Interior Provocations repositions the interior as a convergence of phenomena fow-

ing from technology, human and nonhuman behaviors, and corporality. Its con-
tributors sustain the realm of the interior as a critical space of theory and practice
while recognizing its elasticity – with the salubrious effect of freeing the interior
from its architectural container.
Susan Yelavich, Professor Emerita, Design Studies, Parsons School of Design, The
New School; author, Thinking Design through Literature (Routledge, 2019)

Interior Provocations extends the academic analysis of interiors through eleven theo-
retically challenging case studies. The authors interrogate the relation of architec-
ture and interiors in a variety of contexts including urbanism and outdoor rooms,
landscapes and virtual reality. Collectively, they demonstrate the autonomy not
only of interior design and interiors, but also of interior design discourse.
Grace Lees-Maffei, Professor of Design History, University of Hertfordshire, UK

This volume provides an absorbing insight into the editors and authors expansive
insights into unbounded interiorities. It compels the reader to interrogate their
own assumptions regarding disciplinary distinctions, and instead requires them
to recalibrate their position through their immersion in the exploration of the
limitless ambiguities of what interiors can or might be.
Graeme Brooker, Professor of Interior Design at the Royal College of Art

Timely and ambitious, Interior Provocations challenges us to reconsider how inte-

riors are generated, experienced, and enacted. No longer bound by architectural
walls, the interiors examined in this impressive collection range from the tech-
nologically-mediated, virtual and immersive to the socially-imagined, ephem-
eral and subversive.
D.J. Huppatz, Associate Professor of Architecture and Design at Swinburne University
of Technology, Australia

Mapping cultural sensibilities across media, material, technology and ritual, this
collection argues persuasively for the interior as an autonomous entity worthy of
sustained scholarly attention.
Charles Rice, University of Technology Sydney

This text presents a provocative examination of autonomy. The essays exploit this
term to distinguish disciplinary, theoretical and practical distinctions between
architecture and interior, across a broad range of contexts. Exploring interiors in
this manner, offers a signifcant way to address the interior and its cultural effects.
Mark Taylor, Swinburne University of Technology, Australia
This fascinating book is an indispensable addition to recent scholarship on inte-
rior design history and theory. Exploring the roles of nature, technology and
non-human agents in the creation of the interior, these thought-provoking essays
move beyond the traditional focus on human inhabitation and invite readers to
consider interiority as a post-human condition.
Joanna Merwood-Salisbury, Victoria University of Wellington
INTERIOR PROVOCATIONS

Interior Provocations: History, Theory, and Practice of Autonomous Interiors addresses

the broad cultural, historical, and theoretical implications of interiors beyond
their conventionally defned architectural boundaries. With provocative contri-
butions from leading and emerging historians, theorists, and design practition-
ers, the book is rooted in new scholarship that expands traditional relationships
between architecture and interiors and that refects the latest theoretical devel-
opments in the felds of interior design history and practice.
This collection contains diverse case studies from the late eighteenth cen-
tury to the twenty-frst century including Alexander Pope’s Memorial Garden,
Design Indaba, and Robin Evans. It is an essential read for researchers, practi-
tioners, and students of interior design at all levels.

Anca I. Lasc is Associate Professor of Design History in the History of Art

and Design Department at Pratt Institute. Her published work includes Interior
Decorating in Nineteenth-Century France: The Visual Culture of a New Profession
(2018), Architectures of Display: Department Stores and Modern Retail, co-edited
with Patricia Lara-Betancourt and Margaret Maile Petty (Routledge, 2018),
Visualizing the Nineteenth-Century Home: Modern Art and the Decorative Impulse
(Routledge, 2016), and Designing the French Interior: The Modern Home and Mass
Media, co-edited with Georgina Downey and Mark Taylor (2015).

Deborah Schneiderman is Professor of Interior Design at Pratt Institute and

principal/founder of deSc: architecture/design/research. Her praxis explores the
emerging fabricated interior environment and its materiality. Schneiderman’s
published research includes the books Inside Prefab: The Ready-Made Interior
(2012), The Prefab Bathroom (2014), Textile, Technology and Design: From Interior
Space to Outer Space (2016), and Interiors Beyond Architecture (2018).
Keena Suh is an Associate Professor in the Interior Design Department at Pratt
Institute with over twenty years of active practice in architecture and interior
design. Her interest is in developing pedagogical frameworks to foster cross-
disciplinary collaborations and learning.

