Interior architecture

Interior Architecture brought together eight very different artists who employed a range of processes and materials in their exploration of the body in space. What was refreshing about this exhibition was the fact that architecture was examined in relation to the lived body of the artist. Since contemporary discussions about architecture tend to either explore its relationship to media or (more concretely) the built versus the natural environment, it was significant that each artist instead examined architecture in the context of their personal experience of space

Library spaces designed with students in mind: an evaluation study of University of Queensland libraries at St Lucia campus

This paper identifies the design qualities of library spaces that matter the most foruniversity students. Drawing upon the data from an online survey made available to students from the University of Queensland, Australia, a number of design-related considerations are examined including: acoustics, furniture, interior architecture, lighting, and thermal comfort. 1505 students completed the survey, which aimed to assess how effective and responsive library spaces are in meeting students’ needs and supporting their learning experiences. The survey included ‘Likert scale questions’ requiring students to rate their levels of satisfaction with different aspects of library spaces and ‘open-ended questions’ asking students to elucidate their ratings. Findings revealed that the qualities of physical spaces were ranked as the third mostsignificant category of reasons accounting for students’ preference for certain library buildings over others, and for their frequency of visit (behind “location” of the library building and then “access to books and course-related materials or resources”). Design-related themes which emerged from qualitative analysis highlighted students’ awareness of the impacts that the design of spaces and furniture can have on their learning experiences. The study concludes with recommendations informed by students’ expectations, needs and preferences in relation to the qualities and features of library spaces.

Hagia Sofia (532–537AD) : a study of centrality, interiority and transcendence in architecture

The study by Robin Evans of the centralised churches of the Renaissance explores the idea of centrality, and argues that architecture does not simply invest in one geometric centre. Evans’s analysis makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. In a footnote, he suggests that architecture in its singular artistic physicality ‘suspends our disbelief in the ideal’, offering a world that does not reflect culture, in all its fullness, but rather supplements culture’s incompleteness. This idea reiterates psychoanalytic theories of Freud and Kristeva that qualify the notion of transcendence with the psychoanalytic concept of transference. Architecture, like art, is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order and wholeness. In this essay, I turn to Hagia Sofia (532–537AD) in present-day Istanbul, a church that marks the beginning of a Christian empire relocated to Constantinople, East of Rome, and built one thousand years before the Renaissance churches discussed by Evans. Hagia Sofia is a building that symbolises the shift towards a domed centralised form, away from a basilica form, and a building that develops an innovative interior. Hagia Sofia is usually observed and described in a devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. Its influence on Islamic mosque design has been noted. What rôle does Hagia Sofia play in the kind of artistic mastery that Evans is proposing, and what other dimensions of centrality and transcendence in architecture are offered by a study of Hagia Sofia?

The idea of Rome in Fascist art and architecture : the decorative program of the Palazzo dei Congressi in EUR, Rome

This paper engages with the notion of interspace by examining an understudied and unpublished cycle of mosaics and frescoes destined for the main hall of the Palazzo dei Congressi in Rome’s south-western suburb of EUR, a major building project by Roman architect Adalberto Libera. It first provides a socio-historical and aesthetic background to the building of EUR as Rome’s international exposition of 1942, which aimed to celebrate the achievements of Italian (and fascist) civilisation. It then focuses on the concept of Romanità (or Roman-ness) as a mythical and idealised past that was engaged on a number of levels as a teleological foundation for the advent (and eternity) of fascist rule. This past was adopted, interpreted and made manifest at the urban scale in the master plan of EUR, at the architectural scale in the buildings and at the interior scale in the decorative programs incorporated in each. It argues that the Palazzo dei Congressi allows us to gain further insight into the notion of interspace as it exemplifies this on a number of physical, symbolic and temporal levels. Physically, in the urban space, architectural form and interiors; symbolically, in the content and compositional layout of the mosaics; and temporally, in the use of historical elision and conflation between mythical pasts and idealised present.

Kerstin Thompson Architects : exploring affect in interior's sticky design process

Physical things influence emotions and feelings and can contribute to our sense that buildings and rooms are appropriately designed for their purposes. The sense of appropriateness extends, and is often noticed, through the pre-emotive effect of a structure’s shapes and dimensions. In interior discourse the relationship between the physical and pre-emotive is indicated with various terms (such as “affect”) and the design process of achieving appropriateness in objects and affect can be termed “stickiness”. In this paper we extend Sara Ahmed’s characterization of affect as a sticky connective element, which allows objects and ideas to generate attachments with us. And we ask, how can we understand interior practices and design processes through the concept of affect – as sticky? We explore this question first by discussing affect’s stickiness, and second, by an empirical study of the design process of Kerstin Thompson’s Monash University Museum of Art. The specific project involves alternating design methods that Thompson uses: an intuitive hunch-driven process, and a more defined literary-driven process. Our interest is to consider how she shifts from one to the other so we can better understand interior practice and its design process through the concept of affect. Finally, we conclude by addressing how the study of affect contributes to our understanding of interior practice and its design process, and more significantly, how, in exchange, might interior practice offer to recent theories of affect. Interior practice as changeable, spatio-temporal and material processes offer potentially fertile ground to explore affect as mediating layer, bridging human and non-human forces.