Interior Architecture

In this study, the history and diversity of interior architecture education are accounted for. During the historical course, it is seen that discrete educational understandings have formed and reflected on contemporary interior architecture education. The differences in professional education are causing alienation in the professional knowledge base and culture. In order to protect the professional culture, rights, and limitations, professional organizations were formed. Additionally, to eliminate educational differences and for standardizing educational programs accreditation organizations have been formed.
In this study, the competencies constituted by the Higher Education Council, the criteria defined by ECIA in Europe and CIDA in the United States are explored. According to the mentioned criteria, the need for re-structuring of educational programs and the creation of a more unifying educational model is discussed.

Bazen zorunlu bir ihtiyaçtan bazen de tamamen kişisel zevklerin veya fonksiyonel ve ergonomik beklentiler bir sonucu olarak bireyler, mekanları kullanım sürecinde çok çeşitli sebeplerle kendilerine daha uygun hale getirmek veya dönüştürmek istemektedirler. Bireylerin yaşadıkları mekanları diğer kişilerin kullandığı mekanlardan biraz olsun farklı kılmak istemeleri genellikle kişisel zevklerin ve alışkanlıkların bir yansıması olarak ortaya çıkmaktadır.

ISBN: 978·88·99586·15·7 - La complessa storia dell’ambiente della cucina, oggetto di una recente e significativa convergenza di interessi bibliografici, se analizzata tanto nella sua globalità che nelle sue declinazioni specifiche, riceve dagli Stati Uniti, nazione certamente non famosa per la propria tradizione gastronomica, un contributo intrascurabile, in cui un ruolo determinante viene giocato dall’illustrazione, maggiormente intesa nella sua accezione artistica, grafica e pubblicitaria.
Si assiste negli Stati Uniti ad uno spartiacque, determinato dallo scoppio della Guerra, tra la concezione dell’illustrazione prima del conflitto Mondiale e quella successiva ad esso.
La fuoriuscita dalla Depressione e la persistenza di certi modelli puritani di matrice anglosassone vengono progressivamente sostituiti da un nuovo modello sociale ben definito, che sarà determinante nell’affermazione del successo americano nelle vicende belliche. In particolare il progressivo superamento delle differenze di genere costituirà un punto cruciale, chiave di completamento di un successo basato, oltre che sulla forza, anche sul convincimento.
Con la chiusura del conflitto, l’egemonia dell’influenza statunitense a tutto il blocco occidentale europeo (corroborata dal Piano Marshall) e la guerra fredda chiariscono e mettono maggiormente a fuoco questo ultimo punto: il modello capitalistico viaggia anche attraverso gli strumenti della divulgazione delle immagini e in questo ambito l’illustrazione, mercé il proprio ruolo esplicativo e pedagogico, costituisce un irrinunciabile strumento.
Metodologicamente il paper rinuncia espressamente ad un’analisi improntata esclusivamente sulla psicologia della comunicazione, senza dunque entrare nel merito dell’ingannevolezza delle illustrazioni proposte (che è peraltro assai evidente in sé), quanto piuttosto vuole rintracciare alcuni elementi comunicativi e narrativi, tipici della cultura americana, che riconducono l’immagine a un modello sociale e alla sua condivisione, verso l’affermazione dell’ideale democratico statunitense, del ruolo di garante della pace universale e civilizzatore assunto dalla nazione.
Attraverso l’analisi di illustrazioni pubblicitarie, la loro comparazione a modelli contemporanei o artistici (realismo e pop-art), e l’ascendenza dei nuovi media (tv, cinema e comics) al modello illustrativo, si vuole dimostrare come il modello sociale ad esse sotteso, trova nel mondo della cucina uno snodo cruciale in cui far convergere questioni sociali, di genere ed economiche. Un ruolo che assume in sé aspetti criticabili, ma anche forieri di nuovi slanci vitali, dal momento che persino il boom italiano gliene sarà debitore.

