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    30 views88 pages

    !!!! 2 Asa Da

    Uploaded by

    Marian Antonia

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    © All Rights Reserved
    Download as PDF or read online from Scribd
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    “A PHILOSOPHY OF INTERIOR DESIGN | STANLEY ABERCROMBIE sheen me baw emi oom ey “ou Wal Wonka my Wild Ratic, ©1984 Remy we Mane nye Repted by permton AI is Rene. “a rin Wn i Mh kr ad, iy mmo on nen ri yey i Des by Karen sry “fin Dey Se Ae ‘eevee coro ch Timer deoxy. 1 Tile a or the wonderfol Ann Wilson with thanks fo the deslner ad photographers ‘whose work ie shown here wth thanks o Petr Shaler and Mona Geran, Who read the manscript 20d with thanks also to Dorothy Alexander, Alison Bond, Cats Canfield J, ‘Geoige Csema, David De Lone ‘Albert Paolo Gav, Eizberh Condon, Franca Sant Gualten, Edwaed fra, Jack Hench of HediehvBlessing, Daeld Lente, (Ford Peatoar ofthe Libary of Congress ‘ca Stoller of ESTO, W. Walder for her comments a ‘hd aha Whitemen i Contents Preface BEING OUTSIDE ‘COMING INSIDE. ROOMS ENCLOSING PLANES CHANGING LEVELS DOORS AND WINDOWS ORNAMENT: COLOR AND LIGHT SOUND AND SMELL ART Plants ‘CONCLUSION: THE PRIMACY OF THE CONCEPT Biblogrophy Index 31 17 18 Gong tea a dwight Preface Were it not so clumsy, the proper tte for this book would be [Notes to Help the tateior Designee Form Philosophy fortis Det {he gol ere to resenibe single comprehensive and nivel a plicable pllovophy fora Rather, he iment sto lok ate elements ‘Sf inenior design in a way that night aid Interior designers In the formulation of individual philosophies for their own work dealy such a formulation occurs the hepnning ofthe practice ‘of desig, and 30 an seal reader fo this bok tthe design stent pctice, however, some designers work fr years or even fr whole ‘Greer without bothering abou a philosophy, so perhaps some of the ontenc wil be of inerest to more expenenced tenets wel “This book had its ongin at «1987 debae about sneer designer eensing My fend James Stewart Plshek, who was then dea of he School af Architecture and Panning at Comba University sid who ‘was opposed to such licensing argued that interior design eal not be considered se profession because i lacked body of soy. Thi seemed an astonishing and dismaying ies atthe time. I wondered ‘W could be tue and thought tha if se were ot, Polak’ tater ‘shouldbe refuted. Hee, thea, san attempt a refutation Bodies of theory aren themselves dry, academic and of debatable Importance to praeioner, but they cannot exe witht something thar is of undeniable inportance: the practice of thinking philospht tally that i chinking in ways not overtly teehseal or pagmstie— Sout an azea of endeavor If iterior design were new among ma kinds ineresss, could be that such thought had nt had ne develop, bt that notte ase Incrior design sone of our most venerable concerns. According to Exodus 27:16, sven Gos practiced i, advising Moses: "And forthe fice ofthe cour shall be an hanging of twenty cubits, of bu ad Dorple, and searet and fine rwined linen, wrought with needlework” cfore thas, here was tme when interior deni was being practiced {nd architectaye was not yet imagined, our rough Kinsmen painting ‘the walls of ther caves ap frnishing them with comfortable pels and clay vessels long before chey began to construct feestanding buildings. Once hey aid eein, thet plans for consrotions were ‘stualy whole the suueture and Ue pace t housed were considered —~ Epeth snd in coy come to be known ay achat near ign uss ba put onthe began ae ee Sc tht interior design as developed no an independent di oe wh sow genial sana sal cae vow pee ona gunn and pblicnone sn el cpt, f eed sic flowy and = ly te Sere by of Sings aout ates where sepia kin aoe es {ar age hase been fmt 'wch we lek Bee ‘ook wattle arte to pel psy os ‘Sista ond ee ocion Torinal getaiaed ba eae ‘cen minh oso ome sd or free ae cn ot tee ‘sence on oration rho and oreo, “is bok i therfore nes pecan the iverson one sor deg np, bt sm ssenineo shlsopl aes Sichelongened area A PHILOSOPHY OF INTERIOR DESIGN BEING OUTSIDE [BE OUT IN THE WOODS, ove inthe Hels, out on the sos, eee eee eee 1 Yealm not dependably dominated by human wil. Accident bappe | to ost of door. Thee aze ear, snakes, and runaway rete, ‘here aze uncharted pathy with unpredictable taringe there are i Strangers end no guarantee epanst their sudden appearance or ea Tn the wildest of eteurstancs, ve ae expored t sow and bi cxcemiveheat and excersve cola Weare sleo prychologialy exposed to the magnitade of nature, is amatng sometimes terniving abun i ‘ince, multtriousness and age, proigacy from which se—who like to think of ourselves as refined singularities “have inexplicably i ' ‘emerge, tis an exporire withovt which human experience would Be {complete but ites exporure that mon