Marinic, Gregory

Bio Sketch

Gregory Marinic is an architect and educator, and the editor of The Interior Architecture Theory Reader (Routledge, 2018), the anthology from which the wiki's interior-architecture chapter cluster is drawn. The reader collects foundational and critical texts — historiographies, theories, and practices of the designed, altered, and inhabited interior — that together define interior architecture's scope as an academic discipline in the wake of its 1990s–2000s consolidation. Hollis's "(Re)constructing histories," the reader's opening chapter, situates the discipline's founding literature within the anthology; Sarah Deyong's "A history of style and the modern interior," its second chapter, gives the modern interior an art-historical genealogy from Riegl to Rowe; Jodi La Coe's "Quadrature," its third chapter, carries the interior back to the Baroque, reading Pozzo's perspectival illusion as early interior architecture; Ziad Qureshi's "Spatial therapies," its fourth chapter, projects the discipline forward as a "spatial therapy" reconciling past, present, and future; Michael Webb's "Inside out," its fifth chapter, gives the discipline its practitioner-theorist statement — "the outside is the inside distended"; Emily Stokes-Rees's "Symbiotic spaces," its sixth chapter (Part 2: Territories), extends the discipline to the institutional scale of the postcolonial museum — the building as "an active agent in constituting knowledge and experience"; Mark Taylor's "Shape shifting," its seventh chapter, gives the discipline its dynamic, technological conception — the responsive interior of sensors, actuators, and real-time data; Liz Teston's "Politicizing the interior," its eighth chapter, opens the political register — the interior as "both spatial and political," grounded in Augé, the Situationists, and the Universal Declaration of Human Rights; and Marc Manack's "Fabricating interiority," its ninth chapter, gives the discipline its technological-autonomy statement — the interiority of interior architecture as "a complete fabrication, an artifice embedded within an edifice," realized from the skyscraper's decoupled interior to digitally fabricated spatial envelopes; and Amy Campos's "Territory and inhabitation," its tenth chapter, gives the discipline its territorial conception — territory and the inhabited interior as "a singular field of designed action, equally and reciprocally defining each other"; Blair Satterfield and Marc Swackhamer's "Swimming upstream," its eleventh chapter, gives the discipline its process (agency) conception — designers repositioned along the production stream ("swimming upstream, midstream, or downstream from the design of the project itself") to recapture the agency over construction that had left them "increasingly marginalized as participants in the conception of interiors, buildings, cities, and infrastructures"; Ursula Emery McClure and Michael A. McClure's "Inside Looking In: The prospect of the aspect," its twelfth chapter, gives the discipline its scalar-inclusivity conception — interior architecture defined against disciplinary isolation as such ("Only the design disciplines separate an interior from an exterior, from a landscape, from an urbanism"), with the prospect of the aspect as its quality and persistence against obsolescence as its test; Susan Hedges's "The waiting room," its thirteenth chapter, gives the discipline its temporal-reconstructive register — the interior type of suspension (the waiting room as "a point of mobility and temporary arrest") and the graphic method of the waiting drawing ("a marking of time"), with interior history as "an ongoing reconstruction in the present located somewhere between fact and fiction"; and Pablo Meninato's "Spatial seductions," its fourteenth chapter, gives the discipline its assemblage–installation (mimetic) register — the readymade, the assemblage, and the tableau (readymade, tableau) as the alternative to the "gestation of new forms," with displacement, collage, and ready-made tactics as adaptive reuse's artistic model; and Deborah Schneiderman's "Inside the prefab house," its fifteenth chapter, gives the discipline its prefab (interior-as-system) register — interior prefabrication as the prefab house's suppressed development, running from the Sears kit lining through the Lustron House's "programmed prefabricated space" to Shigeru Ban's structural furniture ("furniture and house are one") and su11's hierarchy-equalizing add-ons (prefab-interior, structural-furniture, add-on); and Sarah Treadwell's "Oceanic interiorities," its sixteenth chapter, gives the discipline its hydrological-postcolonial register — the sea as "the most extensive interior that we confront," oceanic interiority held by permeable membranes (skin and shore), and the domestic interior as oceanic (oceanic-interiority, sea-of-islands).

Erin Carraher's "Technologies: The spatial agency of digital praxis," its seventeenth chapter, gives the discipline its spatial-agency (social-empowerment) register — computational design and digital fabrication as interior architecture's means of making space's agency conspicuous (heterogeneous space against modernism's homogeneous space), with empowerment as the measure ("the empowerment of others") and the reciprocal-equality thesis as its social horizon (spatial-agency, praxis).

Jonathon Anderson and Laura Lovell-Anderson's "Transforming interior volumes," its eighteenth chapter, gives the discipline its computational (systemic) register — "a paradigmatic fluidity" in interior architecture's "systems of knowledge, thinking, and problem solving," achieved by "defining interior volumes using surface mathematics to develop autogenic design topographies at the interior scale and context" (autogenic-design, surface-mathematics, emergence, systems-theory), with the Gyroid case study (the-gyroid) — Janine Yeung's butterfly-wing autogenic topography — as the register's academic proving ground.

Laura Garófalo-Khan's "Sensorial interior landscapes," its nineteenth chapter, gives the discipline its biophilic-ornamental (grotto) register — interior architecture modelled on the artificial grotto ("An interior literally formed from the landscape"), its medium redefined as "sensorial manifestations of ambient conditioning and performative ornamentation" framed "in terms of biophilia" (biophilia, performative-ornament, ambient-conditioning), with the grotto as "an event space, not a place of quotidian habitation" (event-space) and the contemporary exemplars — Beesley's Hylozoic Soil, Rael San Fratello's SOL Grotto, Aybar Mateos's Bienvenidos al Sur — as "radical expressions of performative ornament" that "dismiss the dichotomy of art and nature."

Nataly Gattegno and Jason Kelly Johnson's "From ambient environments to sentient spaces," its twentieth chapter, extends the discipline's dynamic register to the ambient and the sentient — responsive environments running from Banham's campfire of standard-of-living technology (the-campfire) through Superstudio's microevent/microenvironment (microevent-microenvironment) to gradient, multiple interiorities (multiple-interiorities) and the terminus concept of sentient-spaces — sentience as subjective feeling rather than mere smartness.

Ross T. Smith's "Design studio through the subtle revelations of phenomenology," its twenty-first chapter, gives the discipline its pedagogical (phenomenological) register — interior architecture defined by how it is taught: phenomenology as "not simply a methodology, but an approach to being of the world" (subtle-revelation), the teacher as "mentor, guide, and provocateur," perception-transformation as the studio's core work, the Husserlian adumbrations as its perceptual instrument, phenomenography as its expressive category, the exercises of experiential learning (blind drawing, "Paper Play Things"), and the anti-digital pole ("the addictive fascination with what happens on a screen") — with the disciplinary self-definition "Teaching and learning interior architecture is not only about buildings; it is also about the innovation of our mind… the creative imagination of interior conditions" and the visible/invisible thesis "space is definable yet exists as the presence of absence" (visible-invisible, design-studio-pedagogy).

Ro Spankie's "Lines of Enquiry," its twenty-second chapter, gives the discipline its occupant-as-designer register — the interior as what the occupant designs by arranging ("a personal interior architecture which challenges the traditional understanding of the role of the designer and the concerns of form, function, and style" — occupant-as-designer), demonstrated on Sigmund Freud's study and consulting room: the two-room psychoanalytic setting (psychoanalytic-setting) that is "an integral part of the instrument," described "through the relationship of its parts rather than by conventional design drawings" and portable as such, with the desk's antiquities forming Winnicott's facilitating environment and the whole posing the discipline a challenge "in terms of representation" (representation).

