bluuebunny/crossref_metadata_2025 huggingface dataset:
The Junction of Interior Territories:
Authors: Roshko Tijen
Published: December 2019

This study focuses on the Chinese community and their shop-houses as the linking element between their unique culture and their identity within the floating village of Chong Kneas, Cambodia. The domestic built environments of the Chinese community are analysed within a theoretical framework which incorporates three principal elements, identification with space, sense of belonging, and cultural identity. This vernacular study applies interdisciplinary methodology to examine Chinese shop-house spatial development with a particular emphasis on interior territorial intersections, and also merges theoretical and experimental approaches in order to develop a deeper understanding of the junction of interior territories where the private and public realms intersect.
Editorial
Authors: Franz Jill , Smith Dianne
Published: December 2019

When a journal of interior design/interior architecture comes into being what does it mean for its related field and those with whom it intersects? In Bourdieu’s terms, a field is a domain of meaning in which its constituent players and acts align to give it definition and generate practices that become the evolving rules of the game that continue to be contested. With the appointment of a new executive editor and editorial board in 2008, the 2007 IDEA Journal marks a point of transition and, as such, provides an opportunity to reflect on the evolution of the journal over the past years, its contribution to the field of interior design/interior architecture, and its potential to continue to inform and transform the discipline.
Drawing Dialogues:
Authors: Crowther Philip
Published: December 2019

This paper offers an alternative view of drawing activities within an educational design studio environment. It analyses drawing tasks using the theoretical propositions?of transformative learning, educational dialogues, and conversational frameworks. Such analysis highlights the possibilities for exploring true visual communication through drawing dialogues. It describes an action research project in which students and staff engage in a range of drawing activities in order to generate deeper visual conversations. The paper concludes by proposing that the theories of conversational and participatory education can be applied through the drawing activities of a design studio to generate and promote drawing dialogues.
Sharing Understanding of Assessment Criteria in Design Project Tutorials:
Authors: Thomson Sheona
Published: December 2019

This paper discusses and develops several findings out of a small action research project conducted in the context of a first year design studio. The basis for the project arose out of feedback that design critique is ambiguous, subjective and largely unqualified from the student point of view. While we implement criterion-referenced assessment (CRA) in design units, it is a struggle to identify and clearly express criteria and standards for design projects. Tutors may also struggle, as they relate their own frames of reference for design quality to the order of a CRA matrix. If the academics leading design units have difficulty with defining and agreeing on objectives and the standards against which student achievement
is assessed, then where does that leave the student? The paper proposes framing a space of shared understanding by incorporating a dialogical address to criteria and standards into teaching practices, cumulatively expanding this discussion into more pervasive operational and developmental terms that embrace both the procedural and the (often delightful and surprising) declarative knowledge of our students.
Infected Interiors:
Authors: Brooker Graeme
Published: December 2019

Remodelling existing buildings is the process of significantly changing a host building or structure to accommodate new use. It differs to practices such as preservation and conservation in that it is the process of substantially altering an existing building. Remodelling could be described as a process that encourages a continuous approach to the adaptation of an enclosure or a site. The transformation of an existing structure is a procedure that initially consists of reading the site: a course of action that ensures solid or concealed matter such as the structure or the narrative of the building can be exposed and then developed as potential generators for the modification process - a course of action that Rodolfo Machado describes as: ‘... a process of providing a balance between the past and the future’ (Machado, 1976, p. 27).
This is a paper about the transformation of existing buildings where the history or narrative of the place that is to be reused is complicated by political, ideological, or an odious previous function. A site or building is described as contaminated when its past is dominated by a previous use that is disagreeable or objectionable. The edification or censorship of these infections is a complex matter for the designer to consider in the remodelling process. This paper examines three case studies where the designer has analysed and used the contamination of the building as a generator for remodelling. It suggests that there are three general approaches when using contamination as a starting point when significantly altering the interiors of infected existing buildings.
Jewish Museum of Berlin:
Authors: Hannah Dorita
Published: December 2019

Architecture provides the site for this exploration of the relationship between museums and performance, which focuses on the Jewish Museum of Berlin. Between 1999 and 2001 the Jewish Museum operated solely as a venue for architectural tours. Rather than housing static objects it became a location where the experiential body on the move was central to its existence. This was particularly apparent in June 1999 when the Sasha Waltz Dance Company performed ‘Dialogue ’99 II’ within the museum as a response to, and exploration of, the provocative and haunting interior architecture of Daniel Libeskind. This paper examines the interiority of the museum as a performative site activated by dancing and spectatorial bodies. It posits that its ‘emptiness’ held a greater plenitude for memorialising, constituting a radical moment for museum architecture.
A Design Workshop for Youth ‘At Risk’
Authors: Jerome Kristine , Franz Jill , Smith Dianne
Published: December 2019