of crave ony in mearored doses Tn the lest wild of exterior ctcumstances, inthe heart of large | cay, wear exposed toa magnitade that an be even mor frighening, (Cees, longeestablihed anes at leas are out most dramatic maniles {ations ofthe age of eiitztion, whic, for humans = Likely to be | much more poignane dan the ag ofthe unstess. In a cy lke Rome fr Istanbul, Cato oF Bangkok, we ace the progress (or decline) of ‘sn inthe erected obeliks, the outgrown city wall | the crumbling | ts, the canals that have become rosdbeds, We sce history tn the | __bbietone Even in arcanely new cy ike Heston or Sn Dee 2A PimosoPHY OF BYTERIOR DESIGN ere Is an overwhelming amount of informacion in the physical ev Akence we te, information sbout physics, economics, merehanditng Social classes and eleural habits Novy ina steady, complet or flly ‘controll entity, at every cum we are presented with const a Between these extzemer of wild atine and uranic areal those circumstances where the efor of man snd mature combine. The eat Iiese human environment we ae toy was» arden ands gates sill « patent inviting and provocative plate: Unenclosed av it say be, i shares many fests of hata ineios ts paths 20 laces area once slmostLtrlly and quite metaphorically corr Alors and pices of fit is lane ate carpet sre doco, terraces salons. Its prinipesofcmmponton, 00a ell the same snes, closures, dasuinatons Simla, 00, the rovulane effet rears ‘don, drcovey, raniton, elution, ‘There i alse appsren in the gaden «stage for dominance sHiet tht is paral to ee serge i designed steric in the ate ‘ofthe garden, competition between the wil ef ato impose plan nd the efor of nature eo blur the cir, overrow the Bowadatis, ‘bacute the oder in the cate ofthe incr, competion betwee the Aesigner andthe occupant, even wien these are he sme person, The student of interior design ean lea fom patdens sometimes the indirect approach to#suject by way of erence and comespon ence reveals something 4 more stughtfawatd encounter docs mat ‘Bue dhe garden can teach tr noting about the meet extent lat of the into, its unmatched power over out ate of mine. oral is Aelights and strengths, the gate, like the wldesess andthe city, ‘missing key dimension st hos uo overand thei ean never be ‘ore han an echo ofa atest “although many a history of archiectre has heen llserated solely with photographs of uiding exteriors, els tare het ee Ings ofthe pst have lacked great interiors, The pyramids o FDC sre the most obvious examples of thove that dy, yet even im thowe caves their burial chambers, while physically snsipeifican a 4 pycholog ‘cal significance folly equal to thet of thelr msive housings. Inthe geo skyscrapers, admittedly, many towers ate noteworthy only for ‘heir rofl and shin Inside, they are ay on ey of undlsunguithes, Inistingishable off space. Yet, despite che relative poverty of fexpesson hat marks the modem comamell inte, we How for ‘experience that oteriors havea power ovr that facades can never aye. Thi is not due tothe commen observed fact that we spend ‘ost of our ane indoors iti Ove instead tothe face that iterons ‘round. We do not merely pass them on the set, inhabit them. When we enter a building e cease being merely is sbuerver vwe become its content. We never fly know a balding une we “The garden, then, canbe highly suggestive, but tis never quite the rel are. Asi the wilderness orn te ety, we ae not sheltered ‘here, nr safe or in conto: Let wy go side. COMING INSIDE A 2Ti0usH OUR HRst ENCOUNTER of any inter i he result of an entrance nt i movement fom aside tains fur earlier and mote fundamental experiences af movement fore inside wo outside, ofa sheltered Ife belore we Kn nn exposed one, for we were all—there can be few exeepons to this—borm ine, were babies inside, Decame our recognizable selves inside a poychalog, ‘ely crucial container, Whatever the nate ofthis re envronment, ‘was by definition, residential, before we knew any cher space, we lied there. However suong ou ater inten in space for comes cor publie fii, for banking er sports or theater ou fecing for these ‘onresidental interiors will newtably be colored! by our fe interior txperence, the residential ane to Which in memory ot in daydreams for even, often, in our subeanseious, we return all or lives tis fom our impressions of cis experience the cornes of ou ‘vn room oy, lacking that, our wn private spot in afevorite corner the special world beneath the plano, the burl of the kitchen, the ‘ual ofthe dining room, the closed dor of the parent” bedicom ‘at our understating of the efecto interior paces fall eyes ahd functions has own. This isnot the sight place nor, certainy, the tight author fo 4 weighing of the elects of environment again the sffeets of heredity, but none af use without the lessons of yout [Entering an interior, therefor, sto some esl degre, sways going ome “The particular poet of