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INTERIORITY
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Interiority
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Interior worlds: your word
Main Editor
Gennaro Postiglione
Course of Interior Architecture

Faculty of Architettura e Societ
Politecnico di Milano
www.lablog.org.uk
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00_Interiority
by Marie Frier
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Interiority Helvetica Neue
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by Marie Frier
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Paper
Using our senses we intuitively recog- ority within todays practical realm. A pre-
nize the inviting interiority of the precisely liminary research result discusses interior-
orchestrated interiors of, for example, ity (1) as a theory and design methodology
Mackintosh, Loos, Le Corbusier, Wright, for transforming the actual structural and
Schindler, Aalto and Fehn. In the sensu- economic elements of construction into
ousness of these works, we experience furnishing details, signifying home.
how building envelope and furniture merge The increasingly complex processes af-
as a result of a deliberate engagement fecting society today pose new demands
with functionality and scenography in the on architectural practice. Especially within
transformation of the building envelope domestic architecture, where prefab pro-
into furnishing spatial elements inviting the cesses have for over a century been envi-
inhabitant sioned as the means for achieving a gen-
to see, touch, hear, smell and taste home. eral improvement of the ordinary dwelling,
Such detailed spatial engagement with the the sensuous furnishing aspects of ar-
intangible concept of home is, however, chitecture are often pushed in the back-
easily disregarded within the increasingly ground, leaving the produced houses as
complex practical, economic, and climatic raw constructions rather than sensuous
realm of architecture leaving our houses as inviting homes. (2) Conseuently, is seems
raw constructions. Conseuently, this pa- that one of the greatest challenges for ar-
per investigates whether the perceived in- chitecture as a discipline is to increase our
terior ualities of the previously mentioned involvement with industry, herein our abili-
works can be articulated and activated as ty to actualize, communicate, and develop
principles in a future positioning of interi- the sensuous aspects of home within the
processes preconditioning practice. The constructing a home in its entirety. (5)
uestion is, however, how to define and Interiority as an analysis-method
articulate the rather intangible concept of In Unwins Analyzing Architecture his no-
home. Through our sensuous perception tion of architecture as identification of
we intuitively recognize the soft uphol- place has led to a listing of specialized
stered interiority of furniture, described analysis- parameters; stratification, transi-
by Praz as a precondition for our experi- tion, hierarchy, etc. (6) In a similar manner
ence of a place as home: (3) a interiority von Meiss and Arnheim uses notions such
which is our claim, can be rediscovered as order, disorder, solid, hollow etc. in de-
as a spatial discipline interrelating build- scribing architecture. (7) However, rather
ing envelope and furniture in the precisely than attempting to describe the architec-
orchestrated Functionalist interiors of, for tural work and the instruments at play in
example, Mackintosh, Loos, Le Corbusier, their entirety, it has been our strategy here,
Wright, Schindler, Aalto and Fehn. Here to look at architecture-analysis in a more
details such as built in seats and niches immediate manner; from the point of view
create points of actual sensuous interac- of the chair. Herein we use interiority as a
tion with the house, details in which wall critical perspective through which to dis-
and chair merge sect the spatial principles governing our
as a result of a deliberate engagement with sensuous experience of home. In this mat-
functionality and scenography inviting the ter we have begun
inhabitant to see, touch, hear, smell and by zooming in, first on the concept of fur-
taste the interiority of the house as home. niture, hereafter on the building envelope
Not only do they provide for functionality and finally their interrelation, interiority, us-
embracing the senses, it is our belief that ing Corbusiers Villa Stein as an analysis-
they also stage the complex pleasures of example. (8)
the mind such as in Mackintoshs cho- Furniture
reographed meeting of male and female As described by Lucie-Smith there ex-
in precisely defined niches demarked by ist an endless number of furniture vari-
his high-backed chairs. These works can
ations, dining-tables, sofas, bookcases
be considered total works of art, built un-
der conditions which are radically differ- etc. However, all of which derive from
ent from the ones governing the ordinary one of the four typologies; pieces on
dwelling. However, it is our hypothesis that which to sit, put things, sleep or recline
they contain crucial principles necessary and pieces in which to store things. (9)
in attempting to spatially define the intan- One could say that furniture unfolds a
gible concept of home. (4) Conseuently, it sensuous invitation, serving our bod-
is the goal of this paper to investigate how ies and possessions to use the words
the perceived interiority of these works, of Abercrombie, who defines two basic
having kept their relevance in the present,
can be articulated and activated in a future typologies of furniture; one serving our
positioning of interiority as an architec- bodies, sofas, chairs, and beds, and one
tural theory and design method for trans- serving our possessions, shelves, tables
forming the structural and economical and closets
elements of construction into home in the as illustrated in fig. 1. (10) Pieces of fur-
ordinary dwelling. Methodologically this is niture are mobile elements wherein our
pursued by attempting to utilize interiority bodies and our things can rest upon sur-
as an analysis-method, pursuing a testing faces and inside cavities, often uphol-
of the particular hypothesis that a single
furnishing element contains the seed for stered, offering a soft encounter. Brayer
has argued that a chair is immediately the chair is now contextualized accen-
inhabitable, a symbol of the dwelling, tuating particular ualities of the house.