This paper describes an award winning program offered to homeless youth in 2001. It details the key learning and teaching approaches that underpinned its success. In the description it highlights the potential of embracing ‘design’ as a framework for facilitating change in youth deemed ‘at risk’ of homelessness. Furthermore, it offers an opportunity to address the significance of design education in community programs.
60 A Personal (Pro)position:
Authors: Lawrence Jane , Cys Joanne
Published: December 2019

The paper will describe an Interior Architecture studio entitled ‘South’ that aimed to develop students’ idiosyncratic design positions. The intention was to establish an individual and regional theoretical approach to underpin and influence a design methodology. This was achieved through a series of personalised design projects which focussed students’ design response to the cultural, social and economic possibilities that characterise their home- state of South Australia. The paper will discuss how the unique projects responded to ethical, political, environmental, cultural and social considerations of occupation and place and resisted stylistic design responses that are often the result of globalisation.
The Environmental Experience of Shopping with Cognitive Impairment
Authors: Smith Dianne , Adkins Barbara
Published: December 2019

The environmental experience of shopping was used as a vehicle to research the experience of complex or non-residential environments for people with cognitive impairment. Cognitive impairment is defined here as a condition by which an individual’s cognitive processes have become altered for some reason. Such conditions may result, for example, from acquired brain injury, dementia, and/or substance abuse. The objective of the study was to ascertain through the investigation (a) the experience of shopping from the person with cognitive impairment’s perspective; (b) the impact or the role of the physical environment
in that experience; and (c) the implications for designers of public places such as interior designers, architects, and landscape architects. Therefore, an ethnographic investigation?of four individuals’ experiences was undertaken by accompanying them on a shopping expedition to an environment they nominated as being very familiar to them. The findings highlight the role of environmental mediation in the experience of the person with cognitive impairment. Spatial layout, environmental containment, spatial positioning, environmental triggers, and signage are all revealed to influence the environmental experience. In addition, spatial understanding, environmental constancy, environmental stimulation, and a sense-of- knowing were also revealed to be important. The participants with cognitive impairment exist in a state of continual and conscious negotiation when in public spaces. The environment sometimes acted as a facilitator in order to help the participant cope with the situation and achieve goals, while at other times the physical environment was shown to be limiting or obstructive. This information is important for designers of public spaces due to the increasing numbers of people with cognitive impairment using such spaces.
Chaos, Territory, Art. Deleuze and the Framing of the Earth
Authors: Grosz Elizabeth
Published: December 2019

This paper is about the ontology, the materiality and logical structure of art. While I am not trained in the visual arts or architecture, nonetheless I see there are many points of overlap, regions of co-occupation, that concern art and philosophy, and it is these shared concerns that I want to explore. I want to discuss the ‘origins’ of art and architecture, but not the historical, evolutionary or material origins of art – an origin confirmable by some kind of material evidence or research – but rather, the conceptual origins of art, what concepts art entails, assumes and elaborates. These of course are linked to historical, evolutionary and material forces, but are nevertheless conceptually, that is to say, metaphysically or ontologically separable from them. Art, according to Deleuze, does not produce concepts, though it does address problems and provocations. It produces sensations, affects, intensities, as its mode of addressing problems, which sometimes align with and link to concepts, the object of philosophical production, the way philosophy deals with problems. Thus philosophy may have a place, not in assessing art, but in addressing the same provocations or incitements to production as art faces, through different means and with different effects and consequences.
Rhetoric of Landscape Architecture and Interior Design Discourses
Authors: Lawson Gill , Barbara Adkins
Published: December 2019

The rhetoric of the pedagogic discourses of landscape architectural students and interior design students is described as part of a doctoral study undertaken to document practices and orientations prior to cross-disciplinary collaboration. We draw on the theoretical framework of Basil Bernstein, an educational sociologist, and the rhetorical method of Kenneth Burke, a literary dramatist, to study the grammars of ‘landscape’ representation employed within these disciplinary examples. We investigate how prepared final year students are for working in a cross-disciplinary manner. The discursive interactions of their work, as illustrated by four examples of drawn images and written text, are described. Our findings suggest that we need to concern ourselves with our pedagogic discourse that brings uniqueness and value to our disciplines, alongside shared discourses between disciplines.
Interior Bowers
Authors: Taylor Mark , Preston Julieanna
Published: December 2019