Clare Olsen's "On technological limits," its twenty-third chapter, gives the discipline its limits-interrogation register — the interior as "dynamic site[] for technological experimentation," working by the artful interrogation and assertion of limits (technological-limits): machine limits ("CNC machine size limitations lend well to the interior scale"; 3D printing's cost wall answered by Emerging Objects' salt/sand/sawdust hacks — 3d-printing), structural limits ("installation projects can provide low-risk opportunities to expand the limits of structural performance" — Voussoir Cloud's form-finding, Roberge's column-cluster "the thinnest it can possibly be, which is stable without appearing static"), and production limits (Massie's autonomy/accountability trade; parametric excess — "is more really more?" — answered by Dewey's "pauses, places of rest"), all grounded in Lavin's quasi-autonomous interior.

Simon Weir's "Salvador Dalí's interiors with Heraclitus' concealment," its twenty-fourth chapter, contributes to the Reader's representation axis from the surrealism side rather than through a new disciplinary conception: Heraclitus's "nature loves to hide" as a representational and architectural premise inherited through Savinio's metaphysical irony (concealment, metaphysical-art), the desire-driven surrealist object and its 1932 taxonomy (surrealist-object, paranoiac-critical-method, cannibalism-of-objects), and the Oval Room at Port Lligat as the built intrauterine paradise — interiority produced by engineered enclosure and designed concealment (see surrealism). The Reader's count of disciplinary registers therefore skips from the twenty-third (Olsen) to the twenty-fifth (Brown).

Kirsten Brown's "Touch, Taste, Smell," its twenty-fifth chapter, gives the discipline its multisensory-participatory register — the exhibit interior as the discipline's public sensorial domain: the museum begun multisensory (Wunderkammern) and de-sensorialized into "almost universal sensorial neglect in exhibit design," now re-designed for touch, taste and smell as interpretive media (multisensory-museum, smellscape, taste-full-museum), grounded in Nina Simon's participatory frame (participatory-museum) and closing on the designer's responsibility "to create exhibit spaces where visitors can not only observe but also participate in meaning-making."

Lois Weinthal's "A pirouette on the orthographic hinge," its twenty-sixth chapter, gives the discipline its representational-temporal register — the discipline's own drawing system probed as its structural limit: "Time-based events distinguish interiors from the static form of architecture, yet the documentation of both these spatial realms defer to orthographic drawings as the unifying form of representation," a system "unaccepting of the temporary and fleeting… This matters not so much for architecture, but it matters in interior design, where the practice is responsible for designing the temporary and fleeting" (orthographic-projection); probed through the pirouette that "challenges the orthographic system to fracture at approximately one inch above the plan view," Pavlova's stage-light (light-tracing), and Callaghan & Palmer's space-shapes (space-shape) — with the programme that movement "may have to be distilled down to a set of rules… derived from the documentation of movement first."

Frank Jacobus's "Toward the immaterial interior," its twenty-seventh chapter, gives the discipline its cultural-register (media-history) register — interior architecture as humanity's first cultural register: "Constructed space is, and has always been, a culturally reflective and communicative mechanism… we can discuss interior architecture as a spatial and material construct meant to preserve cultural or personal beliefs" (cultural-registers); the two paradigms of cultural transference (the unconscious Egyptian plan; the conscious Greek embodiment — "the Parthenon is the body of Athena, but it is also the book of Athens"); the book's intercession (the academy, referential culture, the neoclassical interior "More photograph than building," Labrouste's page-by-page library — narrative-space); and the digital third register's dematerialization of the discipline's founding function (dematerialization, mechanization, transarchitecture) — "the immaterial as a new purveyor of reality." The Reader's third practitioner-authored theory chapter (after Webb and Manack), and the SILO AR+D co-founder's companion to his partner's ninth chapter.

Anne Massey's "Time travel: Interior architecture and the exhibition space," its twenty-eighth chapter, gives the discipline its historiographic-temporal register — interior architecture's writing diagnosed as trapped in architecture's frozen-time conventions: the interior illustrated as "a freshly constructed, shiny new entity, usually without inhabitants in a fixed moment of time, everlasting and unchanging," the linear "before and after" narrative "endemic in design theory," and the prestige deficit ("Historically the subject of interiors has been perceived as a marginal pursuit, mostly vocational in bias and lacking intellectual gravitas," Brooker & Weinthal quoted) that drives the drift "more toward an architectural approach." The register's method is the plurality of befores and afters — "a consideration of the interior… will enrich the discipline" — demonstrated on one room across sixteen years: the ICA's Dover Street gallery (remodeled by Maxwell Fry and Jane Drew, 1950) read through its installation archive (time-travel), from Paintings from Haiti (1951) through Parallel of Life and Art (1953) and an Exhibit (1957) to the 2014 facsimile return, with the ephemeral exhibition interiors (ephemeral-interior, populable-art-work) as the units the discipline had never claimed — and the discipline's challenge extended to exhibition studies, "which does not take the spatial culture of the exhibition space sufficiently into account."

Clay Odom's "Productions: spatial practices, processes, and effects," its twenty-ninth chapter, gives the discipline its production (effects) register — and the Reader's most explicit boundary-refusal: "For many speculative, interiors-focused design practices, traditional concepts of form generation, formal planning, and arrangement have become secondary considerations in their fundamental agency to produce spatial effects and atmosphere," with the practices deliberately unbounded ("ranging from interior design, architecture, and installation art to hybrid art/interior architecture"; "we will not make clear distinctions or draw clear disciplinary boundaries between these effects-oriented practices"). The register's unit is the production-oriented practice (POP) — note 2's six-point definition, the closest thing the Reader contains to a manifesto of contemporary practice — its master concept is productions (Fuller rephrased: "What does your work produce?"), its method is patterning (diagrammatic, software-agnostic transformational logics running "from parametric modeling to analogical installation"), and its theoretical position is "in the breach between… Gernot Bohme (Atmospheres) and Graham Harman (object-oriented ontology)" (cunning-of-cosmetics, diagrammatic-practice, installation, architectural-performance). The only chapter written from inside an interior design program that theorizes contemporary practice as such — and the Reader's last word on the discipline: production, not ownership.

Blaine Brownell's "'Living' rooms: The hypernaturalization of the interior," its thirtieth chapter, gives the discipline its ecological-materials (hypernatural) register — the Le Corbusier reversal ("the house is not a machine for living, but rather a living machine") grounding the hypernatural condition, "the aspiration to extend, amplify, or transcend natural capacities by partnering with nature in a focused and intensified manner," organized into three approaches — properties (living walls, animal architecture, interiors as seed-bank archives), processes (natural fabrication: silkworms, crystals, termites, a calf — "a new kind of material agency"), and phenomena (simulated clouds, rain, and daylight; circadian and humidity-responsive surfaces) — with the control inversion as its method: the designer as "director of the design experiments they set into motion," in "a partnership with nature – rather than traditional brute consumption of natural resources." The Reader's materials-science companion to Garófalo-Khan's nineteenth chapter: the grotto register's typology here supplied with its fabrication programme.