Karin Tehve is Associate Professor of Interior Design at Pratt Institute, where

she coordinates the theory and undergraduate thesis curriculum. Her research
and writing concentrates on taste, media, and identity and their intersection
with the public realm. This includes teaching (and learning from) undergradu-
ate studios examining the relationship between aesthetics and inclusivity in
New York City’s INT POPS, projects exploring social media and public realm,
and an in-progress book about the history of taste. Her recent publications
include “Interiors for and on Display” in Interiors Beyond Architecture (editors
Deborah Schneiderman and Amy Campos, Routledge, 2018), as well as “POPS:
Access, Appearance and Identity,” published Spring 2020 in International Journal
of Interior Architecture + Spatial Design 6, parallel territories.

Alexa Griffth Winton is a design historian and educator in New York City,
where she is Manager of Content+Curriculum at Cooper Hewitt, Smithsonian
Design Museum. Her research addresses issues of craft in the industrial and com-
puter ages, the role of technology in modern domestic design, and the theoriza-
tion of the domestic interior. Winton’s work has been published in numerous
scholarly and popular publications, including the Journal of Design History, Dwell,
Journal of the Archives of American Art, and the Journal of Modern Craft. She edited
Textile Technology and Design: From Interior Space to Outer Space with Deborah
Schneiderman (2016).

Karyn Zieve is an Adjunct Assistant Professor in the History of Art and Design
Department at Pratt Institute. Her work focuses on nineteenth-century French
images of the Middle East and Northern Africa, particularly those by Eugène
Delacroix, and questions of Orientalism, museum history, and historiography.
INTERIOR
PROVOCATIONS
History, Theory, and Practice
of Autonomous Interiors

Edited by Anca I. Lasc,

Deborah Schneiderman, Keena Suh,
Karin Tehve, Alexa Griffth Winton, and
Karyn Zieve
First published 2021
by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2021 selection and editorial matter, Anca I. Lasc, Deborah
Schneiderman, Keena Suh, Karin Tehve, Alexa Griffth Winton, and
Karyn Zieve; individual chapters, the contributors
The right of Anca I. Lasc, Deborah Schneiderman, Keena Suh, Karin
Tehve, Alexa Griffth Winton, and Karyn Zieve to be identifed as the
authors of the editorial material, and of the authors for their individual
chapters, has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
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Library of Congress Cataloging-in-Publication Data
Names: Pratt Interior Provocations: Interiors Without Architecture
(Symposium) (2018: Pratt Institute), author. | Lasc, Anca I., editor.
Title: Interior provocations: history, theory, and practice of autonomous
interiors/edited by Anca I. Lasc, Deborah Schneiderman, Keena Suh,
Karin Tehve, Alexa Griffth Winton and Karyn Zieve.
Description: New York, NY: Routledge, 2020. |
Includes bibliographical references and index.
Identifers: LCCN 2020012630 (print) | LCCN 2020012631 (ebook) |
ISBN 9780367418496 (hbk) | ISBN 9780367418489 (pbk) |
ISBN 9780367816544 (ebk)
Subjects: LCSH: Interior architecture–Congresses. |
Interior decoration–Congresses.
Classifcation: LCC NK2850 .I567 2018 (print) |
LCC NK2850 (ebook) | DDC 729–dc23
LC record available at https://lccn.loc.gov/2020012630
LC ebook record available at https://lccn.loc.gov/2020012631
ISBN: 978-0-367-41849-6 (hbk)
ISBN: 978-0-367-41848-9 (pbk)
ISBN: 978-0-367-81654-4 (ebk)
Typeset in Bembo
by Deanta Global Publishing Servies, Chennai, India
CONTENTS

List of contributors ix
Acknowledgments xii

Introduction 1
Karin Tehve

SECTION I
The Compressed Interior 9

1 The Uncanny Design of the Thorne Miniature Rooms 11

K.L.H. Wells

2 Salon, an Autonomous Ludic Interior 30

Alan Bruton

SECTION II
The Representational Interior 51

3 “A Better World Through Creativity”: Interiors without

Walls and Design Indaba, South Africa 53
Harriet McKay

4 Furniture Thinking: Examining Robin Evans’ “The

Developed Surface” Through Practice 72
Annie Coggan
viii Contents

5 The Post-Wall–Era Club Culture of Berlin as Cultural

Heritage: “Where There Was Jag, There Is Art” 85
Mark Nicholas Phillips and Yüksel Pögün-Zander