Reus Indonesia bangga telah menjadi Subkon Interior Terbaik di Jakarta untuk Pengembangan properti land yang merupakan kerja sama dari PT Astra International Tbk, Hongkong Land Limited dan PT Modernland Tbk ini menjadi salah satu ikon perumahan yang menarik yang tumbuh di Jakarta. Proyek ini adalah ASYA.

Nell'ambito del tema generale trattato nel volume, ovvero la permanenza e l'attualità di significato delle tracce del passato nel progetto contemporaneo, il saggio indaga il peso dell'antico nell'opera corbusiana, in particolare in Maison La Roche-Jeanneret, nella quale è possibile leggere la capacità del maestro di estrapolare i significati sottesi alle forme, di guardare alla storia con l'attitudine propria di colui che progetta e che riconosce l'attualità e la densità di senso di determinati assetti spaziali, figure architettoniche o dettagli, tali da essere trasfigurati e proiettati nelle forme dell'abitare contemporaneo

Interiors is a field that is often assumed as being intellectually undernourished, a factor that has led to a paucity of publications intellectually underpinning this area of study and practice. The teaching and understanding of Interiors has often had to rely on other built environment and creative practice theory and supposition, expressing its interdisciplinarity but utilising ideas that never really quite fit. This situation has created a lack of philosophical or critical theoretical ‘identity’, a uniqueness that distinguishes interiors, leading to a lack of a particular relevant body of knowledge that encompasses the subject matter. From Organisation to Decoration is a book that is designed to redress this imbalance. It is a book that serves as a catalogue of important writings on the ideas of interior space. It is for students, scholars, and practitioners who have an interest in Interior Design, Interior Architecture and Interior Decoration. The book consists of a mixture of i...

The creation of sensuous places has recently assumed a full-bodied experience that drawing, photography or video cannot quite capture. This paper analyzes one such place, the interior of the Jewett Art Center at Wellesley College (1955-1958) by Paul Rudolph. Noted for its ornamental exterior screen, the interior has almost entirely been forgotten. Unmistakably indebted to the picturesque sequences of Frank Lloyd Wright and Le Corbusier, the Jewett Art Center includes a memorable stair and gallery that structures an unfolding sequence whereby vision and movement are fused into a tactile experience.

The deceptively simple plan of the art gallery can be explained as a set of procedures that enrich the act of following an attenuated route: constrict a path; alter the speed of ascent and descent; disassemble the exterior wall and double its component parts; screen views to the exterior; and insert an insistent occluding plane. The effect is that movement reinforces sight through parallax and peripheral vision. As foreground and background rotate about the visitor at varying speeds, a heightened sense of depth is created. In addition, alternatively occluded and disclosed views add clarity to the immersive experience. A visitor consistently returns to view the same feature from a new vantage point. The effect is an uncanny and disarming deception; the space is continually new but familiar. By returning on itself, each sequence grows beyond its enclosure. A participant also begins to notice other things. The material restraint, for example, directs attention to subtleties of light. Here, meaning is experiential and participatory rather than symbolic and interpretive. Rather than contemplate meaning, we are called to action; the display of art is fused into a meandering visual field holding the promise of a continuously unfolding and sensuous experience.

Kolektív autorov (Peter Daniel, Michal Hronský, Silvia Husárová, Branislav Jelenčík, Dušan Kočlík, Veronika Kotradyová, Markéta Kučerová, Katarína Morávková, Ivan Petelen, Igor Salcer, Andrea Urlandová, Jana Vinárčiková) : Interiérový dizajn.
Vydavateľstvo SPEKTRUM STU, 2017, ISBN 978-80-227-4750-9, 325 str.