as an effect of this particular softness The chair is no longer just a piece on
and proximity to the human body. (11) which to sit, it becomes a place in which
However, there are also differences be- to sit. Likewise the house is no longer a
tween chair and house. raw construction, but contains sensuous
Building envelope spatial elements inviting the inhabitant
In opposition to the mobility of furniture to sense the house as a home; places in
the building envelope once erected is which to sit, eat, sleep, bathe and syn-
in general fixed. Rather than support- thesize as illustrated in fig. 3. Thus, af-
ing and serving our bodies and posses- ter having zoomed in, first on furniture,
sions, it shields us against the weather, subseuently on the building envelope,
basically consisting of floor, wall, roof, we can now attempt an actual formula-
window, and door as exemplified in tion and testing of interiority as an analy-
fig. 2. However, as described by Semper sis method. Looking at Villa Stein as an
in his studies on the origins of construc- example, we can hereby direct our anal-
tion the house evolved first and foremost ysis to particular spatial elements, points
as an enclosure preconditioned and de- of encounter between furniture (sofa,
rived from the techniue of weaving. (12) chair, bed, shelves, table, and closet)
Thus, whereas in general we think of the and building envelope (floor, wall, roof,
house as a framework large enough for window, and door). Fig. 4 shows how the
us to stand up and walk around in, it de- spaces in Villa Stein actually evolve from
rives from the principle of dressing, de- the principle of a shelf. In creating a cur-
scribing a proximity to the human body vature contrasting the rigid constructive
even more intimate than that of furni- framework of the house, the shelf inter-
ture and opposing the raw construc- acts with the wall in the creation of nich-
tions making up our houses today. We es, bookcases, and seats, further slicing
cannot only conclude that the softness a hole in floor and roof, creating a visual
of furniture preconditions our experi- contact to the storey below. One exam-
ence of a place as a home as stated by ple is how the seat created by the shelf
Praz, but also that the actual techniue directs the inhabitants attention towards
for constructing the house derives from the small window opposite the seat. An-
this particular intimacy. Thus, rather than other is how the shelf wraps around the
looking at furniture as a mobile addition wall to the right creating a cavity serv-
to the fixed building envelope and an ing as a sideboard on one side and as
autonomous discipline, we can begin to a decoration-shelf on the other. Thus,
look at furniture, building envelope and not only does Le Corbusier provide for
construction as being interrelated archi- functionality and sensuous encounters
tectural dimensions of the home. in the creation of a place to sit and to
Interiority eat, but also for places of synthesis, for
In interrelating furniture and building displaying our object trouv, (13) objects
envelope as proposed above, both are signifying the complexity of the mind.
transformed. Rather than being mobile We cannot only conclude that it is in this
particular and deliberate transformation The work presented in this paper is partly fi-
of the building envelope into furnishing nanced by the Danish housing manufacturer
spatial elements that the seeds for con- Boel Living AS. In addition Boel Living AS
is our project partner offering not only a view
structing the home in its entirety are to
into the practical realm of prefabrication but
be found: But also that the specialized
also an actual and engaging context for pur-
instruments governing architecture as a suing a practical testing of theory, a matter
discipline are hereby made physical, and discussed further in a paper recently pub-
articulate. lished in Design Principles&Practices An
Discussion International Journal, vol. 4, i. 2. The support
In returning to our examples, the works is gratefully acknowledged.
of Mackintosh, Loos, Le Corbusier,
Wright, Schindler, Aalto and Fehn, we
can conclude that they do not solely
represent an exclusivity unknown of
the ordinary dwelling; they also con-
tain precise and prosaic principles of
interiority, thus making the significance
of home physical and articulate both
for the senses and the mind. The future
challenge, however, is how to relate
these principles to the structural and
economic means of construction; plate,
shear wall, beam, column, bolt and
screw, illustrated in fig. 5.
We close the paper by proposing a de-
velopment of interiority as a theory and
design method for transforming the ac-
tual structural elements of construction
into furnishing details, asking whether it
is possible for the softness of upholstery
to evolve directly within the economy of
construction? This is a challenge which
not only reuires a passionate engage-
ment with the concept of home, but also
with the practical realm of the ordinary
dwelling: an inherent and increasing ar-
chitectural challenge, which may be uto-
pian in its destination, but which is nev-
ertheless captivating and necessary.
References
Abercrombie, Stanley. 1990. A Philosophy of

Interior Design. New York: Harper&Row Pub-
lishers. Arieff, Allison, and Bryan Burkhart.
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Arnheim, Rudolf. 1977. The Dynamics of Ar- Helvetica Neue
chitectural Form. Berkeley, London: Univer- Italic
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Brayer, Marie-Ange, and Batrice Simonot.
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Lucie-Smith, Edward. 1979. Furniture: A
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Rice, Charles. 2007. The Emergence of the
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Raumplan versus Plan Libre: Adolf Loos and
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The Evolution of European Domestic Interi-
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per, Gottfried. 1989. The Four Elements of
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Francis Mallgrave, and Wolfgang Hermann.
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mon. 2003. Analysing Architecture. London:
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von Vegesack, Alexander, Stanislaus von
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Interior worlds: your word

Course of Interior Architecture

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