I know a rural bedroom with a paper representing a trellis and Noisette roses climbing over it; the carpet is shades of green without any pattern, and has only a narrow border of Noisette roses; the bouquets, powdered on the chintzs, match, and outside the window a spreading bush of the same dear old-fashioned rose blooms three parts of the year. That is a bower indeed, as well as a bedroom (Barker, 1878, p. 11).
In Bedroom and Boudoir (1878) Lady Barker describes a number of bedrooms and boudoirs furnished with ornamental linings derived from the natural landscape. As the most private, internal and intimate interior spaces in the Victorian home, such spaces are likened to bowers - clearings in the forest, retreats or nests. Surrounded by surfaces composed of vegetal patterns and colours, the boudoir shows signs of reclaiming vestiges of the outside, not as the manicured garden or the cultivated landscape, but as foreign wilderness.
Barker’s remarks critique the notion of the interior as tectonically distinct from the exterior. In contrast, the room is shown to be derivative of the exterior through its use of ornament, furnishings and linings.
This paper examines the relationship between boudoir and bower as established by Lady Barker. It then traces the physical description through theoretical positions of the time on the relation of ornament and nature, in order to position the boudoir as an interior space of decorative and tactile envelopment.
The Potential of the Window in ‘Framing’ Landscape Meaning
Authors: Franz Jill
Published: December 2019

frame. 1. v.t. & i. Shape, direct, dispose, adapt, fit, devise, express, articulate, conceive, plot. In this paper a preliminary report on the study of landscape meaning and how it is shaped, expressed and so on by windows is described. Landscape is conveyed as being understood in at least four different ways: perceptually, politically, experientially and existentially. The framing quality of windows is shown to be complicit in these understandings. Using a contextual and inter-textual approach, a case for the consideration of the philosophical possibility of framing is presented. Through the model of linguistics used in a hermeneutic way, it is shown in this study that ‘aesthetic experience is not a solitary monologue... but an integral part of a shared discourse concerning the realisation of meaning’ (Heywood & Sandywell, 1999, p. 10).
Being Nowhere
Authors: Swanson Gillian
Published: December 2019

Concepts of distraction developed in nineteenth century research associate it with transformed urban landscapes in nineteenth century modern cultures. But from the 1930s to 50s Britain, it becomes associated with disorders of domestic spatiality, and a disregard of those design principles of order and hygiene, purpose and function, which were understood to define ‘problem families’. Researchers drew on psychological models of character to propose that these environments produced affective disorders – or defects of sentiment formation – through which adolescent working girls, whose distinctive susceptibilities were formed from the wartime disruptions to familiar landscapes, became predisposed to the lures of distraction. As a disjunctive perceptual disorder associated with transformations in urban spatiality, then, ‘distractibility’ became a symptom of a disruption of the cognitive function associated with that lack of purposiveness, the inability to cultivate ‘homely sentiments’, and the failure of order and demeanour which characterised the environment provided by the problem family. Affective disorders generative of modern forms of female adolescent distraction are seen to bring about a disturbance of perceptual modes that result in psychosis, as the breakdown of consciousness and meaning. As the girls’ immersion in the sensory realm situates them in terms of a ‘dispersal’ across urban landscapes, their attachment to contingent and capricious stimuli is understood to result in a degenerative progression towards the emotional immobility characteristic of the schizophrenic. Within the coordinates of psychological models of distractibility, they become located nowhere.
Changescapes
Authors: Gibson Ross
Published: December 2019

Some aesthetic forms ‘dramatise’ change. I call them ‘changescapes’. They help us know mutability by immersing us in it, by letting us be with it. Change is their theme and it is often their matter too, for they are usually of fragile and ephemeral stuff that reacts to altering conditions in the larger world. Transformations happen at their boundaries, at the limits between the inside and the outside of their systems, and then the symptoms of change become manifest in them, palpably available for our contemplation.
These aesthetic forms have become plenteous recently because we are ready now to understand them and because we need now to understand mutability with them. Versions of these forms have been in human cultures for ages. For example, in the Chinese shopping district of almost every sizable city in the world, you’ll find a wonderful shop dedicated to ‘live arts’, where you can buy your aquarium, horticultural and water-fountain supplies. But there’s something about the present historical moment that’s calling changescapes forth in greater numbers and greater variety.
Assaying these developments, this essay will finish in aesthetics and linguistics. But it starts with a story.
Side-by-side
Authors: Franz Jill , Lehmann Steffen
Published: December 2019

In this paper, a pedagogical model for fostering transdisciplinarity in the built environment is described. Unlike learning situations in design education which use multidisciplinary teams, this model is characterised by students working side-by-side on the same project each producing their own proposal. As is explained, the development of this model was inspired by a growing awareness of the need to look beyond discipline boundaries in order to more effectively address issues involving the design of the built environment; issues associated with a rapidly changing and increasingly technologically complex world. In this respect, transdisciplinarity formed the philosophical and theoretical basis for the development and implementation of a cross-discipline studio elective for architecture and interior design students from years three to six in their course. While there are limitations with the model, the evaluation reveals insights into how we might continue with constructing more appropriate learning opportunities for engendering transdisciplinary attitudes in students and graduates.
Cooperative Learning in an Interior Architecture Studio
Authors: Dane Jo
Published: December 2019