Kapitola 7
ŠTÝLY INTERIÉROVÉHO DIZAJNU 7

Cieľom tejto kapitoly je predstaviť základné rozdelenie interiérových štýlov a definovať niektoré aktuálne používané výrazy. Vybrané štýly interiérového dizajnu, ktoré sú rozpísané podrobnejšie sú aktívne používané v súčasnosti (v dobe vzniku publikácie), a preto je možné, že podliehajú dobovej módnosti.
Štýl, a predovšetkým architektonický, je určený znakmi, ktoré robia dielo charakteristickým a historicky identifikovateľným. Štýl môže obsahovať také prvky, ako formu, spôsob konštrukcie, materiál, regionálny charakter.

The interior is the space that comes closest to our body, after the clothes we wear.  The interior space affects our way of living, our memories and senses, and our physical and mental state and health. Interior architecture is about  the relationship between space and humans, about the formation of space that expresses meaning and functionality.  The book is a collection of texts on interior architecture's many dimensions, written by Scandinavian and international authors. Included are also interviews with five profiled interior architects in Norway.  A book for those interested in how interior space is formed, and how the space forms us.  Written in Norwegian.

This is a lecture, given at lunchtime some time in 2015, for students and visitors to the Chair of Interiors Buildings Cities at TU Delft. The pictures are missing but they can be imagined. It concerns the window as a medium for engaging with or retreating from the world, as a figure of the interior, as a mechanism of power, as a possible surface for the consciousness of inter-subjectivity. The window is considered in various representational presentations: in architecture, painting, film and sculpture.

The conservation of heritage buildings can include a wide range of approaches but existing theories recommend reuse of buildings, which ensures the continuity of their life. On the other hand, proposing a sustainable and compatible use necessitates the continuation of the buildings’ cultural significance. In this perspective, the role of interior architecture is extremely important as it provides an authentic interaction between users and spaces. So, reuse proposals need to integrate existing buildings to contemporary life by considering all spatial aspects that contribute to their architectural identity and cultural significance. In this sense the conservation of interior envelope and interior elements of cultural significance rises as a very important issue to be discussed. Thus today the conservation practice and reuse proposals focus on preserving the architectural envelope of buildings rather than interior aspects. Conversely, interiors need specific safeguard not only due to their cultural significance but also because they are the most “volatile” part of the architectural heritage, being closely connected to the real life of users.
This paper aims to discuss the dialectic relationship between interior environments of heritage buildings and users, and the importance of preserving internal elements as communicators of cultural significance.

An atmosphere is created by such an inventory: a silk wedding dress with a short train draped like a figure on a floral damask-covered couch; under a sunlit landing a taxidermic specimen of a cat placed on an armchair, some handwritten love letters left carelessly on a desk surrounded by antique figurines; more than two dozen brown cardboard boxes (neatly labeled) containing curios, detritus and words displayed under dim light in a vitrine; a woman sleeping under glass, a larger-than-life image of a feather from a pillow which once belonged to a famous man…

Through an interdisciplinary approach which re-positions objects produced in a contemporary art context within architectural discourse, this essay re-occupies the Freud Museum – a 1920s fair-faced brick building at 20 Maresfield Gardens in the leafy north London suburb of Hampstead, and for a short time in 1939, home of psychoanalyst Sigmund Freud.  In particular, I propose to treat these objects as alternative architectural ‘details’, exploring how each object generates an associative network of architectural meanings, which elide the normative constructional detail. 

Significantly, all three artists from whom the objects above were drawn – Sophie Calle, Susan Hiller and Cornelia Parker – have created site-specific or evidence-specific work in response to Freud, his house, and the domestic-bound practice of the talking cure.  These include Calle’s Appointment with Sigmund Freud (1998), Hiller’s After the Freud Museum (2000), and Parker’s The Maybe (1995). 