Gregory Marinic's own "Internal disconnect: Material memory in the John Portman originals," its thirty-first chapter, is the volume's editor-authored contribution — the Reader's only chapter written by Marinic himself — and it gives the discipline its renovation-criticism register: the audit of the Portman originals (atrium hotels — Hyatt Regency Atlanta 1967, Westin Peachtree Plaza 1976, Detroit Renaissance Center 1977) whose "material memory" — the "unique challenge and opportunity" of renovating "iconic architectural interiors" — has been erased by "the insensitive actions of corporations, real estate developers, managing agents, and professional designers." The chapter's method pairs three renovation case-studies ([Irreverent] dematerialization / [Superficial] adaptation / [Radical] intervention) with the spatial theories of Lefebvre, Baudrillard, and Jameson, and lands on the disciplinary claim: "the interior renovations and manipulations of significant works of interior architecture should form part of the most vocal discourse of design theory and criticism in the field" — the editor's own critical practice within his anthology, interior architecture's critique of the icon's forgotten interior half (see interior-urbanism, adaptive-reuse).

Marco Vanucci's "Inside-out and outside-in: The envelope and the search for a heterogeneous interiority," its thirty-second chapter, gives the discipline its envelope register — and the Reader's answer to the fifty-year polarization it diagnoses: "The progressive architectural discourse of the past fifty years has been polarized by research of complex forms, on the one hand, and by the innovative articulation of program on the other," while "questions related to the articulation of interior space have not received a corresponding level of critique" (form-vs-program). The chapter's resolution: "Beyond the dichotomy of form and program, interior architecture can be rediscovered through the articulation of performative envelopes" — the envelope as "the diaphragm that articulates form and affects program," "the oldest and most fundamental architectural element," which "embodies the separation between inside and outside, the natural and the artificial," demarcates "two different spheres of control: the private and public properties," and — "most importantly" — "is the main agent for the articulation of its architectural interiority" (performative-envelope). Its genealogy runs from Rossi's form-privileging typologies through OMA's programmatic hybridization and Koolhaas's "bigness" and junk space (the generic interior that made "the building envelope gain[] a new centrality in contemporary architectural discourse"), through the 1960s programming paradox (Sarkis: functionalist science "helped unleash new formal possibilities beyond its suitability to function"), to the performative turn — FOA's Yokohama Ferry Terminal, advanced computation as "a tool for simulating material behavior," Frei Otto's form-finding legacy — arriving at the thesis of the hyperarticulated envelope: "a heterogeneous spatial condition is achieved through the hyperarticulation of the building envelope by means of differentiated material organization," a space "experienced through its intensive qualities of visual porosity, humidity, light, ventilation" (heterogeneous-space, mass-customization, form-finding), with the author's own OPENSYSTEMS projects (Nexo, Laminae, Diatomics) as the built evidence — the discipline's envelope-articulated interiority: "Heterogeneous interiority can be sought by means of a differentiated envelope."

Georgina Downey's "To dwell means to leave traces: Modernism, mastery, and meaning in the house museums of Gaudí and Le Corbusier," its thirty-fourth chapter, gives the discipline its museal register — the architect's house museum as the site where conserved domestic interiors "function in relation to the architect's public persona," and where "traces of habitation have to play in shifting perceptions and the development of new discourses on their work and lives." The chapter equips the discipline with the house-museum text-theory: Postiglione's two lines of interest ("they are works, and they afford biographical testimony to their creators"; the "program for living"; the preservation imperative of "poetic manifestos"), Nora's lieux de mémoire (site-of-memory) as the famous-person house museum's frame, Keeble's period-room optics ("the layering of one age through the optic of another," period-room) and Aynsley's "use, life, and afterlife" — the whole making the musealized home "a kind of double modernist text" whose meanings shift with curatorial didactics and present scholarship. Its twin cases: Casa Gaudí ("presented primarily as an exhibition space for furniture," yet "the sense of interiority is strong, supported by the inclusion of a few original artefacts"; the bedroom's traces — prayer books, narrow single bed, crucifix, prie dieu; the wall-text hint that the sculptor Matamala "often 'slept in the house'" as "a radical new reading of Gaudi's life," homosocial-space) and the Cabanon — the 3.66 m² Modulor-dimensioned "interior shell" fabricated by Barberis and Prouvé (prefab-interior), whose postfeminist rereading ("stories about 'masters' of modernism are no longer complete without reference to their companions, intimates, lovers, and supporters, so the idea of the interior as constructed discourse highly shaped by gender has spread," gender-and-the-interior) has produced the E.1027 "shifting lens": "Many tourists come not to see the Cabanon, but to see E.1027." The chapter's theoretical spine is the trace of habitation — Grosz's Derridean corporeal remainder, Benjamin's "to dwell means to leave traces" — which makes the house museum the discipline's institution for exhibiting dwelling's deposits (house-museum, self-fashioning, dwelling, interior-as-biography).

Dorita Hannah's "Event-space: A performance model for spatial design," its thirty-fifth chapter, gives the discipline its medial (performance) register — interior architecture re-framed as "a kind of scenography" positioned "anywhere on a trajectory 'between' architecture's claim to enduring structures and the dynamic flux of theatrical performance… between the everyday and spectacle; between the seemingly eternal and the ephemeral," and "no longer bound to a structural inner envelope… sited both within and without architecture" (scenography, spatial-dramaturgy). The register's thesis — "a theory of event-space as a performative model, which recognizes that constructed space is itself an event and an integral driver of experience" (event-space, the term theorized via Tschumi, Derrida's spacing, Austin's illocutionary speech acts, Kwinter's evental, Deleuze's objectile) — plus its post-catastrophe audit (Bataille, Foucault, Lefebvre's "objectality," the post-9/11 securitized interior) and its closing alignment with Solà-Morales's weak architecture ("transience, permeability, and anti-monumentality" against "architecture's conformist tendency in times of fear and crisis"). The Reader's only chapter written from inside performance design — and the volume's terminus for the interior's temporality claims (Weinthal's fleeting, Taylor's dynamic, Odom's effects): here they become one medial theory.

Marian Macken's "Documenting interiority/inhabiting duration," its thirty-sixth chapter, gives the discipline its documentary (museal-spatial) register — the preserved interior read as document rather than as evidence or experience: the Brett Whiteley Studio (Surry Hills, Sydney) and Thomas Demand's paper-model photographs as two media of one operation, "three-dimensional, formerly creatively dynamic space… documented to preserve the trace of past artistic events," with the studio-museum "more specifically a document of interiority" that "occupies the same site and structure as the original… but it is no longer the original." The register's instruments are the full-scale, post factum model (the studio-museum as the reconstructed Barcelona Pavilion's sibling — reading "the studio-museum-as-replica as a full-scale model… the studio-museum investigates spatial artificiality," questioning "the inherent authenticity that the full-scale space demands," via Benjamin's missing "here and now") and Husserl's thickened present (the visitor's "two presents"; the room "no longer undergoing change, yet continuously present"), landing on the archive's re-temporalization: "Rather than temporal succession of past – present – future within the archive, there exists temporal simultaneity… the future has a presence within the archive." The Reader's only chapter on the artist's studio-museum — the museal register's third pole, joining the Freud houses (Spankie, ch. 22) and the architect's house museums (Downey, ch. 34) with the type whose preservation severs the future of the practice it displays.

Johan Voordouw's "Topology and interiority: Folding space inside," its thirty-seventh chapter, gives the discipline its geometric-diagnostic register — and the volume's sharpest warning to the computational cluster it otherwise equips. Interiority is defined spatially ("an internalized centralization of space, a condition with an inherent spatial intimacy") and diagnosed as "methodically worn away," its formal boundary having "evolved from a defined threshold to a porous, ambiguous gradient" (threshold-to-gradient). The chapter's historiography dates architecture's topology from Banham's "New Brutalism" (1955, subservient to form) through Deleuze's The Fold via Lynn, Cache, and Eisenman (topology, objectile), and its pivotal chiasmus names the Reader's own digital cluster's blind spot: "Modernism was transparent but enclosed. Contemporary topological surfaces are opaque but their thresholds are porous" — continuity preventing "the (programmatic) definition of the interior" and porosity preventing "its (spatial) enclosure." Against the erasure ("there is no inside to be outside of"), the chapter's programme is the discipline's: "Topology must simply fold in such a manner that deforms surface to form space," "retain[ing] the porosity but rescind[ing] the ambiguity," with the enclosed topologies of Spuybroek's H2Oexpo and Nishizawa's Teshima Art Center as exemplars (topological-interiority) — the "new étui… not so much the hermetic shell of modernity as the materialized network of the digital age."