Design studio in interior architecture education is rarely conducted as a group learning activity, despite the benefits of preparing students for team-based industry work environments. Students have learnt to be protective of their design ideas and are not always encouraged to share resources, although theories on social learning indicate a deeper learning experience is achieved through collaboration. The theoretical framework for cooperative learning, as a form of collaboration, is extensive and positively supports the virtues of group work as an effective learning activity. This paper describes an action research cycle of preparation, implementation and reflection of a cooperative learning project with third year interior architecture students. For the purposes of this research, cooperative learning is defined as a structured group work activity, with participants working together towards a series of common objectives. The main objectives were for students to experience a typical interior architecture work environment, to promote deeper learning and foster a culture of sharing ideas and resources.
Visual and Textual Interfaces in Design Research
Authors: Poldma Tiiu , Stewart Mary
Published: December 2019

Art and design creative techniques are increasingly used in educational and social sciences research as means to complement narrative qualitative research methodologies. Less known is the means by which interior design and visual arts students may use collage, concept maps or other artful visual tools when analysing the narrative in research. This paper demonstrates how artful methods can be combined with more traditional qualitative methodologies to uncover meaning in research texts or during the data analysis process. The authors show how both the phenomenon used and the method applied to data analysis offers a creative way to allow for meaning to emerge, while situating the research firmly in a phenomenological perspective of lived experience of the researcher through a collaborative conversation. Two visual examples are presented to demonstrate the phenomenon, and the discussion situates the usefulness of this type of research inquiry method.
COLOUR and SPACE
Authors: Smith Dianne
Published: December 2019

Monica Billger, in her doctoral dissertation, states ‘The feasibility of working consciously with colours is limited by our knowledge about how the appearance of coloured materials varies with context, that is, how a coloured surface is affected by its spatial situation’ (Billger, 1999, p. 5). In association, however, we can also seek to understand how the application of colour provides the spatial context and/or potentiates our experience of spatiality.
Within this paper, I will discuss some of the issues involved in our understanding and interpretation of spatiality. These include firstly, space and its relationship to colour; secondly, colour education in relation to colour and space, and thirdly, the potential of paintings or photographs of artists’ work in understanding colour and space. The two dimensional work of artists (such as Mark Rothko, Bridget Riley, Claude Monet, and Wassily Kandinsky) is a valuable source of information for emerging designers in the field of colour as a consequent of investigating and/or observing the work. Key relationships may be understood and applied to three dimensional spaces abstractly, and in practice, to environmental projects that are relevant to Interior Design and Architecture. Finally, I will explore the way I, in association with the tutors, have raised the students’ awareness of colour as a tool to assist in the moulding of three dimensions or space. This will include the discussion of one student’s work as an example of the process undertaken before summarising the link between three dimensional investigations and two dimensional observations and/or practices.
Limits and Thresholds
Authors: Kingwell Mark
Published: December 2019

Abstract of Keynote Presentation: ‘Between Excess and Austerity’, IDEA Conference, Sydney, August 8–11, 2003.
Abstract: Before we can approach the tension between austerity and excess – or any other productive tension in a design practice – we must first enter the metaphysical space of ‘interior’ itself.
The notion of interior is always defined by at least three ‘working parts’: inside, outside, and (most important yet least noticed) the threshold setting one off from the other. Properly speaking, this threshold is neither outside nor inside; rather, in setting the limit between them, it partakes of both. Like the skin of a body or the cladding of a building, indeed like any surface, the threshold comes into contact with what lies on both sides of it, linking the two environments in the act of separating them. ‘A surface separates from out and belongs no less to one than to the other’ (Don DeLillo).
The threshold is an ontological anomaly, a space outside of space, existing only in its vanishing. In theory, a threshold, as with any line in geometrical definition, has extension but no dimension. It is literally zero degrees thick. The function of the threshold, therefore, is not to be wide but to be crossed. Every limit is also its own negation. Drawing the limit-line is coeval with the possibility, the suggestion, we might even say the demand that the line be crossed. Once established, boundaries ‘ask for’ breaching – traditionally, a task for heroes.
This crossing is no simple matter, though we may blithely perform it dozens or even hundreds of times a day. What is involved here? What relationships of time and space, of consciousness and identity, of necessity and freedom, are created by the move from outside to in, and back again?
In this paper, I approach the thought of limits (and maybe the limits of thought) by takingthe interior back to its moment of geometric inception, its philosophical ground zero: the drawing of lines and circles. Once inside, but only then, we may begin to ask what it is we seek in this crossing over, this transgression, of the threshold. Is it comfort? Security? Control? Or perhaps something deeper, and more challenging: the act of thinking itself.
Raising Understanding of Indigenous Australian Culture through Creative Production in Interior Architecture
Authors: Lommerse Marina
Published: December 2019