The inventory above, I suggest, has a ‘double life’ in that these objects not only intrigue in their own right but are also ‘contiguous’ or ‘libidinally invested’ with Freud and his domestic patterns.  How does the art object in/from Freud’s house affect the architectural interpretation of its interior?  What kind of atmosphere is being constructed through this double context?  Focusing on their situatedness to the house, I will discuss how these objects respond to the milieu of psychoanalyst, that is, the Freudian interior with its sense of the uncanny using the act of doubling.  By doubling, I refer to Freud’s own definition of the uncanny as a haunting and evocative double, which simultaneously draws from the original but also creates an exorbitant exit, in this case, a slippage in architectural perception and meaning.

The relationship between design and well-being is not only consequential, it is reciprocal. Design, not only has entirely powerful physical and psychological influences on human-being, but also, has impact on emotion and experiences of them. The main aim is to identify and extend the positive effect of well-being potential of interior design and interior architecture and also their influences on people physical and emotional welfare (Ricci, 2018).
It is emphasis on the framework and representations of spaces for disable children treatment experience by investigating on color and lighting, with their special needs for having healthy and relaxed built environment. There is contradictory evidence, but influential opinions on the effects of color and lighting. Studies have been proved that having more space with optical value improved the amount of output in rehabilitation hubs more than fifteen percent (Taheri & Sichani, 2016). There are more physical characteristics which affect children perceptions and behavior, but it is difficult to explain and reach to conclusions in this article. In this article I explain the methodology approach, then exploring the impact of factors specifically color and lighting for treatment of children with disabilities in the rehabilitation designed spaces. Research problem of this study is about inadequacy specific studies on qualities of internal space that have potential to motivate well-being specially children and influence humans with healing method. Research questions are what is the constructive effect and qualities of interior architecture on children well-being? And is color and lighting of interior space, most affective factor on children rehabilitation?

During my research, I stumbled across an article by Ben Waber, Jennifer Magnolfi and Greg Lindsay on the topic of workplace design. They use the term "collisions" to describe the random encounters of company employees. In a working world which is becoming more and more digital, interaction amongst employees is once again being  increasingly awarded meaning and value. Collision is an appropriate term because it contains both the sense of informality as well as spontaneity. However, can the effects on the processes in companies be predicted and verified. And, how about those in such collisions? Might it be possible that they even stimulate innovation and promote creative work in companies?

A lot has been said about creative work. It is considered to be the future. The future of many employees and many companies. New developments are unthinkable without creative work. There would be no changes to processes in the office environment and no new developments and innovations. But, what is creative work? Bringing a little clarity into the picture can do no harm. On the one hand, clarity about the term "creativity" and what contribution we can make to creativity when we are working. For this, the results of the work of a number of researchers in the area of creativity have been collected and evaluated. And, on the other hand, clarity about the question of work, office work. Where does it take place, what is it about and in what way will it probably change in the future?

When considered together, both aspects, creativity and office work, could provide us with information about the requirements needed in a designed office environment for creative work to take place there.  This might happen, if the right conclusions are drawn from observations on the conditions needed for the emergence of creativity. These conclusions can then be applied to spaces that are already available in offices, are in the process of being planned or still need to be found.

The aim is to use a secure foundation for developing a causal connection between the conditions for creativity and the environment in the office. The pre-requisite for creative work is a space that is organised in such a way that it provides support for creativity. What we want to do is to design such a space.

The IDEA Research Lab aims to enhance interdisciplinary collaboration and exploration in the Interior Design field in Saudi Arabia. The identified themes of the IDEA Research Group are directly related to the Saudi Vision 2030 (A vibrant society… with fulfilling lives). For instance, the group will focus on people and their behaviours, their national identity and ancient cultural heritage, their environment and landscape, protecting families and empowering their social and health system. One of the main topics connected to the Saudi context will be the role of women in architecture and design: as stated also in Saudi Vision 2030 in the goal (Providing equal opportunities), the IDEA research group will focus on the Saudi women's work within architecture, industrial and interior design professions of cultural and social relevance for contemporaneity. The research themes are opened to a wide range of different fields of studies that support the interior design discipline, like humanities, technologies, engineering, and social science. Lab Vision The vision of the IDEA Research Group (Interior Design Environment and Arts) is to promote and develop research and training, placing people and the community at the center. Mission Enhance the quality of life within the interior environment and promote an interdisciplinary research to be innovative and competitive in the Interior field in Saudi Arabia and at an international level. Lab Objectives The key objective is to constantly pursue innovation in design with regard to spaces, objects, methods and means of communication and enhancing and promoting the enjoyment of cultural and environmental heritage; and fostering innovation in social relations.

