Following on from the previous dialogue during the 1st Conference on Interiors and Interior Architecture in 2014, this year's conference aims to provoke further conversations that reflect multiple perspectives on the interior. This paper contains papers presented during the 2018 [in]hark Conference that reflect multiple perspectives on interiority that can construct different interior histories.
HOW SHOULD WE SPEAK OF INTERIORS?
FINDING RECIPES FOR INTERIORITY Paramita Atmodiwirjo *
In the same way, the recipes for interiority require the precise knowledge from other disciplines to address every aspect incorporated into the interior system. But at the same time, we must understand interiority by looking outward – by opening up possibilities from other perspectives, by understanding what other disciplines have to offer to contribute to the understanding of that internal system.
INTERIOR, IDEOLOGY AND ALTERNATIVES FOR THE PUBLIC INTERIOR
Its “freedom” precisely reflected the characterization of the territorial interior in which it took place. The functional and operational congruence of this interior and its environment was consistent with his ambition, and representative of the connection of the goals of laissez-faire capitalism with the patterns and effects of American urbanization.
BETWEEN REALITY AND DESIRE: THE MODEL AS PERFORMANCE Lawrence Wallen * , Thea Brejzek
PAPERS
MLEBU METU ENDI?
AMBIGUITY IN ENTERING SPACE IN JAVA Johannes Adiyanto 1*
The understanding of that sentence speaks of 'the unity between creation and creator, two become one, there are two but in one'. Supriyadi said that Kelir/Geber is the 'border' between the bright side and the dark side.
PHYSICAL MODELS: A METHODOLOGY TO CAPTURE THE PHYSICAL AND IMMATERIAL MECHANISM OF INTERIOR ENVIRONMENTS
The student chooses the orientation of the model depending on the main directions of the geographical location. Based on the specifics of the project proposal, students determine the correct orientation of the model.
READING STILLNESS IN SPACE OF MOVEMENTS Enira Arvanda 1*
Peter Merriman has stated that "the experience of the traveler has often become associated with increasing levels of comfort and speed, as well as with changing relationships and relations between the traveler and the passage or transition (landscape)" (Adey, Bissell, McCormack, & Merriman, 2012). Passengers also spend some time at the station before departure or after arrival, which is often generalized as "waiting". The event of waiting consists of hybrid activity or inactivity and is rich in engagements, whether spatial or social.
URBAN INTERIORITY AS COLLECTIVE INDIVIDUATION Suzie Attiwill 1*
He replied that he was referring not only to a psychological definition of interiority, but also "cognitive and emotional" as well as social. The provocation to move to an idea of urban interiority as collective individuation is not a call to 'make more community' - the dogma of the urban designer criticized by Sennett.
PROSTHETICS AND INTERIORITY Markus Berger 1*
The idea of the architectural monument as embodiment, as embodiment of the reference to the human body for proportional and figurative authority, was, we are led to believe, abandoned with the collapse of the classical tradition and the birth of a technologically dependent architecture. Vidler, 1990). In his book The Eyes of the Skin: Architecture and the Senses, Pallasmaa discusses the bodily experience of space and the role of the five senses in communicating a multi-sensory perceptual experience. Descartes' understanding of human perception is based on the idea of man as a machine and his ability to generate sensation, imagination, memory and body movements.
Thomas Reid's 18th-century Essays on the Intellectual Powers of Man, one of the most important contributions to the philosophy of common sense, emphasizes the interconnections of perception, the multiple senses, and the creation of experience. Most military and industrial prosthetics research seeks to improve or exceed the capabilities of the human body.
MODELLING INTERIORITY: ENCOUNTERING THE MODEL AS A SITE OF SPECULATION & IMMINENCE
The space of the model is liminal and temporary; it is in a state of flux between the material and cognitive now and the phenomenological then. It is this valuable condition, of the critical and reflective, that both defines and situates the model's 'being'. The valuable state of 'smallness' within the model is here an important element in the exploration of the model for design.