entrance ino an interior space, whether zee from the outside or sznply trom a conir or elevator lob, tsa erica poine in aur appreciation of tht spoce. Te occurs ae 4 boundary, and ous entering crosses that boundary, Robert Venta nm Architecture, fade ie oundetion ing» ito the oud ight {hat invades an entanee na subject oc uaconamon for seventeen entry Dutch painters, we may become swe that we contemplate under an image of dark calm enclovure snd of seping lig he tea ‘matic srugles that accompany ovr enay and our exit, bith ad eat” And Porphyos wrote in dhe third century, "A threshold ia CCrosting this sored place and entering sn interior dominated by tothers can be an anaiour experience. The eames te alo the prime vathin an interior where sahabieanes fel most exposed tothe unce™ ‘tintes of the ouside weeld. Hence oar commen deste shielding inside the door Admittedly, this iss deste she, schoug rat the entianee from the rret ln this eae these is or semipivateteetory. The eansition Ie om public wn culture, rather than plunge dtcty into the heart of ito st living zoom ull of convertor fe Towards. a New Architecture for “the litle vestibule that fees your sind from the sce” : "The design ofan entance aio serves in providing specific ident fication, For example: "Out of the clatter ofthe swarming rec, which i for every man..., You have entered the hee o » omen" ‘And here, of eourse, we ate at dhe hear ofthe signscance of the entrance aes ts ole a introduction cote spaces Beye. he ‘trans ist impression of ose space, To propery design an eatance, therefore, one must already have conceived the quality ofthe whole interior. Ties te designers tue ‘ageing into any design problem: bs conceptuizaton ofthe desed ‘esul sot pare by prt, but overall. Like the foyer, ves ecep, fon rom ofan installation, the design concept opens the way to all that fellows, and the base disclosure ofthat concep is by means of the plan, whether deswn or merely iaised. THE PLAN “ Jon THE INTERIOR DESIGNER {and forthe thoughthal architect, 35 well the plan conveys not jos she dipostion of walls pd ‘penings but alo ofthe furnishings within dhoe walls an, by impli ‘ation, even the charecte af qmament and accestoris its over ‘low of the enti result, “The plan isthe generator," Le Corbusier ‘wrote in Towords « New Architecture. "Without plan there ea be ‘esther grandeur of aim and exprestion, nor tythm, Nor mass, Nor aberence---A plan cll forthe most acuve imapnaticn Tees for the most severe dstpine also. The plan ie wet determines every (hing itis the decisive moment” ‘Wistar the sourcexon which the designe’ plan i tobe based? Je must have Its foundation in two conskerains, and #he Sex of these is the determination of limite, This deterniation mst oi st withthe bling abel, the character of terre aad theme find finds wth which eh’ designer must woke. Presented with 25 "aparement layour and »vght budget, for example the designer may ‘well conclude that each existing Toon aust remain in is resent ‘ney the work wall necessarily be limited #0 urlace eretments 3b furniture selection, for eere wll be no opporuniy for removing od ‘walls and consrackng new ones. With more fenctous working Con ditions however, the designer's scope of work may suctch fom one partment wall to the othe, 2 space imerrupted only by stuctral olumns and mechanical abd plumbing ines that, continuing to otber 12 PHILOSOPHY OF INTERLOR DESIGN apartments on other Noor, cannot be move without extsorinaty expense “The other fundamental consideration in the conception of «plan ‘is function. Ii acomsderation tht reached ature level rps ingly lat in the story of interior. Historian Fernand Beuel pons ‘ut that “when Louis IV himel im his palace at Versi, wanted te visit Madame de Montespan, he had to go eaough the belroomn of Mademoiselle dela Valle, the previous royal favourite” He seg quotes the Princes Palatine as recording on a Febuty day in 1695, that inthe same palace “at se king's tale the wine and water foe inthe gases” By today's standards of comfort and convenience, however, ie cessful design must be aformed bythe functions isto Rouse, One {ppealing expression ofthis Informing ie Mother Ana Lee's Shker Atceum that “every fore evolves for" and that bea orm i ‘imply “the best sponse tothe Fores cling i into being” The most familiar and ioe tee expression of this iea, of course, is Louls Sullivans aphorism’ "orm follows function” by ‘which be meant, Frank Lloyd Wright explained, that form and fc. ‘on should be considered identical Sullivans own explanation, In ‘The Avtabiogrephy ofan Idea, ein the form of ¢compartaon with nature: “And amid the immense number and variety of ving fons I] noted that invariably the fou expressed the function, an fo i stance, the cak tre expressed the faneton oak, the pine tate dhe met ning y hee Yat function pine, and ao on through the amazing series. And, inquiring ‘ore dep, i dacovered that im truths was not simply 2 mater of form expressing function, bu the vital Kes ws this: hat dhe fonction created or organized its form” Sullivan goes onto any that “tis des thew a vast ght upon all ‘ings within the universe" but, for mos of te somewhat less Sikiminating andthe pale berween design in nature sind design by Ihumans is nor particularly help We must also be wary of attempts to relate function and ae ‘hetics, an Horatio Greenough’s admittedly sppeaingdeSnition of benuty "the promise of function." This relationship one to which any designers have pad ip service, but one that x eldom the asi of aetoal practice. Even at the Bauhaus, the petminent schol of ‘moter design € was only during the brie (1934-30) dtetorhip of FHlannes Meyer, ot daring the more famous reigns of Walter Gropios and Ludwig Mies van der Rohe, tat the accommodation of fonction [ecame «pedagogical imperacve ‘remains clesr, though, that fanction, however lite t may be ‘entiabe with echer natute or beauty, ea actor the designer must ‘ccommodate. The intended function of oom will atualy dette fhe selatonthip between the oom and the frre In kad st 8 Inter stage, also dictate the appropiate fumiure choices Will there bedancing in the center ofthe space or dining! Quict convertion or weight ling? Reception eetemonies or medical cxaminations? [Many functions immediately narrow te designer's options. ‘Cen fanctionalrequlcemente wil somecimes be a os with the character of the avalable space, of course. In these cates, the Aesigner who is realy eonscientose wil see the prablem ad soake tanain that the client see too) « "rand balloon” ean never be fetuinely grand, the cient munt be told with « ninefoot cling Feighe (The designer whois both conscientious nd wise wil put sch objections in writing) ‘An indication of the relationship of furniture pln to function is found in a essay by John N. Hasard that suggest that mich ean be learned about the fdiclal systems of deren countries smply by studying coureroom formirute—the separations between odes fy {members and the accused, the placements and sizes apd Varying highs oftheir chai, he accommodations for members ofthe bess "Walk into ab empty courtfoom ad look around,” Hazard sys. "The furniture sangement wil tll you ata ance whoa whet author: tive or bight and stimulating Or, on large and complex jb, iit ‘should offers combination of Several of theae qualities ‘Some environmental paychologists rate intlors sccording to their so-called information rate~chat a, aecondng tothe see ‘mull cht the inhabitant given to consider On tis sale sents that are varied, complex, srowded, dense, unfamig oe neoe tue said tobe hihsloadssituatons quiet, simpler or more eenliar are called low-load. tis obvious that too much somelce wa snteroc can overload its users, ating them confusion af ero Less obvious are she peychologity’Sndings tat to ile smoncn an lo haveil elles, They report tht windowless clasfonma avy ‘ore student absenteeism thn those with windows for exssile sod {hat the bate environment ofa prison dampens mani tee Be {Sommers Tight Spaces quotes one prisoner: "The thou of eae ‘ing prison a well-read man was smugly eating Then Tercoreeed ‘hat reading—teadingineligently~im prison nx ean, boca one ‘ofthe mos difcle things tod n ptm sto comeentoce ‘This manner of looking ata plan may a umes te 2 poadictive ‘ne for the interior denier as well. The designer ness not be bu dened with the psychologist’ aeadeiie paraphernalia chore, soe ‘lized jargon and even matematialformulas~to be wall sree oy the awareness that some functions ell for higoad ipces, weber low:losd ad vo design according ‘Other terms from the eld of envicanmental psychology include leture, arouse. approach, avoidance and dominance. The qucstons ‘ey Sugeest about the desis we create ae cbvious but kangamenta ‘ones. For earle, what depses of pleasure or arousal ae dentate board room, library sending cares thener lay, a child bo ‘om And then the subsequent sto estons; What sorts a estos wil oer dhese desired qualities? Such considerations xs be pohcd st many levels, not daly tothe overall plan but so to parecer ‘ome, to furniture groupings, ¢o fae selection and esbinetwork de, tal “There clenly a danger in being unnecessarily pedantic aboot an "spect of design hat i often considered instantly snd without dete ron. Ye litle more deliberation shove stmulatios Ieee ate save us fom some of the mone dreary of our current mnie fe ‘ypleal general office ates, for instance, with repeated sown utlon-hung office systems, all seniclly sed tenialy soled and identically configured, cen placed far om the plessant dipsec, sof sie views, ett he fie woke with mini Sep alc me a ae ayo ‘EUS sal nape toad oon cerry pe lene warty inst cana ameter re vant ee ‘Nie lent tlre penn he ‘Sot fies suet ratio deg are de he ‘erg re cote un ee tins oti