The search of displaced peoples for ways to connect with their culture underlines the need to explore the role of Interior Architecture in cultural rebuilding and communication. This paper demonstrates a way of applying cross-cultural design processes to the built environment within a tertiary educational context. It will be of interest to Interior Design educators and researchers involved in teaching processes concerned with the conjunction of culture and meaning. The paper illustrates some of the processes currently being explored to engage students in culturally specific design enquiry and production. Examples of student outcomes are presented, and the broader impact of the initiatives on research and writing is discussed. These teaching/research initiatives are in a very early stage, there is much to learn, and there are very exciting possibilities. This paper is intended to present a tentative position for critique and feed back.
Interior Design Criticism
Authors: Franz Jill
Published: December 2019

In this paper, an analysis of a review article in an Australian design magazine is undertaken using a selected model of architectural criticism. While the model is found to be restrictive in facilitating exploration of fundamental philosophical issues in interior design, it does reveal the potential of interior design criticism as a ground for further developing and defining interior design’s distinctive qualities and possibilities. The paper shows that a special aspect of the critical ground is its ability to accommodate oppositional concepts and through the tension in their proximity to provide for more constructive debate and exploration.
Maori Time
Authors: Mckay Bill , Walmsley Antonia
Published: December 2019

This paper investigates how Western notions of space, time and terrestrial reality may affect the perception of building form in other cultures, and have constrained our understanding of the indigenous architecture of the South Pacific. Maori concepts of space and time are explored to add a further dimension to understanding the Meeting House, which is widely considered to be the primary building of Maori architecture. This paper argues that Maori architecture may not conform to the Western model of the three dimensional object in space, and could also be understood as existing in time rather than space.
Fostering social responsibility for interior design practice
Authors: Franz Jill
Published: December 2019

Tertiary interior design courses incorporating the equivalent of four years education aim to provide students with the opportunity to develop the knowledge, skills and values needed to practice as a professional interior designers. In doing this, the various universities recognise the parameters and elements of professionalism formalised by the International Federation of Interior Designers and Interior Architects (IFI) and correspondingly endorsed by the Design institute of Australia (DIA), a member organisation of IFI and professional organisation for design professionals in Australia.
If walls had ears (and voices too)
Authors: Lawrence Jane , Hurst Rachel
Published: December 2019

What is a wall? Is it a thing of separation or connection? Does it divide or bring face to face two identifiably different sides, an inside an outside (depending on where you’re standing); in front of the wall or behind it; protected by it or incarcerated by it? Does the origin of a wall emerge from the desire to draw an abstract distinction, then a line of posts, then a wire fence, then a line of stones piled upon one another and so on?
The sexual science of the Kitchen
Authors: Lawrence Jane , Hurst Rachel
Published: December 2019

Within the glossy publications of Australian interior design and architectural discourse, the house, the desirable one-off residence ostensibly committed to ‘enduring style’ predominates. Invariably these photographic essays include the kitchen, where ‘smooth fronted, deep cupboards sequentially conceal everything from the stereo system to the espresso machine and toaster.’1
The studio in tertiary education
Authors: Loveday Tom
Published: December 2019

Why is studio teaching important for interior design? Can interior design perhaps architecture really be taught withou the use of a live studio? Why is there a need to ask this question at all?
Architecture + Interior
Authors: Taylor Mark
Published: December 2019

Into the stream
'When you asked me to [...]' (Woolf 1993:3) D
write about architecture and the interior I wondered where does one turn? What construction of history and theory is invoked when undertaking such a task? What position is given architecture and the interior in such writing? Might it be interiors and what they are like; might it be architecture and interiors they create; might it be architecture and interiors they write; might it be written by the interiors encountered and the books read? I am reading Virginia Woolf's A Room of One's Own and I read 'Lieswill flow from my lips, but there may perhaps be some truth mixed up with them; it is for you to seek out this truth and to decide whether any part of it is worth keeping. If not, you will of course throw the whole of it into the wastepaper basket and forget all about it' (Woolf 1993:4), a necessary condition for establishing a shift in thought and expression over that which is held as authoritative and immovable. Unexpected thoughts on the interior.
Pattern language
Authors: Lawrence Jane , Hurst Rachel
Published: December 2019