Dr. Rehab Aburas, Dr. Göze Bayram, Dr. Samaher Fallatah, Dr. Irene Pasina, Ms. Renad Al-Sekait, Ms. Noura Al-Fowzan

An efficient route to 3,4-dihydroxylphenylalanine (DOPA) and DOPA peptides was described by oxidation of L-tyrosine and L-tyrosine derivatives with 2-iodoxybenzoic acid (IBX). DOPA was obtained after an situ reduction of the corresponding ortho-quinone with sodium dithionite. Oxidation reactions proceeded in good yields and high chemo-and regio-selectivity. The chirality of the DOPA residue was retained under the reaction conditions. The efficiency and the selectivity of the reaction were successfully tested using recyclable polymer-supported IBX.

Biomimicry is an applied science that derives inspiration for solutions to human problems through the study of natural designs, processes and systems. The widespread and practical application of biomimicry as a design method remains unrealized; interior architecture commonly use biology as a library of shapes, but this alone is not biomimetics; it has to have some biology in it. This paper reviews key points and case studies of applications of biomimicry in interior architecture. A critique of the applications shows that biomimetics is the way to innovation and sustainability and interior architecture must move beyond the formalistic characteristics of nature.

ABSTRAK Penjajahan kolonial Belanda memberikan pengaruh yang besar bagi bangsa Indonesia, salah satunya adalah bidang arsitektur dan industry gula. Pabrik gula berkembang pada masa kolonial Belanda dan terlihat dari bentuk bangunannya. Pabrik Gula Kremboong adalah salah satu yang masih bertahan dan beroperasi di wilayah Kabupaten Sidoarjo. Pada kawasan Pabrik Gula kremboong tidak hanya tedapat bangunan produksi dan kantor, tetapi juga rumah dinas yang memiliki keberagaman gaya di dalamnya. Pengaruh gaya terlihat dari elemen arsitektural penyusun pada ruang dalam rumah dinas. Tujuan dilakukanya studi ini adalah untuk menganalisis dan mengidentifikasi elemen arsitektural yang berada di ruang dalam rumah dinas Pabrik Gula Kremboong. Metode yang digunakan adalah deskriptif kualitatif dengan pendekatan historis dan tipologi. Hasil studi berupa pengelompokkan elemen arsitektural ruang dalam berdasarkan variabel, yaitu plafon, dinding, pintu dan lantai. Elemen arsitektural ruang dalam mendapat pengaruh gaya Art and Craft, Art Nouveau dan Niew Bouwen. ABSTRACT Dutch colonization has a considerable influence on the nation of Indonesia, one of them is on the field of architecture and sugar industry. The development of sugar factory at Dutch colonial periods shows the unique shape of building. Kremboong is one of sugar factory that still survive and operate in district of Sidoarjo. In the area of Kremboong sugar factory is not only building of production and office, but also official residence which has a diversity of styles of architecture in it. Styles that affect the building look from architectural elements that arrange the interior space of official residence. The purpose of this study is to analyze and identify the architectural element of interior official residence in Kremboong sugar factory. The method used is a qualitative descriptive with historical and typology approach. The results of these study are the grouping of interior architectural elements based on variables, which is ceilings, walls, doors and floors. The results of these studies form the grouping of architectural elements in the space based on the variables, which is ceilings, walls, doors and floors. Interior architectural elements influenced by style of Art and Craft, Art Nouveau and Niew Bouwen.