Anthony Morey and Volkan Alkanoglu's "Architectural purgatory: The car, the garage, and the house," its thirty-eighth chapter, gives the discipline its automobile (suburban-domestic) register — the garage as "the architectural equivalent of purgatory" ("Neither Interior nor Exterior…"), the car "became as much of an inhabitant of architecture as the human," and the design programme of reabsorption: Alkanoglu's Auto Residence (2012) implementing "the car directly into the interior dwelling," the "once reviled dweller… become an inhabitant, a resident," and the closing chiasmus "the car has become the garage, and the garage has become the dwelling; the car is no longer an object but a program" (architectural-purgatory, car-as-inhabitant, constant-interior) — with the child's unclassified space as its method ("To a child, space is not confined by architectural history. There is no hard line such as interior or exterior," play).

Markus Berger's "Death of the architect: Appropriation and interior architecture," its fortieth chapter, gives the discipline its appropriation (aneignung) register — and the volume's disciplinary claim to centrality: the Barthes transfer (death-of-the-author) decentering the "god-like" author ("following Barthes's cue, could we not engage architecture and its interiority differently?") so that "the lived experience of architecture (like Barthes's reader) [becomes] more central to our understanding of the production of space"; the reuse economy as the occasion ("most of the construction industry in the United States is focused on the reuse of existing buildings… the lion's share of the opportunity exists in retrofits, not new buildings"), which "relocates the much younger disciplines of interior architecture and interior design as not marginal but integral" and "requires a complete reconceptualization of architectural history and theory"; the intervention redefined as appropriation — "self-conscious, rebellious, and creative in disposition" — grounded in Lefebvre's definition ("a deliberate act to dissipate or replace feelings of domination"), *aneignung* (the German "to take away / to learn": the apprenticeship copy-and-add, Sennett's slow craft time, the guru-shishya tradition), the palimpsest (Machado's "remodeling can be seen as writing over… as a new form of an old story"), and the two strategies "Appropriating the Everyday" and "Appropriating the Appropriation"; with the register's sharpest stroke turned inward — interior architecture itself "largely ignores the rich semiotics and the multilayered histories of buildings," desiring "a tabula rasa, a clear canvas on which the architect's authorship can be clearly differentiated and is visible to all" (tabula-rasa). The Reader's theorization of the discipline's engagement with the existing building stock as a mode rather than a market — and, with the editor's own thirty-first chapter on the Portman renovations, the volume's second statement that renovation/alteration is where interior architecture's theoretical stakes are highest (adaptive-reuse).

Graeme Brooker's "The dialectics of appropriation," its forty-first chapter, completes the appropriation pair and gives the discipline its dialectical (composite) register — the ontological statement following Berger's author-theoretical one: the "slippery" status of interior architecture ("it is often assigned a 'slippery' status. At its most extreme, this perception manifests itself in the derivative view that the subject lacks a historical, theoretical, and regulatory foundation") re-read as "a unique and fundamental feature of the subject," because "the substance of this spatial, disciplinary, and professional ambiguity manifests itself primarily as a composite construct – a history, a theory, a space that is built from a number of differing ideas, objects, edifices, and other appropriated elements." The register's process-claim is maximal — "Reuse and appropriation form the basis of all aspects of the subject of interior architecture" — its theory drawn from Hegewald and Mitra's Reuse ("a disruption and a break have to happen, favoring confrontation with something new. Reuse does not imitate and replicate"), Kinney's violence and power ("There is always violence implied in appropriation"; the political charge "determined by the direction of the appropriation in relation to perceived distributions of power," with the interior architect as the manager of those forces), and Guggenheim's change of use (change-of-use: the sociological dominance — "the building is now largely defined by its uses" — and the classificatory failure that becomes the discipline's uncodifiability thesis: "when something is fully codified, it is completed… something is lost"; "If reuse is uncodifiable, then the processes of making architectured interiors are invaluable"). Its spatial form is the dialectics of appropriation — "spatial counterpoints… joined, stitched, or forced together" (old/new with Lacaton and Vassal's FRAC Dunkerque; in/out with Langarita-Navarro's Red Bull Academy; space/place via Bonnet) — and its disposition "the interior architectural sensibility: a predilection for the extant and a profound curiosity for working with what is already there." Where Berger's register is the mode of practice, Brooker's is the ontology of the composite the mode produces — the two chapters the volume's paired disciplinary claim (see adaptive-reuse, spolia, typology).

Rachel Carley's "Puzzle," its forty-second chapter, gives the discipline its constraint-method register — and its most explicit theory of how the discipline can be taught: Perec's Oulipian voluntary constraints transposed to the design studio. The chapter's architecture of constraints distinguishes the discipline's primary constraints (the brief, budgets, codes, site, and "conventional modes of interior architectural representation, such as plans, sections, elevations, and perspectives") from the voluntary "second order" constraints superimposed on them — "an artful and systematic manipulation" of which "can allow ample scope for innovation" (voluntary-constraints, oulipo). The method's warrant runs against the "myth of inspiration" and "types of creative practice that are produced by force of habit," with the studio proposed as "a vital site of experimentation through the use of arbitrary constraints, opening up new territories of spatial, material, and technological invention" (design-studio-pedagogy, habit); its system carries its own error by design — "there must be some play in it; it must, as they say, 'creak' a bit" (clinamen), opening "potential space, a space of creative inquiry guided by voluntary constraints" (potential-space). The chapter's interior theory comes from Perec's Life A User's Manual: rooms activated by objects with "itinerant histories" constructing "a partial biography of the resident" while "the psychological interiors of Perec's characters are not excavated in detail" (interior-as-biography, interiority, infra-ordinary); "interior surfaces and objects, both individually and collectively, can activate rooms and the interior imagination more generally" (still-life); and the object-politics — "interior environments are not neutral but highly inflected spaces" — that challenges "the hierarchies that exist between the interior architect and the interior decorator" (politicizing-the-interior, interior-design, and the interior-design-vs-architecture debate's Position AG). Carley's executed studios (Intérieur; Natura Morta: Architectures of Still Life) are the register's built instances, and the chapter completes the Reader's pedagogical pair with Smith's twenty-first chapter: phenomenological studio versus constraint studio, perception-transformation versus procedure.