In what LeCorbusier described as 'a Homeric cleansing' of architecture?Adolf Loos presaged the dominant 20th century attitude to decoration. His essay 'Ornament and Crime' states that 'As ornament is no longer organically linked with our culture, it is no longer an expression of [it],' and further claimed that the absence of ornament '[...] is a sign of spiritual strength'.
'Pattern Languages ' was a companion studio with final year architects and interior designers. It aimed at redeeming ornamentation as an aspect of the built environment, recovering and reviving its potency as a conveyor of meaning and delight. Pattern and pattern-making were addressed in both theoretical and practical terms. The studio considered the theoretical and applied acts and arts of patterning on macro and micro scales, informed by historical and contemporary readings.
Interior architecture in Australia and Canada
Authors: Lommerse Marina , Spanbroek Nancy
Published: December 2019

This paper is the first in a series. The series will compare development in Interior Design/Interior Architecture in two commonwealth countries- Australia and Canada. These countries are of a similar population, size, language, mother country and age in terms of western development. The countries therefore share, in terms of design development, some of the same opportunities and barriers.Little documented research exists concerning the recent developments in Interior Architecture in Australia and Canada. Thus this paper was written to provide an anecdotal overview of the profession in the two countries over the period described. It is acknowledged that this is by no means an exhaustive piece of research of this period, but rather an overview and starting point for more in- depth research.
This paper is the second in a series of comparative studies between education and practice in Interior Design/Interior Architecture between Canada and Australia. This paper discusses the similarities in the educational structure at universities within Australia and between Australia and Canada causing concern as we find ourselves in a global competitive market place. It is paramount that interior design education directs industry, and not be dictated by short-term industry demands. For this to occur, national educational bodies need to examine their existing programs in respect to one another, develop a distinctive approach in what they teach, and develop better communications with industry in order to ensure the sharing of valuable knowledge gained through project work. This paper is written to provide an anecdotal overview of the professional education in these two countries over the past twenty years.
Container
Authors: Kemp Roger
Published: December 2019

Issues of containment are central to the practice and discourse of interior architecture whether the constraints be physical, financial, cultural, political or social.
The container as architecture suggests applications of shelter, defined property, security, privacy and ownership although often these boundaries become somewhat blurred. This suggests a further breakdown of space accepting issues of transferral, thresholds, easements; where the issues of public and private are raised.
Design of packaging is based around similar concerns of containment. The relationship between object and receptacle or vessel having its origins with the hand and parts of the body used to hold or conceal personal belongings.
URBAN + INTERIOR
Authors: Attiwill Suzie , Giunta Elena Enrica , Fassi Davide , Crespi Luciano , Hermida Belén
Published: December 2019

The conjunction ‘urban + interior’ brings together two conditions which are often posed as dichotomies. Here rather than a relation of either/or – either interior or urban – the relation is one of addition, of putting together in a propositional manner.
Making relations between interior and urban is not new, and especially not in the discourse of interior design and interior architecture. The writings of the philosopher Walter Benjamin are often cited in histories and theories of interiors – dynamics between interior and urban expressed in the relation between the private interior of the collector and the urban industrial city; the flâneur’s urban meanderings and outside-in gaze. Over a hundred years later, the question of how to inhabit the urban is still pertinent but the conditions are different. Delineations of private and public, spatial and temporal relations inflected by industrialisation, globalisation, migration and digital technologies have transformed interior and urban environments.
The proposition of the conjunction urban + interior posed in the current issue of this journal invites consideration and experimentation in relation to questions of inhabitation in urban environments and how might the urban infiltrate interior environments. This involves not only thinking about the conjunction coming from interior design in relation to the urban but also the transformation of the interior by the urban. The photographs and writings of Mark Pimlott, addressing the issue of interior territories and the public interior, and the architectural historian Charles Rice and his work on interior urbanism are significant contemporary contributions to and examples of the criticality and potential of this conjunction.
Saturday Morning New Yorks Central Park Ice Rink, March 2012
Authors: Martínez-Arrarás Carlos
Published: December 2019

Saturday Morning New York’s Central Park Ice Rink, March 2012
Autoscopic Space
Authors: Themistokleous George
Published: December 2019

An experimental installation project of my own making, the diplorasis, aims to re-think the human sensorium by considering the bodily perceptual boundaries that are induced by visual media processes. Within the installation space the participant will, unexpectedly, encounter stereoscopic projections of himself/herself from previous instances and multiple perspectives. The photographic cameras within the device that are attached to sensors have been programmed to capture different views of the moving participant, and then to digitally split (and in some cases manipulate) the images before sending them to screens that project the image for the participant’s view. These stereoscopic images induce an illusionistic three-dimensional projection of the subject.
 