acta ronment oa methane Pan omen aye he scree yes ncn te vee ey toot oo alongs eens y abe soa Sse ty, ty Be laos San es ‘permteromovenene ee cow he accep cy oy sn yas ep Scot fe pe sod mine te eh ‘eed not be axial or symmeteical, of course, nor must dhe diecte athena a sgh ie Tae Season vr Aatos her Howe demi a the Mache cette na a : ‘Second, plans can focus movement from many directions on = sz coy am ny conde ace Se ule agian for aly ce Rouen oy + china of cg Com ao oo. seopa in Nepal and Louls Kabo's preliminary design fora Unitarian ‘hurch in Rochester, Tis plan ype can also be secular, ain Vigno's onle-centered Vila Farnese at Cprercl, ‘Aon oats orm Vigae' Wl aes, Ca ‘Tid plans can fee movement find ies own patter. This plan ‘ype like the others, severable examples including the Gees apart {hd the Roman forum, but ie also mach eed in our oat, for ‘aslioad concourses, market halls, convention exhibition halls and ‘other large sructres. Another type of ee pan is wae in te tai ‘Sonal Japsncre use fren the cas, because of es Deby, tencloaies determined by movable sho and fustme, and ree al ‘temporal sense’ what hed been «space for dining during the ay may tral become a space for sleerng inthe evening ‘Apa es movment Mi dr ab Cow al Cogs ‘Allee pln types and their myriad combinations and variations have recurred throopnoat history, but tbe last type, under the name ‘pen planning, has been paricalasly denied with our own ims Nithoush che ouen of universal spe ir sid to have Best been pre ‘ented voully in Renassance panting, the plan that represents this tottonn thee dimensions has become damian oly inthis entry Since is advent, fay, new question has arisen to face the designet ‘To what degree shall there be rooms! ‘Sigil Cledin, the chi! historian of dhe modern movement 2 chivectue and detign, seated the open plan to Cabise panting. fe his Charles Eliot Norton leettes at Harvard n 1986 ster published tinder the ile Spare Time and Areitecrar, be tated: “Azcund 1910 Fetes and Braque, a the consequence af new conception of pact, xhibited the interiors atid extrac of object simultaneously a ‘hheeture Le Corbuser developed, on the same principle, ee inte penetration of inner and outer space." Tas interpenetration, be ented, was obnerved inthe seventeentheentury buildings of Bor Tomin, but "could have further development only ip an age whowe {cence and ar Both pescelved space sr essentially many-sided td ‘lata Similary, Aleander Dome, im The Way Beyond At, 1958, ex pressed the prevalent view ofthe Ume that modem atchitectte id [nteroe design were serfs of a confontation between function and form "In the stogge between the suronomy of functionals ad that of form,” he eote "he later was bound to be the lose. Walls and gesture bese selehanging «paces interpenczeed di. farang am abstract paincing. space as the standard of reality, the Sksslation of walls nto glass eliminated the rate postion in ‘side and ouside space and multiplied the fonctions of pace, exploding ss The building wat 20 longer besuifl” forthe aly reve Ulonaty energies of modem achitecroe mist how be evaluated te ‘cording to thelr fe improving efcacy.” “Tit years late, of coute, we ate thee views of moderismn— 4s being inevitable, revolutionary and unprecedented functional 1'elusion, and we see the open plan therefore, note trump of function over form but simply a8 the manitertacon of «dramatic change ip taste. Even so, Beesuse the denier needs to be fami ‘wih such changes, dhe ee plan meade «bt mote stetion than the ight eno stm oe anced oe nce eth Wind Wits hen ig a other to general plan eyes so dt we are well aware of ts nature The surprising variable of that nature can be desmonstaed by con paving those Plans employed by the thee modem masters, frank Lloyd Weighs Ladwig Mice van der Robe and Le Corbusier each had his distinctive vernon of the fee plan and each his characterise ‘erion of mitre placement fre ‘Wright characterized is surugles aay from the coast rooms of twadiional plans a8 am effort tobe fee of being "boned cate and fide "fist consciously began to try to beat the box inthe Larkin ——Building—1901" in that office bulding in his Unity Temple two ‘yeas later, in the Jabason Wax hesdguares of 1989 and, most a ‘matically of ln the Guggeaesm Museum atthe end f hs ese, he indeed proke away from the planning of eanvensional enlonires "Score Gf doors disappeared,” Wright wrote in 1931, eclling his earlier work, “ind no end of paeiion.