6 The Immersive Interior: From Vuillard to VR 104

Cindy Kang

SECTION III
The Un-Sited Interior 123

7 Outdoor Rooms: Domesticated Landscapes in the UAE 125

Juan Roldan Martin

8 Immanent Interiors with(in) More-than-Human Worlds 139

Virginia Black and Elsa Hoover

9 Turning Inward: Alexander Pope’s Memorial Garden 159

David C.C. Foley

SECTION IV
The Technological Interior 179

10 The Telegraphic Interior: Networking Space for Capital

Flows in the 1920s 181
Paula Lupkin

11 Productions, Articulations, and the Elusive 206

Clay Odom

Interior Provocations: A Conclusion 233

Penny Sparke

Index 243
CONTRIBUTORS

Virginia Black is an architect and professor of architecture and interior design at

Pratt, Parsons, Barnard, and Columbia SPS. She studied Kichwa in the Ecuadorian
Amazon, and Quechua at NYU, funded by a FLAS scholarship from the US
Department of Education. She has also worked with AMUPAKIN, an Indigenous
woman’s midwifery, to raise funding and design acts of protest in Quito.Virginia is
a founding member of feminist architecture collaborative, whose work and writ-
ing has been published in e-fux, the Funambulist, Harvard Design Magazine, Ed, Real
Review, Rm 1000, Due, Subtexxt, and Girls Like Us and exhibited at FRAC, Gallery
VI PER, and Magazin.

Alan Bruton is Associate Professor and Director of Interior Architecture at the

Gerald D. Hines College of Architecture and Design, University of Houston,Texas.
Previously he was faculty in the School of Constructed Environments at Parsons
School of Design, The New School, New York. Alan Bruton Studio has been
designing architecture, interiors and exhibitions and related elements since 2000.

Annie Coggan is a designer, educator and principal at Chairs + Buildings Studio, a

multiscale design studio based in Brooklyn, New York. She is an Associate Professor
at Pratt Institute. Her textile and furniture practice focus on speculative textiles
and “Didactic Decorative Objects.” She has been recently awarded a 2018-2019
Winterthur Museum Creator/Maker Fellowship for 2018–2019. She received her
B.A. from Bennington College in Vermont and her Master of Architecture from
SCI-Arc in Los Angeles.

David C.C. Foley is Adjunct Professor and Acting Chair of Interior Design at
Pratt Institute, New York, where he has taught since 2009. His practice is an exercise
x Contributors

in de minimus intervention as sustainable practice. He researches permaculture as a

foundation to sustainability and design as a tool for social justice.

Elsa Hoover is an architectural designer and writer of mixed Anishinaabe and

white descent whose research focuses on borders, histories, environments, and
Indigenous futures. Her recent work includes cartographic illustration, an immer-
sive theater installation, and media published in the Avery Review, the Funambulist,
and Subtexxt, and included in volumes published by the Clark Art Institute and an
exhibition curated by ArchiteXX. She studies architecture at the Harvard Graduate
School of Design.

Cindy Kang is Associate Curator at the Barnes Foundation, Philadelphia. Her

research and publications have focused on the relationship between painting and
decorative arts in nineteenth- and twentieth-century France, as well as the history
of collecting, museum display, and museology.

Paula Lupkin is Associate Professor at the University of North Texas, and is a

historian of design, architecture, and cities. Her interdisciplinary work focuses on
the spatial production of modernity under capitalism, investigating its impact on
the designed world and the built environment. Her research and publications,
including Manhood Factories:YMCA Architecture and the Making of Modern Urban
Culture (2010), and Shaping the American Interior: Contexts, Structures, and Practices
(2018), co-edited with Penny Sparke, address the ways that architecture, interiors,
cities, and landscapes shaped and were shaped by new ways of living, working,
designing, and consuming. Her work has been supported by the Charles Warren
Center at Harvard, the Graham Foundation for Advanced Study in the Fine
Arts, and the Clements Center for Southwestern Studies at Southern Methodist
University.

Juan Roldan Martin is an architect and Assistant Professor at the American

University of Sharjah, UAE. His research offers a commentary on reappropriating
city spaces. Roldan’s work examines both interior and exterior domestic spaces to
understand how new models of social and urban relationships subvert traditional
customs and establish mechanisms of exchange between individuals and the city.
He seeks to understand how cities are used and appropriated by unsolicited design-
ers and unexpected residents, analyzing the codes, protocols, and liturgies that cre-
ate a citizen’s inherent sense of belonging on inhabited land.