Tasarım eğitiminde form oluşturma süreci, pek çok farklı alanın esin kaynağı olarak kullanılabildiği bir süreçtir. Bu alanlardan biri olan biyomimikri, doğa ile tasarımı bir araya getirmektedir. Doğadan esinlenilerek tasarlanan çalışmaların bazılarında doğal formların birebir kopyalanarak sonuç ürüne aktarıldığı görülmüştür. Bu yaklaşımla ortaya çıkan ürünler ise doğanın birer taklidi olmaktadır. Tasarım sürecinde doğal formlardan doğayı taklit etmeden de esinlenmek mümkün olabilir. Bununla birlikte, doğadan esinlenerek tasarlamak, tasarım eğitiminde kullanılan yaratıcı yaklaşımlardan biridir. Doğadaki formların soyutlanarak tasarıma aktarılması eğitimde faydalı bir pratik olmaktadır. Bu bağlamda çalışmada, doğadaki formlardan esinlenen tasarım anlayışının sonuç ürününe yansıması konusu örnekler üzerinden araştırılmış ve tasarım eğitimindeki yansımaları incelenmiştir. Nitel olarak ele alınan araştırma için veriler, veri tabanı tarama yöntemi ile toplanmıştır. Araştırma sonucunda, biyomimetrik tasarım anlayışında, doğadaki formlardan esinlenilerek yeni ve özgün formlar oluşturulabildiği ve bu yaklaşımının tasarım eğitimine fayda sağladığı tespit edilmiştir. ABSTRACT Design education is inspired by many different areas in the form creation process. Biomimicry, one of these areas, combines nature and design. In some nature-inspired works, it was seen natural forms were copied and directly transferred to the final design. The products that emerge with this approach are imitations of nature. In the design process, it is possible to be inspired by natural forms without imitating nature. Besides, the concept of design inspired by nature is one of the creative approaches used in design education. Designing by abstracting forms in nature is a beneficial practice in education. In this context, designs inspired by nature were investigated through examples, and the reflections of the approach in design education were examined. The research is qualitative and the data were collected by database scanning method. As a result of the study, it was determined that new and original forms could be created by inspiring from nature in the biomimetic design and this approach is beneficial for design education.

Until 1993 there were conducted first excavations in what promised to be the site of one of the most important buildings of Petra, the stunning capital of the Nabataean kingdom. Its construction, whose initiation century BC, several changes, reconstructions and landslides along its more than five hundred years of operation. But despite this still unknown for certain functions for which it was designed and that, regardless of the construction elements, materials have been located just still less inscriptions that shed some light on a mystery that will try here exhibit various theories that enable closer to resolution.