Rafael Luna's "Metropolitan hybrids: Programming for a thriving urbanity," its forty-third chapter, gives the discipline its metropolitan-programmatic register — the Reader's only chapter that scales the discipline to the metropolis itself: "These new typologies, which can be identified as metropolitan hybrids, acknowledge the importance of programming and interior architecture as strategies for developing contemporary architecture – not only through adaptive reuse, but also via new construction." The register classifies programming into four categories (single-use, mixed-use, metropolitan, hybrid) mapped onto four levels of urbanity (village, town, city, metropolis), splits the practice into a practical group (real estate, zoning, occupancy codes) and a conceptual group, and — via McMorrough's "Good Intentions" on Jane Jacobs — indicts the commercial exploitation of mixed-use ("Diversity cannot rely on simple commercialism"; Quincy Market and Covent Garden "promote a monoculture"). Its theory comes from Tschumi's "distanciation between the architecture and the program" (cross-programming, trans-programming, dis-programming — the shell as "an independent condition from the program," programming); its concept is the metropolitan hybrid — the merger of metropolitan architecture (the microcosm, via Zenghelis's AA lineage) and hybrid architecture — with two intents: polycentrality (urban cores as "resultants of singular buildings"; the anti-speculation catalyst; the Middlesex County Jail counter-program; Korea's micro-factory buildings) and urban systems ("a 'city within a city' to a 'system within a city'"; Boston 2024's hybridized visitor-center-hotels; the Venice Biennale's city-as-museum); its material domains are the abandoned, the unfinished, and the obsolete-infrastructure voids (terrain-vague, obsolescence), with Torre David's un-designed "vertical city" as the appropriation register's limit case. The chapter continues the Reader's disciplinary arc at urban scale: the appropriation pair's (Berger ch. 40, Brooker ch. 41) reuse thesis re-programmed as the metropolis's operating strategy — against "the commercialization of real estate" in favour of "injecting hybrid programming that intensifies the core, generates systems for the city, and optimizes infrastructure."

Tasoulla Hadjiyanni's "Interiors as global constructs: Framing culture and design discourses in a world of movement," its forty-sixth chapter, gives the discipline its social-justice (cultural-global) register — the Reader's theorization of what happens to the interior, and to the discipline's responsibilities, when its users are refugees, new immigrants, minorities, trafficked youth, and undocumented immigrants: "At a time when ideas, people, and products move around the globe at unprecedented speeds and scales, interior architecture theory is called on to explore questions and practices that extend beyond the comfortable and the familiar." The register's founding question — "In this global era, the question that confronts us is not whether interiors matter but how they matter" — reframes the interior as global construct: "a social, economic, cultural, or political construct that changes and evolves in response to fluctuating borders, a multiplicity of identities, and varying layers of sense of belonging," positioned through Stuart Hall's representation thesis (representation, postcolonial-identity) and grounded in the constructivist account of culture (cultural-constructivism) against essentialism. Its programme is Culturally Sensitive Design — "design that is characterized by flexibility and adaptability and that recognizes the multiplicity of ways by which people construct meaning in life" (culturally-sensitive-design) — closely linked to the Capabilities Approach ("What is each person able to do and to be?", via Nussbaum); its user expansion reaches the non-visible — trafficked youth and undocumented immigrants — through the absence paradigm of transbodied space and the trafficking-interiors typology (placeness-of-trafficking); its limit-case is bounded choice ("people may find themselves without the choice to appropriate their homes to support their way of life" — the counter-case to the Reader's own appropriation register); and its disciplinary claim: "Scholarship that searches for connections between societal challenges and theoretical understandings can solidify the contributions of interior architecture to human well-being" — interiors as "mediums for social justice." Where Luna scales the discipline to the metropolis, Hadjiyanni scales it to the world of movement — and hands the discipline its social-justice terminus (see universalism-vs-relativism, the power-and-space and dwelling-vs-housing debates).

Jodi Larson's "Hearts and minds and dishwashers," its forty-seventh chapter, gives the discipline its geopolitical (soft-power) register — and the volume's strongest historical rebuttal to the "emerging discipline" label: "Interior architecture is often touted as an emerging discipline, but in a sense it has been at the forefront of scholarly debates throughout at least the twentieth century. In the early decades of the Cold War, interiorities became the best-used and most often deployed tool for both explaining and waging the Cold War through consumerism and applied economics." The register documents the state program on two faces: the persuasive — the exhibition campaigns (So Wohnt Amerika 1949, America at Home 1950, We're Building a Better Life 1952, the American National Exhibition 1959) through which "how America lived became a weapon in the war of domestic space" (soft-power, propaganda, exhibitionary-complex); and the coercive — the FCDA's civil-defense policy that "began to militarize the American home… under the guise of anti-war safety," Operation Doorstep's mannequin interiors and The House in the Middle's survival trial, the formula "Modern living was officially drafted as patriotism" (civil-defense). Its climax is the kitchen debate in Splitnik's bright yellow kitchen — "Very little is ever mentioned of the other rooms of 'Splitnik'; it is the kitchen that is dissected" — read as "the climax of interior architecture's role in the Cold War" (kitchen-debate), with the kitchen as the room where economic systems were compared "dishwasher to dishwasher" and the housewife the contested terrain (gender-and-the-interior). The register's disciplinary thesis — interior architecture, "before being recognized as a discrete scholarship, was responsible for the grunt work of winning the hearts and minds of the people" (hearts-and-minds) — extends the Reader's own founding historiography (Hollis's ch. 1) backwards into statecraft, and lands on the present: "interior architecture is still doing the grunt work of familiarizing and swaying opinion through interiorities… a so-called emerging discipline that has been down this road before." See taylorism, frankfurt-kitchen, prefab-interior, cold-war.

Jonathan D. Solomon's "Public spheres: Hong Kong's interior urbanism," its forty-eighth chapter, gives the discipline its urban-political (atmospheric) register — and the Reader's redefinition of interior-urbanism: "Interior urbanism is not an urbanism of the indoors, but an urbanism in which indoors and outdoors no longer codify meaningful political or cultural distinctions in the city." Where the Reader's other chapters scale the discipline to the room, the building, or the museum, Solomon scales it to the city that lacks a ground: "an urbanism that lacks any of the figure-ground relationships that traditionally bring order to public space… there is no axis, edge, or center" (figure-ground, via his own Cities Without Ground), whose "pedestrian networks stretching for kilometers across Hong Kong create an urbanism of continuous 'interiority' that does not always correlate to the 'indoors'" — with the outdoors itself manufactured ("the 'outdoors' is no less a manufactured environment than the indoors. The city – indoors and out – is a vast and continuous interior," ambient-conditioning, atmosphere). The register's mechanism is atmospheric: "The hierarchies that determine how space is occupied are not based on solids and voids… but rather by manipulation of atmosphere. The public and private spheres are defined by public and private 'spheres, or atmospheres" (public-sphere, atmospheric-politics) — Hong Kong's occupations (Statue Square's "Little Manila" Sundays, the HSBC atrium encampment, the Umbrella Movement) demonstrating that "in a city in which formal urban spaces do not embody narratives, their occupation tends to do so instead" (practiced-place, privatised-public-space). The register's verdict is the Reader's most political: interior urbanism "can make public life easier to snuff out, but at the same time allows it to waft. Such an urbanism is at once more rich and more treacherous; more powerful and more volatile" — with the everyday terminus ("Streets become hair salons or workshops… an interior urbanism allows a mutability of hierarchy on a changing wind," everyday-architecture). The Reader's final word on the discipline's urban scale: occupation, not ownership.