--The house beste Ere fice as space’ and more livable, too Intsioespaciousnes Began 10 "Yee in most of his residential work, his open plans resin some lement of dhe plan type that focuses movement rather than free i ‘The object of thi focus, typialy xa freplacs ov chuncer of eplaces tthe hear ofthe house, around which spaces and partitions ste spun In elghtul freedom but toward which attention always is dren back (He wrote, in The Natorl Hous, of "ie Bre, burning Seth In the solid masonry." one wanted toil one ofthese hotses, one vwould How exactlY where to shoot And, ati thrown apna the walls by cenrifagl force, the furnitoe in dhe Wrightian interior is lavgelyatached to ee srceare, sr nich «part the srhitecture at ‘ould be made practical ("The most satisfactory apartment,” Waght Inad writen as «young designer, “ate dhose im which most oral of he fire is btleim a2 pare ofthe original scheme tensidering the swholeas aun) “The free plan of Mies i very diferent. soems to exist in ¢ powerfl magnetic fed, the maynedsm Keeping he wall suapended {na tense configuration shat prevents their eves touching: Famitar, too; i aught in the Med, pulled sway och frm the solid partitions that modulate the space and rom the glass hin hat forms limatie but nota visual boundary. Beyond that lise line, wall roland floor planes may extend inco surroundings tht te isnagined at unions {2d miles. The Misia plan is open not jst rom ave tates but Philsopbialy atleast, tothe universe SGERSELI ee Uae tneder nan he psn “he Cobian fe plans opn 0 the wold oie pimany huh boston snndow tere bes ple wall {iS heer. The word nodes walle ae prof ew ‘Sou t's Mrs worl or a fhe snaocing meow Wghes ‘hrs bomen domain ote own Unde Wap pen thee hbo cer of pai hee ates al mente ors “seating, cabinets and doo aes sh eser=are bund wp 9 ‘Eresimetion compost tha fovea, osm Sean wee pocemenc of tae Seman av Corbusier ‘Serie, fe ofthe bling st, plone no en MITC Sha ores ts Edward Hank hes wen eso Catan prosca dny the ener of aman pce ith thecueclay employment Ge janes Nee wl he poe eon Ira nb le taal mm inthe endo ond gn {Soopers of Fen Loyd Whe Rater, rn says, Le Co Serine eterna "as ering he memory ofan BS vlna “he fact eh the rep, with ll ie wrstons, has come sto ominence in our own exntury doesnot eeu mens that i the best choice for al our design, sncrete ros have sways had ‘ie in her fet bok, The Decoration 0 Howser wren in 1000 a Eelabraion with rhiteet Open Cadman, Edith Waste seme {have antepotod with some aprehenion the fice pans te Popul "Whatever he ure oft oom she wre “they ares ‘cay interfered wih it be not preserved as Sal wld by Walt IFahe drawing tom be apr of teal snd che bay par of the Sawing oom al shee wil be equally waft serve espe Purpose The inlereace wo pevey which has spony pn snr times, and which in Franc, for ina, hae pen fs wo de Be teaqe comcrit of pring eee of pate sa been wo rom, hd ct replacing doormays by openings Altec fst wie of complex “gine probably de npr to he fae tat many hones ae al decorated by people unum with the has tone oe whom ‘eye bling ‘An apn mn evan ye Cte oman Hee Peete 7 ‘One mare variant ofthe re plan that deseres specific mension and tha, begining inthe 1960, was ten for t whe inthe open planning of large ofc spaces was the picturesque, seemingly random Frnitre placement within tone spacer advected by 4 German de sign group called the Quichbomer Team. This pe of plan, called Burolandichof ot “office landscape," was based on actual working Feltioshipn imong workers rather than on affice hierarchy, aod it bifered an admirably varied, “hghload” envionment. Fust seen a8 ‘bumnorous or shocking its seemingly random clusters of desks proved to ave ments and gave sae to A whole sndusey of fomiture Cet ‘might be appropeatly used in sich a plane also proved to be less ‘Rincon ccmmnating opal name shen to that today "open pan” frmture remains and 0 highly succes ‘bathe “oficelandsape” i seldom sen a “The Quickbomer vaiation's rather radical reworking ofthe fee plan minds vs, a do the variations sn the work ofthe moder ‘asters, that all plans ofall types ae sujet to infinite vanaons, ‘odication and combinations, Malcolm Quant in The Enviar ‘ental Memey. bas speculated wht te Pompiian hove, eros tially ordered and foeueed ona ental stun and theefore «com Dinaion ofthe plan eype that directs and the one that focuses), ght belie fie 10k on the distortions ef ean Mannerism ‘The real, Ihe imagines would make ic hardly ecopazable and would include an ellpucal, rather than rectangular, strom and’ displacement of the ‘eal movement stright through dhe camer of the howe by acces ftom ce corner of ch plan. "There ate many ether ways of distinguishing dierent types of ineror and their plans, ofcourse. in 21968 book that ineligenty ‘viewed recent public imerorsin iia, Hugh Casson casi he ‘Work into five "moods ienyncrny, sntegriy,cereinony, fenaety od fanny. Gidion,in's more soltinn and comprehensive ello Aided the history of all rchvecure ino the reigning "pace com fepions.” The fe, which he called “arhitectre a space vadaing lume” he thought dominant during the fet high eiatons of Mesopotamia and Eeypt and ending with Cretee, The second, "ac tecture ap interior space,” dominated Roman, medieval, Renaissance snd baroque building, And the tid, dhe