Physical models are often understood as "haptic," aiding the designer to imagine actual materials and bodily experience. Computer models, on the other hand, are often understood as "retinal," aiding the designer to imagine the visual appearance of new worlds (Pallasmaa, 1996 / 2005, pp. 12-13). A strong argument can be made that the partisan duality of haptic and retinal is a false choice. First, drawings and models are representational abstractions, or virtual artifacts. For this reason, a hand-produced artifact does not necessarily anticipate a built environment more or less accurately than a computer-produced one. Second, the effect of the computer has been to accentuate the virtuality in actual things (Picon, 2004, p. 115). This influence explains the sustained attention on sensory "effect" in architecture and interiors. A clear example-produced before the computer-is the Barcelona Pavilion by Mies van der Rohe. As Robin Evans (1990 / 1997) has explained, "We believe that Mies's buildings exhibit a sublime rationality because so many people have reported seeing it there. These sightings are only rumors. If Mies adhered to any logic, it was the logic of appearance. His buildings aim at effect" (p. 244). According to Evans, the pavilion is logical in appearance but illogical in construction. Furthermore, the retinal tricks of the pavilion do not construct a metaphysical truth but sharpen our haptic perceptions. It is a productively counterintuitive artifact, one that points a way to work between the actual and the virtual. For a 10-week interior architecture studio, the work of Mies van der Rohe helped students imagine a renewed future for two offices in a commercial building. Although the existing building is "Miesian" in language, Mies served as a model to rethink the logical-illogical and actual-virtual divides. His work guided students from lighting and furniture, through surfaces, to the precise creation of interior effects. The first office was designed through the construction of a large physical model. The abstraction of materials was highly discouraged, and colors and patterns were printed and applied to surfaces. In this case, physical labor slows down the manipulation of materials, particularly the location and pattern of joints. However, sheets of acrylic quickly and effectively simulate the visual complexity of transparency, translucency and reflectivity. In a reversal of traditional wisdom, it is also much easier to manipulate daylighting and even anticipate effects of downlighting. The second office was designed through the construction of a computer model. While a physical model slows down material choice, the computer model has its own "thickness." In fact, the sheer number of options limits any real understanding of potential lighting effects. By enhancing effects first discovered in the physical model, however, the computer allowed students to quickly augment designed lightning, test a range of furniture and adjust the color and texture of materials. In another reversal of doctrine, it proved far easier to adjust the pattern of materials based on constructional logic using the computer. Working between a physical and computer model proved a practical method to synthesize lighting, furniture and surfaces to precisely create interior effects. Moreover, by taking the logic of appearance seriously, students proposed a range of extra-visual effects including parallax, material deception and a contrast between warm and cool light. In this way, false choices between haptic-retinal, logical-illogical and actual-virtual are worked between with rigor.

A cura di Viviana Saitto Cos'è un interno urbano? Chi si avvicina a questo tema per trovare una definizione chiara o univoca scoprirà un ampio panorama di argomentazioni e casistiche con le quali numerosi studiosi e progettisti hanno risposto alla domanda. Gli interni urbani estendono agli spazi della città concetti teorici, progettuali e di comfort generalmente riferiti agli spazi interni dell'architettura, che permettono di leggere le cavità generate dalle piazze e dalle strade come stanze e corridoi a cielo aperto: spazi progettati come consapevole risposta al bisogno di abitare che l'uomo ha da sempre; luoghi identitari e dell'incontro, caratterizzati da una qualità figurale e materica strettamente connessa alle misure umane e alla capacità che la forma spaziale ha di radunare e di accogliere. Comune a tali luoghi, seppure pensati in epoche diverse e secondo stili e principi non sempre analoghi, è la coerente progettazione architettonica degli elementi qualitativi che li conformano, riassumibili nelle quattro macrocategorie di Invaso spaziale, Margini orizzontali, Margini verticali, Attrezzature e arredo urbano. È grazie a questi elementi che l'interno urbano diventa il luogo identitario e accogliente della vita civile che ogni città può e deve offrire.

http://vimeo.com/channels/staffwork

This paper explores the relationship between occupant, thought and interior as depicted in post millennial cinema.  The topic of architecture and film has a long and rich history, the more specific topic of the interior in film is a less studied but no less interesting field. Production design and scenography in the hands of the director is used to create another key character(s). The interior space acts as setting but also as repository of personality, history, memory and potential. In many situations it is what fills out the personality of the character and generates Identity. The space defines behaviour and patterns of occupation. By studying and analyzing particular spaces in film it is possible to elicit an understanding that is beyond that understood from a real building. We can inhabit the space with both body and mind.  Film allows us to layer in the specific inhabitation and experience of a particular set of users that is unique and generally unavailable in other situations.

The paper will focus on Michael Haneke’s Amour, using its familiar but discomforting domestic situation as a basis for comparison of a selection of filmed interior spaces, from the bathroom to the spaceship. The cinematic interior  provides a varied cultural reference point for our place in the 21st century.