Harriet McKay is Senior Lecturer in Interior Design at the Cass School of Art,
Architecture and Design, London Metropolitan University. Her work focuses on
interior architecture and design. She is particularly interested in exploring these
practices in terms of political and social themes in the UK and South Africa.
 Contributors xi

Clay Odom is an Associate Professor in the Interior Design Program at The

University of Texas School of Architecture, a graduate of Texas Tech University
College of Architecture and the Columbia University Graduate School of
Architecture Planning and Preservation, and a licensed Interior Designer. He is prin-
cipal of the research-oriented design practice studioMODO based in Austin,Texas.

Mark Nicholas Phillips is Professor for Experimental Design and Head of

Interior Architecture at Coburg University of Applied Sciences and Arts, Germany.
He studied Architecture in Germany, Rome, Glasgow and Atlanta. He received
his Diploma degree at the University of Kaiserslautern. He worked as a freelance
architect in Berlin and Stuttgart.

Yüksel Pögün-Zander is a Professor of Interior Design at Berlin International

University of Applied Sciences. She started her training at the Catholic University
of America and completed her studies at the Istanbul Technical University. She
received her Master’s and Ph.D. degrees at the Izmir Institute of Technology. She
worked as a freelance architect in Istanbul, Izmir, and Berlin.

Penny Sparke is Professor of Design History at Kingston University, London. Her

publications include As Long as It’s Pink:The Sexual Politics of Taste (1995); Elsie de
Wolfe:The Birth of Modern Interior Decoration (2005); and The Modern Interior (2008).

K.L.H. Wells is Assistant Professor of American Art and Architecture at the

University of Wisconsin-Milwaukee and author of Weaving Modernism: Postwar
Tapestry between Paris and New York (2019).
ACKNOWLEDGMENTS

This volume has been inspired by our dedicated students and colleagues at Pratt
Institute, who challenge the boundaries of and push critical discourse for Interior
Design and its histories daily. Our work has been especially energized by our
contributing authors and we thank them for their time and dedication. Sincere
thanks also go to Krystal LaDuc Racaniello at Routledge for her interest in and
support of this project. The volume could not have happened without her. We
would like to express deepest gratitude to our colleagues for their insight, dedi-
cation and collaborative spirit, to Penny Sparke, whose work is an ongoing and
enduring inspiration, to Anita Cooney, Dean of the School of Design, Andrew
Barnes, former Dean of the School of Liberal Arts and Sciences, John Decker,
Chair of History of Art and Design, and Alison Snyder, former Chair of Interior
Design for their support of design research and this project in particular, and to
our families for their unceasing support and encouragement. They know who
they are.
INTRODUCTION
Karin Tehve

Interior Provocations, a symposium organized by Anca I. Lasc, Deborah

Schneiderman, Keena Suh, Karin Tehve, Alexa Griffth Winton, and Karyn
Zieve at Pratt Institute is rooted in new scholarship that refects the latest theo-
retical developments in the felds of interior design history, theory and practice.
This volume emerged from the symposium’s second meeting held on February
3, 2018, subtitled Interiors without Architecture. The call for presentations requested
scholarship examining the broad cultural, historical, and theoretical implications
of interiors beyond their conventionally defned architectural boundaries. This
topic was inspired by the recently published volume Interiors Beyond Architecture
(editors Deborah Schneiderman and Amy Campos), which focuses on alterna-
tives in defning the physical boundary conditions of the interior and posits that
its defnitions should be understood not to be the simple equivalent of architec-
ture’s insides. This present volume expands that inquiry to focus more point-
edly on broader theoretical and historical disciplinary concerns of interior design
theory: both in relation to architectural theory and as discrete from it.
One might examine distinctions between design disciplines using concepts
of autonomy. Autonomy is a term critical to architectural theory’s ongoing
consideration of self-defnition: of both the architectural act and of its analy-
sis. Autonomy, regarding architecture, is the emphasis on conditions specifc to
architecture; at its most extreme, to consider architecture for architecture’s sake. If
we take “autonomous” to simply refer to independence, then arguably Interior
Provocations: History, Theory and Practice of Autonomous Interiors establishes that ter-
ritory vis-à-vis the formation of an interior: it is not reducible to the ground in
relation to architecture’s fgure, a position necessary to understand its discre-
tionary life. This present volume elaborates on that understanding to examine
and imagine alternative paradigms, requiring greater clarifcation on the term
autonomy itself.
2 Karin Tehve