conception ofthe twentieth ‘entuy, is “arhieecture as Both volume and interior space." "These cateories may remind ur that, base se the plan i 1s oly 2 two-dimensional presentation of what wil be a thre dimen sme sonal interior. As the plan ie devised, the designer mist imagine tin the round, withthe fexare fs layout augmented and empharsed Sy vations in ceiling height. In some designs infact Hae Sophia, for example she flor plan ier i elatvely mote aboot the nate of che interior, while the vertical sttion tlle alla he sedans {is sare that such vertical dramatice wll not be vlad to events fhown on he pla we seldom put the skylight over the clowst As Le Corbusier expresed this principle, "The pan ears within tel 3 primary sod predetermined rythm: The work is developed in extent atin bight following te precrption ofthe plan,” Jet as plan and section should be considered together, both the fundamental planning eoneiertions we have discussed the Sete. ‘mination of Wnts and te aecommodaton of phymeal and pevehslog {eal fanetion~shouldccsupy WE designers mind smoltaneously for they are qo cocastent problems tht demand a single solution. fia best thot the size, shape and character of plan now be determined Scally, with peactcal mits rat ditatingsze sad shape, and with Subjective responses to imagined funtion later dissing character, ‘or that al be determined tether, for character eno separable om ‘ica fee bis governed by i “The destin proces depends, then in each case on a small miracle: the mental jugsing of a umber of iterelateddeterminints uel, fen at am unforeseen moment, the pieces all fall neo place and a ingle concep evidence, ullling ll equiemnents, "The aly apie plan wil more than fl equrement i wl move heyand those regusements ta whole new level of scampi ent; it wil be more than a ealsiato smn of pare Ae Pet Hein vero in The Architectaal Forum i 1967, Ae i asling pobleme ‘ha cannot He formulated Delos they canbe solved The shaping of the question spare ofthe answer. That ie how the creative process works even in the most exat fc, jst a edocs in che recopaiced lore.” “Thi plan, however, forall ts aneweiing of unasked questions, ‘an be sketchy thing mere skeleton of an dea tobe later shed ‘out with all the etal fighting art work, upholstery, celingpro- ‘Ble and wood grain. 1s best, indeed, if such details Go follow the Iniual concep, for then they wile more cely to be ged By “The idea first, however genera the excution later, however specie Obviously, you mayesy. Yer n practice the reverses tempingly easy: easy wo uamine dhe ene’ budget fast and, assuming the max num atlowed expenditure to be the best solution, let that budget determine a the outset the materials vo be employed A bi budget ‘Then panite table tops by all means rosewood! brs, pazed plaster walls-A tight budget! Then inj le and painted Sheetrock. Physical beets dominate in sucha proces, and thouphtal concepts come i Stal. ts their stephen Easy, to, fora designer to subordinate a plan to one pacar ‘tiene demand a the expense of other needs. Ie family Reto —a pine breiivon,say-to be letured ia nevely designed spartment! Thea, the designer may sy, we will begin chert and build our desi by surrounding the piece with complementary objects and mater But single piece of furniture i aoe propery» starting point tthe total eclt isto be functional ad aesthescally convincing, the de ‘Sper neais Set to determines slution tal requirements and east Salotion must be founded nat on any objeto group of objects, but on Something gute subjective! an appropriate vision, Thie isin will then determine whether the breakront tobe filled with book td ‘ued ina study comer oro be ined with aired sill led with china SoU used in a dnung ares, oro aves door long wie to diclose# Staring seulpate of sales steel, or ie pine patna txt remain frbe beached beck to is early lighter colo, of dhe whole damned ‘hing so be enameled soale, “The importance of an initial concept cannot he overstesed James Marston Pich has quoted Austrian plosopher Est Facer tying thats good honeybee can putt Bad architect shame, but “hat irom the very Ars Gistingulshes the mes incompetent ofa thiteetefoon thebestof beste that she arches as but a cell in histhesd belore he construct iin wx” In conventional plans, rater than in open plans, Cs by means of doors ttt we progres fran soocn fo room or by means 0 pases land halls, which are really doorways thickened into small room Rar Asis Arnheim, in The Power of the Centr, a book that divides the ‘ovganzation of all buildings (a well eal pintngs and setts) no cence und eccentric types, uggests that oecuants of rooms ae leat subliminally swore of the ceneal ponte aud whic ll ‘hore rooms’ featares can be Balanced, "As the spatial sorounding ‘hanges” be says, "so does ts balancing center When the space i fonvnous sina hallway the center may move steady with the ‘ewer lke