It utilises the ideas of Bakhtin to frame notions of continuously changing cultural dialogue and the identification of key elements within the interior that help form that cultural memory and meaning

We create interiors everyday, either speculative when we work with our students or real, in
practice. We observe, decode the existing, anticipate what might be possible and then
construct new layers of meaning. Yet far from being just a material translation of our living
needs, interiors are guardians of stories, memories and relationships.
More often than not interiors, if not the architecture that frames them are altered, hidden,
closed off – they become invisible, subtracted from our vision and perception. In this paper
we are interested in these hidden and erased spaces, and the processes of disentanglement
that can assert the agency of the interior within an investigative practice.
Firstly we will establish the contexts for this discussion, setting out our theoretical position,
and introducing the metaphor of the palimpsest and the concept of the gaze to underpin our
approach. Further we will look at existing practices for documenting and interpreting hidden
and concealed spaces and events.
Then we will address the opportunities offered by digital technologies that can make visible
the complexity of interior environments, and enable us to imagine and explore new
configurations and future possibilities for these ‘lost’ spaces.

Analysing and understanding the historic environment gives us the possibility to deeply grasp the inseparable relations between form, structure, and material, which gives historic buildings a unique character and defines architectural identity. But understanding all these underlying issues needs a critical and active engagement with the built environment. Evaluating the historic environment with an intuitive approach can feed the design process but it may also lead to the undervaluation of certain issues, which may in fact be very important in terms of cultural significance. This paper aims to develop a framework to analyse historic buildings by focusing on space more than the architectural being. Therefore, it proposes to analyse the historic environment with a continuous approach starting from urban scale to interior scale. The use of such a framework aims to structure the analysis of the historic environment with a concentric approach on human experience and it targets to feed the adaptive reuse process and related design activities.

Much of the contemporary writing on urban public space features a sort of narrative of loss. This loss has been connected with the rising privatization of collective places. Whether privatization has been caused by the death of public life, the disappearance of a public sphere, or the lack of public space properly designed, it clearly involves the people's disengagement towards this kind of space. Everybody's space seems to have become nobody's place. For this reason, since the Sixties, a consistent part of the urbanistic culture has tried to develop adequate strategies to get people to appropriate the public space and live the city again. A task that, however, cannot be accomplished at such a big scale, because appropriation does not relate to the space property status, but to the possibility the individual has to feel himself part of that place, thanks to a constant process of bodily identification and orientation. Thus, through a small selection of case studies, the paper tries to identify different strategies to design responsive public spaces even beyond the traditional digital imaginary.

Prima edizione italiana Novembre 2015 © LetteraVentidue Edizioni © Testi e immagini: i rispettivi autori I testi alle pagine 93, 183, 272, 361, 454, 531, 598, 683, 770, 854 sono di Lorenzo Fabian e Mauro Marzo Questo ebook contiene materiale protetto da copyright e non può essere copiato, riprodotto, trasferito, distribuito, noleggiato, licenziato o trasmesso in pubblico, o utilizzato in alcun altro modo ad eccezione di quanto è stato speciicamente autorizzato dall'editore, ai termini e alle condizioni alle quali è stato acquistato o da quanto esplicitamente previsto dalla legge applicabile. Qualsiasi distribuzione o fruizione non autorizzata di questo testo così come l'alterazione delle informazioni elettroniche sul regime dei diritti costituisce una violazione dei diritti dell'editore e dell'autore e sarà sanzionata civilmente e penalmente secondo quanto previsto dalla Legge 633/1941 e successive modiiche. Questo ebook non potrà in alcun modo essere oggetto di scambio, commercio, prestito, rivendita, acquisto rateale o altrimenti diffuso senza il preventivo consenso scritto dell'editore. In caso di consenso, tale ebook non potrà avere alcuna forma diversa da quella in cui l'opera è stata pubblicata e le condizioni incluse alla presente dovranno essere imposte anche al fruitore successivo.