Casey Haskins, in “Kant and the Autonomy of Art,” identifes two modali-
ties of the term that are particularly relevant.1 Haskin suggests a close reading of
Immanuel Kant’s Critique of Judgement establishes two discernible forms. The frst
is strict autonomism, suggesting that a work of art, as an object of value, should
be distinguished from what it does. The second is instrumental autonomism: to do
something not done by other kinds of objects. While the focus of Haskin’s essay
is that of the evaluation of things, it provides useful concepts for the considera-
tion of design praxis as well.
One might posit strict autonomism to be central to any discipline’s self-
defnition, to identify the core values and concerns that establish its domain:
what constitutes an interior or what is interior design theory? However, this singularity
is problematized at every turn. As one example, the identity of interior design
is often bound up in its representations—they are the means through which
most interiors are experienced. The effects of mediation become integral to our
understanding; what the interior is as a discrete phenomenon becomes diffcult to
extract. This concept is a common thread through a good deal of scholarship,
including (but certainly not limited to) Jeremy Aynsley and Charlotte Grant’s
edited volume Imagined Interiors: Representing the Domestic Interior since the
Renaissance2 and Designing the French Interior: The Modern Home and Mass Media
edited by Anca I. Lasc, Georgina Downey, and Mark Taylor.3 Penny Sparke’s
The Modern Interior suggests that its development is inextricable from the effects
of mass media, especially photography.4 Perhaps this dual condition is rendered
most clearly in The Modern Period Room: The Construction of the Exhibited Interior
1870–1950, edited by Penny Sparke, Brenda Martin, and Trevor Keeble.5 Here,
the period room is understood as both a physical space and a representation.
Charles Baudelaire refers to this specifc duality in his essay “The Twofold
Room,” as referenced by Charles Rice in the introduction to The Emergence of the
Interior: Architecture, Modernity, Domesticity as an essential quality of all interiors.6
Another problemitizing plurality of the interior is that its identity is bound up
with its inhabitation. In Biography, Identity and the Modern Interior, edited by Anne
Massey and Penny Sparke, the spaces described are both the locus for the per-
formance and experience of one’s everyday life and the medium of its recorded
history, inscribed as such with traces of those experiences.7 Reductively, inhabi-
tation is use. Strict autonomism, to disengage itself from use, would discourage
engagement with occupation or representation conceived beyond the design stu-
dio. To separate the consideration of inhabitation from either interior praxis or
theory would be to deny its most defning concern.
Instrumentality itself creates a space between defning the interior as simply the
passive or inactive result of an architectural act, and asks what does the interior do
in a way that no other phenomenon does? Instrumental autonomism speaks to boundary
conditions: what rules should govern a discipline’s relationship to surrounding
felds of inquiry, or the designed condition from its context (whether physical,
cultural or otherwise)? The study of interior design eschews formal and intel-
lectual clarity to embrace the messiness inherent in boundaries constructed in
 Introduction 3