The reduplicated, projected, and three-dimensionally simulated self in the diplorasis begins to trigger a questioning of how the body is understood within visual media. During the visual experience one has a solipsistic perception of oneself. The participant views himself both from outside and inside his body. The out-of-body experience of observing oneself from the multiple points of view of another (as a simulated object) is somehow countered to the embodied operation of the physical binocular eyes. The uncanny closeness of a neutral image “out there” (e.g. of a house) evoked by the original stereoscopes is now subverted, as the digitization of the stereoscope allows for unexpected self projections of the viewer. The diplorasis brings to the fore a particular reading of a sensory body that veers between, on the one hand, a projected image generated by electronic information, and on the other, the embodied response to this projected spectral other. As electronic processes are changing the perceptual and cognitive limits of the body, how do these shift our understanding of inside/outside?
'E-urbanism'
Authors: Di Prete Barbara , Crippa Davide , Lonardo Emilio
Published: December 2019

In the contemporary world, the virtual dimension prevails over the physical one, but some interesting design experiments use social networks and channel their characteristic digital participation into a new urban sensibility, that we could provocatively define as ‘e-urbanism’. Marketing strategies like placemaking, place-branding and crowdfunding involve the ‘cyber-citizen’ and give rise to a multiplicity of ‘interior’ territories, identified as ‘ours’.
The Transfigured Phenomena of Domesticity in the Urban Interior
Authors: Mace Valerie
Published: December 2019

This paper reconsiders a refurbished London street, Bermondsey Street, as an interior where objects of memories are curated into a reconstructed atmosphere of domesticity.The study argues that as our experience of the city becomes increasingly transient, the notion of inhabiting shifts to a wider and more fragmented context, and our ability to integrate with the urban environment becomes eroded. Bermondsey Street, however, presents a distinctive experience where the phenomena of intimacy and familiarity converge across space and time to provide a more stable form of inhabitation. In order to understand how these phenomena occur and how the experience of the urban interior manifests itself in our consciousness, the study follows the Husserlian phenomenological method of intentionality whereby the urban interior of Bermondsey Street becomes the intentional object. It also places the reflective gaze of the phenomenologist in ‘epoche?’, a phenomenological method of reduction that suspends normality. In doing so, the phenomenologist is able to access the points of reference that reveal the affective qualities of the intentional object in our consciousness.While the discursive and theoretical content of the study is expressed in the body of text, the phenomenological narrative is bracketed and illustrated as a meditative journey; a recollection of memories of the homely, initiated by the encounter between consciousness and the way the interior animates imagination. Thus, in ‘epoche?’, the reflective gaze of the phenomenologist transcends normality to reveal the underlying structure of the phenomena and the intentionality of the subjective experience.
Unsolicited Interiors
Authors: Edwards Charity
Published: December 2019

Developed from a contemporary theory lecture regarding economic realities and guerilla practice, the studio Unsolicited Interiors proposes political engagement as a critical operation of interior architecture agency via the exploration of contested urban volumes, unsolicited intervention and choreographic occupation. A text and image review of this studio considers student response to political texts, design speculation, and public space disruptions through performance, photography, large-scale model-making and self-initiated actions. Discussion of a series of collaborative interventions with visiting Berlin-based collective raumlabor reinforces a positioning of design activism through acts of provocation and social inquiry as critical to spatial decisions in, and of, the city.
Envisioning a Future
Authors: Palmer Fleur
Published: December 2019

In Aotearoa (New Zealand), existing territorial legislation and provisions within planning law currently prevent Maori from fully entering into a negotiation with district councils, in terms of creating a vision for their future, without kowtowing to already established rules that conform to Western models of land use and Western ideas of how district councils think Maori should live. On Maori land, development is mainly restricted to farming activities, as most Maori land is rurally zoned. Maori own little land in urban centres or in commercial and industrial areas, as many were historically alienated from ancestral land, and as a consequence were excluded from towns in relation to land ownership. The structure of existing legislation does not encourage Maori to test their own ways of thinking in terms of how they want to occupy urban or rural areas. Existing territorial legislation also discourages Maori from exercising their imagination in terms of developing alternative models to zoning regulations, and thinking about how they could occupy space that they have been excluded from in a way that supports the economic and social development of their communities. What happens when Maori take control and visualise their own future, unburdened by the constraints of legislative control?
M2 Models and Methodologies for Community Engagement:
Authors: Krasny Elke
Published: December 2019

The debate over both community and planning and the large issue of their coming together in community planning reflected the economic and political changes since the 1970s. In the late twentieth century and early twenty-first century socially-driven planning more broadly addressed the issues and concerns of what community is in a locally given context and in a globally transforming world. Lived difference and situated knowledge distinguish one community from another community. The effects of globalisation, neocolonialism, neoliberalism and austerity impact communities around the globe.
Fluidez Lectora y Evaluación Formativa
Authors: Calero Andrés
Published: December 2019