As Lawson (2004, p. 447) further argues, it is this scalar reduction that allows the model to be considered and examined within the designer's frame of reference, “the whole”. It is through these studies and effective production methods that the interiority of the model can be experienced as a distinct typology and a threatening mechanism.
PROCESSES OF REGULATION, PROTECTION, AND SURVEILLANCE
THE CASE OF URBAN INTERIORITY IN MEDELLÍN Christina Deluchi 1*
The demarcation of this unique territory is implicit in the display of criminal and state power. The reliance on the police to instill "trust" in public spaces has resulted in the reconfiguration of security practices in a process of invisibility. The imposition of security rent and the excess in the employment of "protection services" supported the territorial designation of power (Moncada, 2016, pp. 231/2).
The interior in Medellín therefore acts as an urban interior, a quiet territory founded on capture where interior space is an active agent in dispersing the psychological effects of security and violence. Medellín's transformation does not replace security systems in contemporary urban developments in the city as architectural space remains a weapon in the urban warfare of the new age.
THE IMPORTANCE OF TYPE AND SPECIFICATION OF DOOR ON BIOSAFETY LABORATORY
- ROOMS IN A BIOSAFETY LABORATORY
- DOORS MATERIAL
- TYPE OF DOOR OPENING
- VISION PANEL
Due to the deeper clearance of the room and minimal contamination than outside the laboratory (in-stem cell lab research), the interior area is protected. On this side, the revolving door type door receiver must be used. On the other hand, the use of the door swing gap is more effective and can be maximized in the biosafety laboratory suite (Figure 18,19).
However, there are some setbacks on the safety side of a scientist working in a lab. The layout should be reconsidered because it is difficult for the security guard to look inside the lab.
INCOMPLETE DEVICES FOR INTERIOR PRODUCTION Anthony Fryatt 1* , Roger Kemp 2
Elena Enrica Giunta (2009) states that "The interior design discipline is encouraged to expand its territories, to begin to consider urban interiors as areas of application. The architectural practice MOTOElastico is a convincing point of reference here in their observation of a 'borrowed city', the private use of public space in Seoul Each of the works contains interwoven stories and spatial moments that emerge from the collaborative design process Making Distance.
Tested through the appropriation and occupation of a ubiquitous utilitarian environment (i.e. the back of a three-ton truck), this mobile space intentionally placed the interior in the public domain – a changing urban context. The work offers an expanded view that aligns with the view through the gallery window and to other parts of the gallery.
RELATIONAL ENCOUNTERS: MEANING-MAKING OF THE INTANGIBLE THROUGH EMOTIONAL ATTACHMENT
These can be important for considerations in spatial design and understanding the habitation process. The method of creating this framework consists in the connection between defined and undefined variables. This intangible quality of emotional connection is made tangible through the narration of the experience.
The process of giving meaning to the intangible, through emotional attachment, could consequently be mapped. What is the implication then for spatial design and the understanding of the interior and interiors.
IMPLEMENTATION OF UNIVERSAL DESIGN APPLICATION FOR HEARING DISABILITIES IN CAMPUS ENVIRONMENT
- Equitable use; Design that is useful and marketable to persons with diverse abilities
- Principle 2: Flexibility in use; Design that accommodates a wide range of individual preferences and abilities
- Perceptible information; Design that communicates necessary information effectively to the user, regardless of ambient conditions or the user’s sensory abilities
- Tolerance for error ; Design that minimizes hazards and the adverse consequences of accidental or unintended actions
- Low physical effort ; Design that can be used efficiently and comfortably and with a minimum of fatigue
The classification aims to discover universal design factors including parameter classification. Universal design factors that include optimal (3) and suboptimal (2) classification are factors that have problems in the application of universal design. Circulation access to the lecture hall including sub-optimal classification (2) because the road width is narrowed (all Figure 8) does not meet universal design standards 1, 5 and 6.