constant dialogue with other disciplines. As an example, Penny Sparke’s The

Modern Interior identifes the designer Paul Poiret as a pivotal fgure in the devel-
opment of interior design at the turn of the last century. Though better known
as a couturier, his interior projects for Atelier Martine helped blur the boundaries
between the production of fashionable dress and the interior.8 Fashion, Interior
Design and the Contours of Modern Identity, edited by John Potvin and Alla Myzelev,9
also describes the intertwining of these disciplines as beginning in the eighteenth
century, and across its eleven essays describe how the uses of fashion and inte-
riors have contributed to the formation of social identity from then until the
present day. Shaping the American Interior: Structures, Contexts and Practices edited
by Paula Lupkin and Penny Sparke,10 as well as Anca I. Lasc’s Interior Decorating in
Nineteenth-Century France: The Visual Culture of a New Profession notably address
the relationship between these professions and others, including but not lim-
ited to theater, furniture design, collecting, and art dealership.11 Through this
scholarship, the discipline obliquely identifes as heterogeneous, insofar that its
praxis is not limited to those who would identify as interior design practitioners,
theorists, or historians.
Interior design theory, history, and praxis embrace the open boundary of both
space and query. The consequent heterogeneity of their concerns and effects can
be seen throughout this volume. Perhaps paradoxically, the chapters of this book
also challenge what might be understood to be (strictly) central to the discipline:
notably, the precondition of present, active human bodies. This is a benchmark
in interior design. While continuing to develop, the identity of interior design
theory, history, and praxis is strong and clear enough to challenge from the
inside, making it possible to enrich and expand its effective territories.
Insofar as interior design theory, history and praxis have an orthodoxy, it
may be the centrality of the human body to its concerns. The now canonical
collection of essays Toward a New Interior, edited by Lois Weinthal,12 is organized
to begin with the body.13 Across sizes, shapes, and kinds of abilities, bodies pro-
vide the interior with the means of its formation and act as non-standard units
of measure of the interior’s limits and manifestation. The chapters included in
Section I of this volume, “The Compressed Interior,” understand the body as
technically exterior to the spaces created.
K. L. H. Wells in “Designing a Way Out of the Depression through Thorne’s
Miniature Rooms” describes just such a condition. The Thorne miniature
rooms were dioramas, created by Chicago socialite Narcissa Niblack Thorne in
the 1930s, depicting miniaturized period interiors. Jean Baudrillard described
models as an idealized antecedent, meant less to exist as an autonomous entity
than as a source for a future condition.14 Appearing in expositions and museums,
the Thorne miniature rooms were both model interiors and independent from
that function, as objects of contemplation and delight for their audience. They
offered the possibility of a projected, imaginary occupation of these tiny spaces.
More recently, Alan Bruton designed the game titled Salon, described in
“Game Space: Autonomous Interior.” Bruton describes the space created as a
4 Karin Tehve

distributed form of interiority. Salon, played on a board, could be understood

as interior through conditions of context or difference, or through the limit of
the domain of the rules that organize play. Like the Thorne miniature rooms,
the game is a diversion unto itself as well as representing analogous social rela-
tionships at a physically inhabitable scale. Salon also recursively creates its own
dynamic social feld through the engagement of its players: very much in real
time, straddling two scales of space. It is possible to understand both miniatures
and game-boards as analogous to or even representational of interiors, but it is also
possible to acknowledge them as interiors unto themselves, independent of their
referential functions.
The chapters within Section II, “The Representational Interior,” describe
conditions that exploit the dynamic fux created in relations between interi-
ors and their representations. The images referenced here are realized across
media type, but each transforms its content, whether that image be as solid as a
surface, as mobile as a blog-post, or as mercurial as a memory. Annie Coggan,
in “Furniture Thinking: Examining Robin Evans’ Developed Surface through
Practice,” examines the way that designers move between the two- and three-
dimensional realms, asking—as Evans does—about the effect of a designer’s
means of representation on their work. Her analysis encompasses both the draw-
ing as a site of investigation in the work of John Soane, Robert Adams, and
others and the relationship of those drawings with spatial and material manifes-
tations in her own work. Coggan’s chairs use traditional craft techniques such as
embroidery and smocking to re-cast the textile skins as surfaces: sometimes as
drawings, sometimes as relief.
It is at the nexus of design and non-design that the projects described in “A
Better World Through Creativity: South Africa’s Design Indaba and Solutions
for Informal Settlement Housing” might reside. Harriet McKay proposes that
new paradigms for design publishing are putting forward new models of the con-
temporary interior into the public’s imagination. Design Indaba describes itself
as a multifaceted platform, encompassing an online presence, annual festivals,
and a doTank.15
Its blog posts resemble the visually rich entries of any number of design
publishers (formal and informal) but a closer examination reveals projects that
embrace a range of both producers and consumers, sometimes blurring those
roles (as when designers intervene into existing informal settlements). Both the
publications and the projects themselves can be read as a critique of casting these
settlements and other marginal spaces as backdrops for images in mainstream
design publishing, an appropriative attempt at authenticity.
Post-wall has a dual meaning (referencing another kind of dematerialization)
in “The Post-Wall-Era Club Culture of Berlin as Cultural Heritage – ‘Where
there was jag, there is art.’” It describes both the cultural context of mid-90s
Berlin, as much as it evokes the deteriorated physical conditions that came to
house a genre-defning music scene. Mark Nicholas Phillips and Yüksel Pögün-
Zander examine the particular atmospheres made possible in the intersection
 Introduction 5

of the decayed interiors of industrial infrastructure, club music, and perceptual