guiding sa, when th space consists of «succession of Aeeached rooms, what resale the more comiphested experience of patiular center approached reached, overcome, and then replaced by the center ofthe next oom” 1m the same book Armhelm hints at the danger of considering organizational diagrams as fly developed plans. He quotes + Rosalind Krauss essay on “what happened when atts oo cemury began bint gride” To paint such diagrams, Krsise thought, wah eo beak ‘horoughly with the pictorial tradiion,euming ant iato 2 "talm of txclusive visually... Never could exploration have chosen les fe le round.” Arnheim chen ask: "lsach schematic patems aren Aispensable forthe order and meaning of arti compotion, why do they tend to look deadly when they ae sed compositions tn ttt own ne” His answer is that “since visual dynamics isthe indispensable farser of arise expression, Sagmnmatclly imple shapes a plagued by. poverty of expression. Whea ats kept ie rom sche ‘ati simplicity, te has many ways of generating expresive Synars Jes, though vorstions of shape colon and elation" But his oes sot mean shat an underlying organizational scheme will ot ssrengthen art that is expressive. "Oace alive,” Amihein continues, 4 "will profit rather than suller from being organized by compen ‘onal patterns.” Later he calls oder “necestry to make sn attic Statement readable” but the order should not be swstken or the ‘essige that sto be read: "Order---st only # means toa en By making the arrngement of shapes, colers and movement let cut, ‘voambiguows, complete, and concentrated on the eascntialy i ore sizes the form to ft the content Tei, Bee ofall, che ontent to which ‘Comperiton refers" ‘Although interior designs overwhelmingly a matter of choosing ‘nd manipulating objets, that choice and that manipulation aes ‘eat, rected by intelligent purpse. The good desigocr i nat slave 103 chines pattem or evento an open-plan affce systom, Although Interior design is intensively a hantronprocess—the devigner needs to fee the woul, 2 sian the cha, co ee the pint chip ierent lighting conditions—the most encal design works cuallysbtrace Ae designer's ole snot to bud the design, to asomble i to sleet, ‘toro purchase but fist and peimaiy to thik a PLAN; LOUIS KAHN SAID, "is society of rooms” Having ‘considered the physical and monetary restaints of design problem, having coniderel alo the physical and payehologiel Sane {Hoos to be secomtmodated, and then having satshed these, however Sets eoncetl pla the dese edy fo cone the ofthe design process Ciel because, important asthe overall plan isin guiding all shat fll, the er of chat plan wil experience i oom By rom. A oom prevents our seaser with Lats, both visual and aura. Thee ‘may be breaks in a room's enclosure by mean of doors and windows, {6 dhe aos open of pan rom ay ony be imped by & rom isthe basi unit for our perception of = dein, Tefollows thet the designcrsboul gave unity The concept for @ troup of rooms may very propely include vasalons and conc, but singular rooms should have cohesion. Not tht tere can be no Surprises in chem, certainly, but dhe best rooms leave usin no doubt ‘bout er character. “The fre thing we peesive about a room, usuly, te size. We Dpave Jeamed a cles —Piape bas outlined the process de ‘elames of space, and his what wed suteratcally aod uncer Slously whenever we enter room Ia the abtact, ese volumes Ihave no value; big isnot beter than small Bat we never experince ‘olume inthe abstact only im specie sieustions apd these sistas ‘eed to be manipuleed by the designer that che pereived volume asthe desired ele Linge volumes of interior space, like the wide outdors, can be berating leh’ feof mebitabel speaks of "ce great open spaces where cts ae cats or terfying (he poet Charles Olson nis study Uh Moby Dick, wate, "ake SPACE to be the central fact 0 man fom in America fom Folsom Cave to now. I apell tase because i somes large here Large and wichout mete") Pence etchings o rst sow such trsre in these vat hall one Is deprived of Fieual privacy, deprived foo of sanctuary from he echoes of seems Tolling through the stone vaults, and, a4 Marguerite Yoorcenar a trlten, “This sense of total expose total iaseeuty, perhaps com ‘bter more than allele co making then fantastic pulces Io pe fons” Contributing to the sense of insecunty isthe wchitectare's Ieomprehensbiity. What we se ira parte cannot tel how large fs pastof a reat complex stctching ot only far beyond our vision ‘ba ls lar beyond our reason, Thre is nological order in what re fe that would llow us to predict what les beyond. Prison depres ref contol over aur own condition, if we eaiot understand ost ‘Sinulay, amall spaces can be either claustrophobic oF cozy. fear Allan Po, who as been caled by at enite Waleer Besaras the fst phyoegromist of the interior” wrote of aman caught (0

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