Pathways must be at least 8' wide, also no visual signs/marks that it does not meet universal design standard the 4th. Innovating assistive technology access for hearing impaired students with a principles of universal design approach.
SPATIAL SEQUENCE MANNER IN DEFINING LOCI SACRI: A STUDY ON BAHRUL ULUM MOSQUE’S ARCHITECTURAL ELEMENTS
- THE SACRED ENCLOSURE
- GEOMETRICS FORMS: SQUARE CONFIGURATION
- ARCHITECTURAL ELEMENTS: PATH-SPACE RELATIONSHIPS
- ARCHETYPAL ELEMENTS
- ATMOSPHERIC AMBIGUITIES
Both axes intersect right in the middle of the main hall, which can be accessed from the four sides of the mosque. The Ummah usually does it in the wudu room on the south side of the main hall. The three paths not only reach one point to another, but also 'invite' the ummah to delve into each path.
The differences in lighting occur from the outside to the inside of the main hall. They are visible on the outside where the maximum view of the mosque building is provided.
TERRITORY INVASION
The previous section explains the city through its psychological environment that is relevant to its residents. The place-based aspect of the story offers insight into the spatiality and territoriality aspect of the city. Walking was practiced primarily to provide a clear explanation of the behavior patterns on the street.
Detailed map of current entertainment actors (Left) & past entertainment actors (Right). This phenomenon leads to the creation of a new landmark in the city as shown in Figure 10.
A MATERIAL INTERVENTION
STORIES OF THE INTERIOR NARRATED THROUGH MATERIAL REALITY
There is a new mosaic inlay on the floor, which indicates the origin and year of the building as a signpost to the past. The smell and patina of the Great Danes from old washbacks and whiskey barrels only added to the appeal. Many stories are buried deep within you, hidden from the viewer's eyes, but they are there.
Many have stories to tell of past lives, and forgotten customs, visible in the layered materials of the site. It is related to perception and intuition, the innate understanding of the material, and is equal to the theory of things.
VISUAL NARRATIVE AND INTERIORITY: INTERIOR THINKING ROOTED IN THE SCENOGRAPHIC METHOD
These four conditions drive the creation of the mise-en-scene; and is implicit in the creation of experiences. Where and when is the spatiotemporal continuum, a series of mise-en-scenes that observe the actor's engagement in space and time. Because the continuum is composed of several mise-en-scenes, this paradox is the high point of the method, where the process product emerges as output.
The composition of the mise-en-scene was a means of incorporating the aspect of scale and time into the sequence of interactions. A further study could concern the manner of the causality of content and its use in the process.
NARRATING STAGE DESIGN
Here, the representational system in "Ariah the Musical" is presented by a site-specific, followed by the design of the stage and other elements of design. Independence became the narrative from the beginning, followed by other elements in the design of the stage itself. In Ariah stage, elements of design are articulated in the scale of the stage, shape, texture and lighting.
Standing alone in the middle of the stage, Ariah sings and dances, followed by other dancers. In Ariah the Musical, spatial experience is presented through a systematic form of visual representation, starting from the location of the performance.
DWELLING UNDER DURESS Terry Meade 1*
They are also words which enable the identification of the particular interior which is the focus of this article. Several of the words carry a hint of malignant and oppressive interiority, formed by some form of forced and possibly violent separation. The background for this was the signing of the Oslo Accords between Israelis and Palestinians in 1995.
In this agreement, the Occupied Palestinian Territories of the West Bank were divided into Areas A, B and C, creating a series of lines and borders that are often invisible, but each with its own specific rules and regulations (McGreal, 2005). The living room was designated by the army as "Area A", after the part of the occupied territories controlled by the Palestinians, and all three generations of the Bashirs, from 81-year-old Zanah to her five-year-old granddaughter, were told that they were confined there most of the night and sometimes for much of of the day.