anomalies created by exuberant drug use. While ostensibly an anti-aesthetic and
rarely photographed—their near-invisibility was a necessary condition of their
existence—these spaces became an international symbol for the city’s nightlife,
and continue to infuence deliberately constructed interiors up to the present day.
“The Immersive Interior: From Vuillard to VR” illustrates the aforemen-
tioned diffculty in separating the interior from its representations. Cindy Kang
describes the experiences created by both analog and digital constructs through
which interiority is experienced. Within them, other identities may be inhab-
ited. Physical bodies are absent in these virtual spaces, and yet occupation can
engender sympathies with those represented as present.
Section III of this book, “The Un-Sited Interior,” takes up the interior’s
production as generated by the immaterial: by social, procedural or even ritual
conditions. The chapters here offer means to discern an inside and an outside,
whether of norms, methodologies, habits or beliefs. Perhaps the most radical
lesson, and what most distinguishes the interior from architecture, is that the
interior exists both inside and outside of the domain of design. The felds of
inquiry proposed by “Indigenizing Interiors” span from the scale of the body to
the—now literal—landscape. Virginia Black and Elsa Hoover develop a schema
of interlocking overlapping scales of occupation, involving human, divine, and
environmental processes. Here, too, the difference between design and non-
design are challenged. In one case-study, Black and Hoover position the chagra
(or garden) as an integrative link between the rituals of everyday life and the ecol-
ogies of the surrounding forest. Its boundaries are enacted, not constructed. The
chagra is a territory formed in relations between the human and non-human, and
between the un-cultivated and the natural context; however, to over-emphasize
the distinctions between components is to under-value each actor in isolation.
Similarly, David Foley examines the historically-specifc changes in the relation-
ship between the human and the divine in “Turning Inward: Alexander Pope’s
Memorial Garden,” as made manifest in landscape and garden design practice.
The emergence of the picturesque parallels the emergence of the modern subject
in the eighteenth century, as gardens eschew the abstract urban axialities of clas-
sical planning, and rely on an occupant’s experience as a point of departure. The
garden is instrumentally an interior, constructing a space of refection discrete
from the everyday. Design is an active agent but its presence is veiled in these
naturalistic settings, freeing the garden’s occupants to conceptualize their own
relationship to nature, paradise, or the beyond from within.
In “Outdoor Rooms: Domesticated Landscapes in the UAE,” Juan Roldan
Martin examines the ongoing production of Sharjah in the United Arab
Emirates—specifcally, its other city. This consists of the transient and imperma-
nent occupation of Sharjah’s urban voids and edges, places made legible by infor-
mal and temporary activity. These, too, are enacted interiors. Prominent amongst
the inhabitants of these spaces are the city’s migrant populations. In the repetitive
recreations of spaces in which to gather, eat, or play sports, a symmetry can be seen
6 Karin Tehve

with the conditions of the city’s founding. These occupancies, as experienced and
observed, now infuence the architecture and interiors produced through more
formal design praxis.
Marshall McLuhan, in a BBC television interview in 1965, defned technol-
ogy as akin to a prosthetic, as something that extended or enhanced the abili-
ties of the human body.16 In Section IV of this volume, “The Technological
Interior,” we see a more nuanced, perhaps more ambivalent position challenging
the interior as defned by acts of human occupation. In the following essays, it is
technology itself that may be understood as the most consequential inhabitant,
positioning interiority as a post-human condition. In “Infrastructural Interiors:
Designing Spaces and Furnishings for Telegraphy in the 1920s,” Paula Lupkin
describes the spaces of the telegraph. This form of media, developed in the nine-
teenth century, is McLuhan’s technology at its most straightforward, enabling a
voice, performing speech—translated into code—to be broadcast over spaces as
wide as the wires and cables that supported it. Lupkin describes the evolution of
the direct physical impact of telegraphy’s infrastructure on the modern interior,
eventually being absorbed into and thickening a building’s poché. Telegraphy’s
housing expands the physical conditions of an interior’s enclosure while indi-
rectly erasing those limits, in its function to link any place into a network at the
scale of the world beyond.
The position of the human inhabitant is made more ambiguous in “Productions,
Articulations and the Elusive.” In this chapter, Clay Odom defnes the interior
as actively producing effects, rather than being their receptacle. Actor-Network
Theory invites us to consider non-humans as actors, humans, and non-humans
as momentarily equivalent in the analysis of active systems.17 Odom’s installa-
tions, described in his chapter, examine these interiors-effects and asks us to
consider the dynamic and reciprocal effects on what they may contain, their con-
stituent parts and how they might be perceived and experienced. Here, it might
be argued that McLuhan’s technology has achieved agency and independence,
no longer understood simply in relation to the inhabitants of an interior but an
active inhabitant itself.
As already suggested, the interior is no longer fxed and defned by archi-
tecture; rather it should be understood as a consistently dynamic condition.
Collectively, the chapters in Interior Provocations: History, Theory and Practice of
Autonomous Interiors present critical frameworks for a reexamination of the dis-
ciplinary distinctions and convergences of interior design and its related disci-
plines, especially architecture. Regarding architecture, this text emerges at a
moment of self-assessment of theory: of its limits, usefulness, and a way forward,
well past the traditional focus on architecture as discrete from its cultural effects.
Regarding the interior, scholarship continues to privilege richness over disam-
biguation. That said, the writing contained in this volume is further evidence of
the consolidation of interior design as a discipline, a moment when core values
(the presence of bodies, the role of surfaces, generative social or ritual praxis, etc.)
can be challenged to become even more robust.
 Introduction 7