Existe un consenso generalizado entre los docentes, en el sentido de que la lectura fluida es una de las destrezas más importantes a desarrollar en los primeros años de escolaridad. Sin embargo, no existe una definición clara del constructo fluidez lectora en el ámbito de la investigación y en el medio escolar que oriente la práctica en este aprendizaje y su evaluación. Mientras algunos especialistas apoyan una definición simple de la fluidez lectora basada en la velocidad lectora, otros plantean que la lectura prosódica, relacionándola con la lectura expresiva. En este artículo reflexionamos acerca del hecho de que una lectura veloz no siempre es sinónimo de lectura fluida, y que el énfasis que tradicionalmente se ha puesto en la velocidad al leer en las escuelas –un aspecto singular de la lectura fluida-, ha llevado a muchos docentes y alumnos a pensar que leer con fluidez es leer deprisa.Valoramos también la importancia de una evaluación formativa que promueva la coevaluación y la autoevaluación, para que los lectores obtengan un conocimiento exacto de cuáles son las demandas que se le exigen para llevar a cabo una lectura fluida, y sean capaces de controlar su propio aprendizaje. Finalmente, abogamos por el uso de la rúbrica, como un instrumento de evaluación cualitativa y formativa, para guiar el proceso de evaluación de la fluidez lectora.
Enseñanza de la ortografía, tratamiento didáctico y consideraciones de los docentes de Educación Primaria de la provincia de Almería
Authors: Fernández-Rufete Navarro Ana
Published: December 2019

A través de las opiniones recogidas de docentes de Educación Primaria que imparten el área de Lengua y Literatura Castellana, esta investigación trata de abordar las concepciones docentes y los planteamientos metodológicos empleados en la enseñanza de la ortografía. Se constata una elevada preocupación por las faltas ortográficas y el reconocimiento de un fracaso generalizado; queda patente la predisposición del profesorado en la aplicación de nuevas propuestas didácticas y la reflexión en los planteamientos didácticos.Para el profesorado, la ortografía es básica en todas las áreas de Educación Primaria y constituye uno de los indicadores de la calidad de nuestro sistema educativo. La enseñanza de la ortografía a través de actividades que impliquen composición escrita parece ser fundamental para el profesorado aunque reclaman más alternativas consensuadas e incluidas en las programaciones.
Hipertexto y comprensión lectora
Authors: Soria Andurell Anna
Published: December 2019

La comprensión lectora depende en gran medida del procesamiento de la información textual y de su recuerdo durante el acto de lectura pero también después de ella. Este procesamiento de la información puede verse influenciado por distintos factores, algunos previos del propio lector, y otros externos a él que pueden, no solo afectar al proceso de lectura, sino también a la calidad del procesamiento del contenido.En el siguiente estudio nos planteamos el grado de incidencia del tipo de formato textual, texto lineal en comparación a hipertexto, en la comprensión y el recuerdo a corto y a largo plazo de un contenido textual dado a una muestra de niños de quinto curso de educación primaria. Paralelamente, nos proponemos analizar si el nivel de competencia lectora de los niños, evaluada con anterioridad al presente estudio, así como su frecuencia de conexión a Internet desde casa, influyen en sus resultados en comprensión lectora y memoria textual tanto a corto como a largo plazo.
Novela ecuatoriana para escolares
Authors: Rodríguez Caamaño María Belén
Published: December 2019

El presente artículo se centra en el interés de la lectura de obras hispanoamericanas para escolares y las dificultades de comprensión de las mismas tomando como ejemplo la novela 9 mm Parabelum del ecuatoriano Eduardo Noriega. A través de pruebas de comprensión lectora, se compara la comprensión del léxico y de datos culturales entre lectores no nativos y nativos de la variedad peninsular. El análisis permite extraer conclusiones sobre el tipo de anotación necesaria y la explotación didáctica de la novela.
El lector como usuario: implicaciones didácticas
Authors: López-Andrada Concepción
Published: December 2019

This article analyzes the figure of the reader and the challenges facing this through the transformations that occur in the digital world from the perspective of the teaching-learning. It is understood the reader of the XXI century as a user and creator of content on the network. Reading is one of the main practices of access to knowledge, and also works as an engine of social power that articulates shared web 2.0. Thus, definitions of literacy and reading skills are changing, as these not only have to consider the linear reading of printed texts, but also have to be extended to reading practices in new media and technological devices. a review of research and models that describe a corpus of work that brings together evidence and international results regarding formatting preferences, learning styles, skills development and strategies of reading on screen and / or reading in digital environments is presented.At the end of the work prospects are proposed to rethink the role of digital reader, where the social dimension of reading practices becomes more consideration, and where also the roles developed by the reader multiply.