David Erdman's "Altered (e)states: Architecture and its interiority," its forty-ninth chapter, gives the discipline its interiority (perception-state) register — and the Reader's practice-grounded answer to its own computational chapters' continuity bias. The register's founding definition makes interiority a state rather than a place: "If interiors are merely a category of professional work that occur on the inside of buildings, 'interiority' is the state of mind and perception induced by an architectural environment that is inwardly focused… An environment of this nature may have varying 'degrees of interiority' but is not limited to whether it is physically within or outside of a building" (interiority) — and an instrument: interiority "allows architects to consider how to alter the state of various environments. It opens up a productively disciplinary way to design interiors, while still considering them explicitly architectural." Its practice-model is alteration — the chapter's coinage, distinguished from adaptation ("Where adaptation is about objects adjusting to their surroundings, alteration is about reconfiguring the object's interior"; "somewhat more restrained, fine grained, and interiorized… a more 'centripetal,' rather than 'centrifugal,' approach to design") and from reuse-as-marketing ("used more often as a marketing ploy than a conceptual opportunity") — executed through interiorized objects whose involutions ("subtle, concave facades to deep, thick, figured interiors") "spin context inward" and invoke "degrees of a perceptual interiority, which is not always manifested through an intervention on the inside." Its theory-side is the postdigital retrieval of the disjunctive 1980s (Tschumi "perhaps most importantly"; deconstruction) against digital architecture's "intellectually stubborn insistence on designing the whole" (digital-architecture, architectural-whole), its object-theory is Fried's graded objecthood (objecthood), and its urban ground is Hong Kong — "more emblematic of a city of the twenty-first century (built out, episodic, layered, and interiorized)" — with the Repulse Bay Complex gut renovation (2011–2013) as the built demonstration of cohesion without integration: an ensemble that "never fully integrate[s] or make[s] the site whole, yet incrementally they produce enough pressure and tension to tether remote and unconnected experiences to one another." The Reader's Hong Kong pair completed: where Solomon's forty-eighth chapter reads the interiorized city politically, Erdman's forty-ninth reads it operationally — and with Odom's chapter it is one of the two Reader contributions theorizing contemporary practice from inside a design practice.

Gregory Marinic's own "Why this, why now? The case for interior architecture," its fiftieth chapter, closes the Reader as the editor's closing manifesto — the volume's shortest text and its disciplinary case. The chapter defines the discipline negatively and prospectively: "a rising discipline that lives at the periphery," whose paradoxical strength "rests in its current marginalization by both architecture and interior design," adjudicating against both parents at once — "Unlike architecture, in its desire for hegemony, or interior design, in its pursuit of autonomy, interior architecture offers a more malleable way to navigate contingent conditions via adaptive practices that acknowledge imperfection and temporality." Its apparatus: the double-facing definition (migration toward complexity for interior design; a deeper analysis of the interior parameters of building for architecture), the six-part research agenda (adaptive reuse, historic preservation, resource remobilization, ecology, digital fabrication, speculation), the academy loop-back ("the agency of interior architecture loops back into the academy to challenge how we teach the next generation"), the four-verb capacity ("to collect, collage, clarify, and reveal"), the conservative "otherness" lens and the three defensive questions ("What are the specificities of this discipline? Who does it represent? Who is welcome to participate?"), and the terminological wager — "an expansive field rather than a reductive discipline" ranging "from domesticity to urbanity," forecast as "a heterogeneous ecology of distinct attitudes and expertise" — closing on the aphorism "This innovative, insightful, and enlightened discipline thrives at the periphery" (see identity-of-the-interior, interior-architecture, disciplinary-frontiers).

Key Works

*The Interior Architecture Reader* (2018) — edited anthology (Routledge) defining interior architecture as a discipline; the wiki's source note covers Hollis's opening historiographic chapter.
"Internal disconnect: Material memory in the John Portman originals" (2018) — Marinic's own authored chapter in the Reader (Ch. 31): the renovation-criticism register — the Portman originals' erased material memory read through Lefebvre, Baudrillard, and Jameson.
"Why this, why now? The case for interior architecture" (2018) — Marinic's closing statement of the Reader (Ch. 50): the marginalization-as-strength thesis; the expansive-field forecast; the collect/collage/clarify/reveal capacity; the nomenclature critique.

Key Concepts

Concepts associated with this editor that have pages in this wiki:

interior-architecture — the discipline the Reader consolidates
interior-design — the Reader's sibling discipline
adaptive-reuse — the alteration practice at the centre of the Reader's disciplinary case
style — the Reader's art-historical strand (Deyong's two definitions of style)
drive-in-house — the Reader's practitioner project (Webb's Drive-in House)
narrative-space — the Reader's institutional strand (Stokes-Rees's museum as narrative space)
interactive-architecture — the Reader's dynamic strand (Taylor's responsive interior)
non-places — the Reader's supermodern condition (Taylor's Augé-based opening)
fabrication — the Reader's fabricating strand (Manack's interiority as "a complete fabrication")
digital-fabrication — the Reader's digital-production strand (Manack's sectioning and relational patterning)
territory — the Reader's territorial strand (Campos's territory as "a defined, but placeless, field of action")
liberated-interior — the Reader's nomadic strand (Campos's interior "liberated from place")
territorial-transience — the Reader's transience strand (Campos's "processes of occupation")
authorship — the Reader's repositioned-authorship strand (Satterfield & Swackhamer's systems, tools, and delegated builders)
production-stream — the Reader's practice-models strand (upstream/midstream/downstream repositioning)
mass-customization — the Reader's production-economics strand (non-identical elements; the variable mold)
prospect-of-the-aspect — the Reader's scalar-inclusivity strand (the McClures' prospect of the aspect)
hermetic-seal — the Reader's sealing strand (the McClures' air-conditioned absolute boundary)
axis-mundi — the Reader's centering strand (the McClures' Pantheon oculus)
obsolescence — the Reader's persistence strand (the McClures' Walmart/Folk Art counter-cases)
waiting-room — the Reader's suspension strand (Hedges's waiting room as "a point of mobility and temporary arrest")
waiting-drawing — the Reader's drawing strand (Hedges's waiting drawing as "a marking of time"; Sheet No. 24)
liminality — the Reader's between-state strand (Hedges's "peculiar limbo" and "interstitial period")
readymade — the Reader's artistic-displacement strand (Meninato's readymade as "the artist… chooses it")
tableau — the Reader's installation-art strand (Meninato's tableau as "a three-dimensional collage")
voyeurism — the Reader's viewing-apparatus strand (Meninato's peephole: Étant donnés, The State Hospital)
prefab-interior — the Reader's prefab strand (Schneiderman's interior prefabrication as prefab's "notable omission")
structural-furniture — the Reader's furniture-as-structure strand (Schneiderman on Ban: "furniture and house are one")
add-on — the Reader's interchangeable-unit strand (Schneiderman on su11's Composite House)
kit-of-parts — the Reader's component strand (the Sears kit lining; the closed system's failure)
oceanic-interiority — the Reader's hydrological strand (Treadwell's sea as "the most extensive interior")
sea-of-islands — the Reader's Oceanic strand (Hau'ofa's expansive liquid terrain, via Treadwell)
spatial-agency — the Reader's social-empowerment strand (Carraher's spatial agency of digital praxis)
heterogeneous-space — the Reader's digital-spatial strand (Hight/Hensel/Menges via Carraher: "a multiplicity of atmospheres")
homogeneous-space — the Reader's modernist counter-strand (Carraher's reconstruction of universal space)
praxis — the Reader's critical-practice strand (Carraher's "digital praxis")
digital-architecture — the Reader's computational strand (Carraher's active space; Allen's three phases)
digital-fabrication — the Reader's fabrication-economics strand (Carraher: customized interiors "beyond the technocratic elite")
autogenic-design — the Reader's self-generation strand (Anderson & Lovell-Anderson's "characteristically self-generated or self-produced" process)
surface-mathematics — the Reader's formal strand (the shape < surface < volume ladder; "visible surface mathematics")
emergence — the Reader's micro-to-macro strand (nodes/agents → patterns; biotic input)
systems-theory — the Reader's systemic strand (Meadows-derived characteristics; algorithmic intervention)
the-gyroid — the Reader's computational case study (Yeung's butterfly-wing topography)
biophilia — the Reader's ecological strand (Garófalo-Khan's frame: the encoded connection to the non-human environment)
artificial-grotto — the Reader's typological strand (Garófalo-Khan's grotto as interior architecture's touchstone)
performative-ornament — the Reader's ornament strand (Garófalo-Khan's performative system of "dynamism and exuberance conscripted to create delight")
sensorial-interior-landscape — the Reader's sensorial strand (Garófalo-Khan's interior environmental aesthetic)
ambient-conditioning — the Reader's atmospheric strand (the grotto's thermal medium; Vals; the Venturi tubes)
event-space — the Reader's temporality strand (the grotto as "an event space, not a place of quotidian habitation")
picture-window — the Reader's diagnostic strand (Bloomer's visual distantiation, via Garófalo-Khan)
subtle-revelation — the Reader's pedagogical-phenomenological strand (Smith's "attitude of subtle revelation, of sensing by doing")
adumbration — the Reader's perceptual-instrument strand (Husserl's facets of perception, via Smith)
phenomenography — the Reader's expressive strand (experience recorded as drawing, writing, making, via Smith)
experiential-learning — the Reader's studio-method strand (making by doing, via Smith)
blind-drawing — the Reader's exercise strand (the blindfolded charcoal exercise, via Smith)
design-studio-pedagogy — the Reader's pedagogical strand (the teacher as mentor/guide/provocateur, via Smith)
visible-invisible — the Reader's presence/absence strand ("the presence of absence," via Smith)
occupant-as-designer — the Reader's occupant strand (Spankie's arranging occupant as the interior's designer)
psychoanalytic-setting — the Reader's psychoanalytic strand (Freud's two-room instrument; the portable arrangement)
facilitating-environment — the Reader's Winnicott strand (the desk arrangement as "a secure creative space")
transitional-object — the Reader's object strand (the desk's antiquities as psychoanalytic objects)
free-association — the Reader's practice strand (the atmosphere the couch arrangement was built to induce)
house-museum — the Reader's preservation strand (the Freud houses: the emptied Vienna rooms, the rope-off desk), widened by ch. 34 to the architect's house museum (Postiglione's "poetic manifestos"; the "double modernist text")
technological-limits — the Reader's limits strand (Olsen's "explicit limits to production" interrogated and asserted)
3d-printing — the Reader's additive-manufacturing strand (the cost wall; Emerging Objects' salt, sand, and sawdust; the Saltygloo)
multisensory-museum — the Reader's multisensory strand (Brown's touch/taste/smell exhibit design as interpretive media)
participatory-museum — the Reader's participatory strand (Simon's frame via Brown: visitors "participate in meaning-making")
smellscape — the Reader's olfactory-environment strand (Tolaas's scent-infused walls via Brown)
taste-full-museum — the Reader's gustatory strand (the Mitsitam Cafe and the community-kitchen museum via Brown)
orthographic-projection — the Reader's representational strand (Weinthal's orthographic hinge: "true data under the assumption that only physical elements are documented")
light-tracing — the Reader's movement-documentation strand (Pavlova's stage-light; the dark-technique photographs via Weinthal)
space-shape — the Reader's anthropometric strand (Callaghan & Palmer's interpolated models of the body in action, via Weinthal)
cultural-registers — the Reader's media-history strand (Jacobus's three cultural registers: interior architecture, book, digital media)
dematerialization — the Reader's dematerialization strand (Jacobus: from the neoclassical interior "More photograph than building" to "the immaterial as a new purveyor of reality")
mechanization — the Reader's mechanization strand (Mumford's clock and printing press via Jacobus; Giedion's "Space had become neutral")
transarchitecture — the Reader's virtual/physical strand (Jacobus: "the wall as a static, physical artifact begins to deliver a deeper and more complex space than that of the physical interior itself")
form-finding — the Reader's structural-method strand (Voussoir Cloud's hanging chain; En Pointe's physics simulations)
column-cluster — the Reader's structural-typology strand (Roberge's co-dependent column system as "a new typology")
quasi-autonomous-interior — the Reader's autonomy strand (Lavin via Olsen: "uniquely free to seek out provisionality, changefulness")
productions — the Reader's production strand (Odom's "What does your work produce?" — effects, atmospheres, and surfaces as design's product)
production-oriented-practices — the Reader's practice-genre strand (Odom's six-point POP definition: process-driven, projective, affiliative, collaborative, extensive)
cunning-of-cosmetics — the Reader's effects/ornament strand (Kipnis's "Cunning of Cosmetics" as Odom's framework: the entanglement of form and surface/atmospheric effects)
diagrammatic-practice — the Reader's diagram strand (van Berkel's "proliferating, generating, and open instrumentalization" via Odom's patterning)
installation — the Reader's testing-ground strand (Odom's installation as "the most accessible territories for emerging methodologies to be tested")
patterning — the Reader's method strand (Odom's transformational logics: repetition, scaling, rotation, overlapping, separating, joining, cutting, pasting)
architectural-performance — the Reader's performance strand (Kipnis's "elusive qualities"; Koolhaas's "performance is not function… what does it sponsor?")
hypernaturalization — the Reader's ecological-materials strand (Brownell's hypernatural condition: "extend, amplify, or transcend natural capacities by partnering with nature")
animal-architecture — the Reader's nonhuman-client strand (Brownell's Elevator B, Artificial Thicket, Chrysalis III)
machine-for-living — the Reader's reversal strand (Brownell: "not a machine for living, but rather a living machine")
mechanization — the Reader's separation-thesis strand (Brownell: total mechanization as "the ultimate separation" from nature)
nonhumans — the Reader's delegated-builder strand (Brownell's silkworms, termites, barnacles, calf)
ecology — the Reader's convergence strand (Brownell: "technology and the natural sciences")
sustainability — the Reader's natural-process strand (Brownell: "even natural waste is a resource for another process")
