (Gullimard, Paris, 1990). [4] Basso Peressut, L. and Postiglione, G. Il progetto di Interni. In Cornoldi A., Architettura degli Interni. (Il Poligrafo, Padova, 2005). [5] Norberg-Schulz, C. Dwelling. (Rizzoli Int, New York, 1985). [6] Praz, M. La Filosofia dell’arredamento. (Longanesi, Milano, 1981). [7] Banham, R. Scenes in American Deserta. (The MIT Press, Cambridge, MA, 1982). [8] Barthes, R. Le Plaisir du texte. (Èd. du Seuil, Paris, 1973). [9] Bhabha, H. K. The Third Space. In [10] Chambers, I. Paesaggi migratori. (Costa&Nolan, Genova, 1996). [11] Flora, F., Giardiello, P., Postiglione. G. Legittimità degli interni. Area, 2000(50), pp. 2-3. [12] Jabés, E. Le livre de l’hospitalité. (Gullimard, Paris, 1991). Acknowledgements The authors gratefully acknowledge the participation of both the PhD Course in Interior and the one in Design, of Politecnico di Milano, in this research.
Thinking inside the box interiors forum FOR A CONCEPT OF THE DOMESTIC INTERIOR: SOME HISTORICAL Charles RICE School of Architecture, Abstract The paper charts the emergence of the domestic sense of the term ‘interior’ around the beginning of the nineteenth century. This emergence was marked with a sense of doubleness: the interior came to refer to both a spatial condition, and an image of such a condition. The paper argues that this emergence gave the interior a conceptual structure that raises some problems to do with the way in which various disciplines study domesticity and the interior. The paper focuses on histories of the interior and domesticity which utilize visual representations as evidence, and particularly the way in which the domestic appeal of Dutch genre paintings of the sixteenth century has been constructed. The paper will argue that these histories assume the interior as a stable and timeless context for the unfolding and development of domestic life, rather than analyzing what the historical emergence of the interior might mean for a critical account of domesticity’s history. Possibilities for a critical account are framed through the work of Michel Foucault and Walter Benjamin. Keywords: domestic interior, conceptual and theoretical issues; visual culture; representation; critical thinking References [1] interior, interior decoration, in The Oxford English Dictionary, 2nd edn. ( 1989). [2] See Thornton, P. Authentic Décor: the Domestic Interior, 1620-1920. (New York, Viking, 1984), pp. 10-12. [3] See, for example, Baudelaire, C. The Twofold Room (1862). In Scarfe, F., ed., The Poems in Prose, with La Fanfarlo, pp. 36-39 (London, Anvil Press, 1989). [4] Vidler, A. The Architectural Uncanny: Essays in the Modern Unhomely. ( Press, 1992). [5] Evans, R. The Developed Surface: An Enquiry into the Brief Life of an Eighteenth-Century Drawing Technique. In Translations from Drawing to Building and Other Essays, pp. 200–203 (London, Architectural Association, 1997). [6] Evans. The Developed Surface, pp. 210–14, 222. [7] Evans. The Developed Surface, pp. 214–15. Emphasis in original. Evans suggests that this was a belated uptake of the example of variety in occupying rooms visible in [8] Evans. The Developed Surface, p. 219. Emphasis in original. [9] See especially Syson, L. Representing Domestic Interiors. In Ajmar-Wollheim, M. and Dennis, F., eds. At Home in Renaissance [10] Rybczynski, R. Home: A Short History of an Idea. (Harmondsworth, Penguin, 1987), p. 43. See also Praz, M. An Illustrated History of Interior Decoration From (London, Thames and Hudson, 1964), pp. 50–55. [11] de Mare, H. Domesticity in Dispute: A Reconsideration of Sources. In Cieraad, An Anthropology of Domestic Space. (Syracuse, Syracuse University Press, 1999), p. 14. This argument would also seem to put in dispute the idea that bourgeois culture and society themselves, as particularly ‘domestic’ manifestations, were born in seventeenth-century [12] de Mare. Domesticity in Dispute, p. 14. [13] de Mare. Domesticity in Dispute, p. 20. [14] Hollander, M. An Entrance for the Eyes: Space and Meaning in Seventeenth-Century Dutch Art. (Berkeley, [15] Hollander. An Entrance for the Eyes, pp. 3–4. [16] Stoichita, V. The Self-Aware Image: An Insight into Early Modern Meta-Painting. ( [17] See also de Mare. Domesticity in Dispute, pp. 20, 26–9. [18] Rybczynski, Home, p. 69. [19] See Stoichita, The Self-Aware Image, pp. 157–73, and Hollander, An Entrance for the Eyes, pp. 119–29. [20] Foucault, M. Nietzsche, Genealogy, History. In Rabinow, P., ed. The Foucault Reader. (Harmondsworth, Penguin, 1984), p. 87. [21] Foucault. Nietzsche, Genealogy, History, p. 88. [22] Foucault. Nietzsche, Genealogy, History, p. 88. [23] Benjamin, W. The Press, 1999), p. 220 [I4,4].
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