A productive way forward for design would embrace a dialectic between an

intensive central identity and an extensive edge condition, open to intellectual
contexts (including other disciplines) to best respond to conditions only design
can address, illuminate, or solve. A clear purpose comes from the choice to con-
sider both what design is and what it does as a process. To theorize a fxed def-
nition of autonomy regarding the interior, whether instrumental or strict, will
always be problematized, relying as it does on the contexts of its history, theory
and practice. However, in embracing these ambiguities strength is found with
every consequent provocation.

Notes
1 Casey Haskins, “Kant and the Autonomy of Art,” The Journal of Aesthetics and Art
Criticism 47, no. 1 (Winter, 1989), 43–54.
2 Jeremy Aynsley and Charlotte Grant, eds., Imagined Interiors: Representing the Domestic
Interior since the Renaissance (London: V & A Publishing; New York: Distributed in
North America by Harry N. Abrams, Inc., 2006).
3 Anca I. Lasc, Georgina Downey, and Mark Taylor, eds., Designing the French Interior:
The Modern Home and Mass Media (London; New York: Bloomsbury Academic,
2015).
4 Penny Sparke, The Modern Interior (London: Reaktion, 2008).
5 Penny Sparke et al., The Modern Period Room: The Construction of the Exhibited Interior
1870–1950 (Abingdon, Oxon; New York: Routledge, 2006).
6 Charles Rice, The Emergence of the Interior: Architecture, Modernity, Domesticity
(Abingdon, Oxon; New York: Routledge, 2007).
7 Penny Sparke and Anne Massey, eds., Biography, Identity and the Modern Interior
(Farnham, Surrey, UK; Burlington, VT: Ashgate Publishing Company, 2013).
8 Penny Sparke, The Modern Interior (London: Reaktion, 2008), 77–78.
9 Alla Myzelev and John Potvin, eds., Fashion, Interior Design and the Contours of Modern
Identity (Surrey, UK; Burlington, VT: Ashgate, 2010).
10 Paula Lupkin and Penny Sparke, eds., Shaping the American Interior: Structures, Contexts
and Practices (Abingdon, Oxon; New York: Routledge, 2018).
11 Anca I. Lasc, Interior Decorating in Nineteenth-Century France: The Visual Culture of a
New Profession (Manchester, UK: Manchester University Press, 2018).
12 Lois Weinthal, Toward a New Interior: An Anthology of Interior Design Theory (New
York: Princeton Architectural Press, 2011).
13 Ewa Lajer-Burcharth and Beate Söntgen, eds., Interiors and interiority (Berlin; Boston:
De Gruyter, 2016) makes a similar emphasis.
14 Jean Baudrillard, The System of Objects (London; New York: Verso, 2005).
15 http://www.designindaba.com/about-design-indaba (accessed October 29, 2018).
16 Marshall McLuhan, “Marshall McLuhan Speaks Special Collection: My defnition of
technology,” BBC, 1965. http://www.marshallmcluhanspeaks.com/understanding
-me/1965-my-defnition-of-technology/ (accessed October 20, 2018)
17 Albena Yaneva, “Making the Social Hold: Towards an Actor-Network Theory of
Design,” Design and Culture 1, no. 3 (November 2009): 285.
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