biophilia — the Reader's living-systems strand (Brownell's phytoremediation walls and daylight health effects)
unnatural-nature — the Reader's third-category strand (Brownell's hypernatural as the biological counterpart to Eisenman's computational term)
atrium-hotel — the editor's own chapter's building type (the Portman originals: atrium hotel-shopping complexes as "temples of consumerism" and forerunners of interior hyperspaces)
material-memory — the editor's own chapter's title concept (the interior's materials as the carriers of the original design's memory)
interior-urbanism — the editor's own chapter's urban concept (arcades and Portman atria as "new interior streets"; the city-within-a-city)
brutalism — the editor's own chapter's style register (Brutalist materials turned outside-in; the "Brutalist spirit" unable to withstand trend)
iconic-architecture — the icon's interior half and its erasure (the Portman originals as "enduring design icons" being renovated into erasure)
adaptive-reuse — the editor's own chapter's negative register (insensitive renovation; TVS Design's materials "selected… for their individual qualities instead of their relevance to the 1967 concept")
terrain-vague — the editor's own chapter's interiorized indeterminacy ("a maze of terrains vagues… value-engineered into leasable space")
privatised-public-space — the editor's own chapter's urban register ("increasingly isolated, transactional, and privatized forms of urbanism")
hermetic-seal — the editor's own chapter's enclosure register ("hermetic commercial zones"; RenCen's "impermeable bunker")
kitsch — the editor's own chapter's postmodern register (Portman's 1986 follies as "consumer kitsch")
postmodernism — the editor's own chapter's theoretical register (spatial postmodernity beneath a "modern" skin)
memory — the editor's own chapter's critical register ("the interior glories of the Renaissance Center have been largely lost to memory")
arcades — the editor's own chapter's genealogical register (Parisian passages and the Galleria as the atrium hotel's forerunners)
consumerism — the editor's own chapter's engine register (Lefebvre's space as commodity; Baudrillard's Consumer Society spatialized)
sublime — the editor's own chapter's aesthetic register ("monumental, austere, and sublime interior architecture")
dematerialization — the editor's own chapter's exception register (SOM's glass-ring mezzanine that "dematerialized one of the most obtrusive aspects")
performative-envelope — the Reader's envelope strand (Vanucci's "diaphragm that articulates form and affects program"; "the envelope is the main agent for the articulation of its architectural interiority")
heterogeneous-space — the Reader's heterogeneous strand, now with its instrument (Vanucci's "hyperarticulation of the building envelope by means of differentiated material organization"; the intensive qualities — porosity, humidity, light, ventilation)
homogeneous-space — the Reader's homogeneous counter-strand, widened to both poles (Vanucci: "modern and postmodern architecture sought for homogeneous spaces")
junkspace — the Reader's generic-interior strand (Vanucci via Koolhaas: "The junk space, he argued, is the true product of modernization"; the generic interior that made the envelope central)
boundaries — the Reader's envelopal strand (Vanucci: the envelope "marks the boundary of an architectural interiority"; "two different spheres of control: the private and public properties")
inside-outside-dialectic — the Reader's division-as-skin strand (Vanucci: the envelope "embodies the separation between inside and outside, the natural and the artificial"; the envelope as "field of negotiation")
machine-for-living — the Reader's materialist-machine strand (Vanucci: the machine "embodies its material strata"; "form follows function" as the correspondence doctrine)
flexible-interior — the Reader's 1960s-flexibility strand (Vanucci: "flexibility became a desirable architectural quality"; programming's indeterminacy paradox via Sarkis)
orthographic-projection — the Reader's political-representation strand (Vanucci: plan and section as "vehicles to communicate the organization and political dimensions"; the corridor's social stratification via Evans)
typology — the Reader's superseded-type strand (Vanucci: Rossi's form-privileging typologies as the first pole of the polarization)
mass-customization — the Reader's continuous-variation strand (Vanucci: "the continuous variations of building components allow for the actualization of a truly responsive, differentiated spatial condition"; Laminae's differentiated triangular units)
architectural-performance — the Reader's performance-turn strand (Vanucci: "the performative quality of space ceased to be merely a representational tool"; forms "able to reinvent function")
form-finding — the Reader's Otto-lineage strand (Vanucci: form "conceived as the result of a form-finding exercise," connecting "performance, differentiation, and heterogeneous spaces")
privacy — the Reader's stratification strand (Vanucci via Evans: "Privacy, distance, and the segregation of the aristocracy from servants were manifested in architectural forms… thanks to the addition of corridors")
event-space — the Reader's envelope-scene strand (Vanucci: the envelope "provides a particular spatial condition on the interior while setting the scene for an event")
trace — the ch. 34 strand (Downey/Grosz: the trace of habitation as "a remnant… of and a testimony to both a living past and a set of irreducible and ineliminable corporeal traces"; Benjamin: "to dwell means to leave traces")
site-of-memory — the ch. 34 strand (Nora's lieux de mémoire via Downey: the famous-person house museum as "a symbolic element of the memorial heritage")
period-room — the ch. 34 strand (Keeble via Downey: "the layering of one age through the optic of another"; Aynsley's "use, life, and afterlife")
self-fashioning — the ch. 34 strand (the architect's house museum "cementing the legacy" while its traces "shock, overturn, or subvert the main discourse being presented")
interior-as-biography — the ch. 34 strand (Postiglione's "biographical testimony to their creators"; the house as the architect's readable biography)
homosocial-space — the ch. 34 strand (Gaudí's male circle and the Matamala "slept in the house" trace as an unmarked domestic homosociality)
dwelling — the ch. 34 strand (Benjamin's dwelling-trace dictum as the chapter's title and thesis)
scenography — the ch. 35 strand (Hannah's interior architecture "as a kind of scenography" structuring "open-ended spatial dramaturgies")
spacing — the ch. 35 strand (the hyphen as Derrida's "necessary membrane"; spacing as "the becoming-space of time and the becoming-time of space")
spatial-performativity — the ch. 35 strand ("within the illocutionary act of architectural construction something is being done through spacing")
spatial-dramaturgy — the ch. 35 strand (the "dramatic and social" considered together as spatial composition)
objectile — the ch. 35 strand (Deleuze's event-object against Lefebvre's "objectality"; "space-in-action")
weak-architecture — the ch. 35 strand (Solà-Morales's "strength of weakness" as spatial design's resistant posture)
spatial-document — the ch. 36 strand (Macken's studio-museum as "a spatial document, or spatial archive, that serves as evidence of a course of events"; "more specifically a document of interiority")
post-factum-model — the ch. 36 strand (the replica read as "a full-scale, post factum model" — the Barcelona Pavilion and the Whiteley Studio; "spatial artificiality")
thickened-present — the ch. 36 strand (Husserl's "thickened present" in the preserved room; the visitor's "two presents"; Kern's "retentions and protentions")
topology — the ch. 37 strand (Voordouw's historiography of the topological surface: Banham 1955 to Spuybroek's deep surface, via Deleuze's fold)
topological-interiority — the ch. 37 strand (interiority as "an internalized centralization of space"; the fold that "deforms surface to form space"; the enclosed topology)
threshold-to-gradient — the ch. 37 strand (the boundary's past-century evolution "from a defined threshold to a porous, ambiguous gradient"; "the zone that prevents knowing")
architectural-purgatory — the ch. 38 strand (the garage as "the architectural equivalent of purgatory"; "Neither Interior nor Exterior…")
car-as-inhabitant — the ch. 38 strand ("the car became as much of an inhabitant of architecture as the human"; the "once reviled dweller… become an inhabitant, a resident")
constant-interior — the ch. 38 strand ("Inside our homes, automobiles, and offices, the world has become a constant interior")
appropriation — the ch. 40 strand (Berger's appropriation as interior architecture's mode: "self-conscious, rebellious, and creative in disposition"; the two strategies)
death-of-the-author — the ch. 40 strand (the Barthes transfer: "the author enters his own death, writing begins" → the architect decentered)
aneignung — the ch. 40 strand (the German double meaning: "to take something away, and to learn something"; apprenticeship and the guru-shishya tradition)
palimpsest — the ch. 40 strand (Machado's layered building: "remodeling can be seen as writing over… as a new form of an old story")
tabula-rasa — the ch. 40 strand (the self-critique: interior architecture's own "clear canvas" desire diagnosed)
tradition — the ch. 40 strand (tradition as copying-plus-adding: "central to the making of 'tradition,' but… not a static tradition")
repetition — the ch. 40 strand ("duplication and repetition without any original thought or experimentation" as appropriation's first process)
occupant-as-designer — the ch. 40 strand ("Appropriating the Everyday" makes users "part of the (design) process")
everyday-life — the ch. 40 strand (the resourceful "misuse": "a coat over the handrail, a cafe mug on the windowsill")
semiotics — the ch. 40 strand (the building as "an encounter between layers of signs"; Nelson's "a distortion, not a negation of the prior semiotic assemblage")
dialectics-of-appropriation — the ch. 41 strand (the dialectics of appropriation as "spatial counterpoints… joined, stitched, or forced together"; the composite construct; the three dualities)
change-of-use — the ch. 41 strand (Guggenheim's process concept: "the building is now largely defined by its uses"; the classificatory failure)
spolia — the ch. 41 strand (Kinney's violence-of-the-cut lineage: "There is always violence implied in appropriation")
typology — the ch. 41 strand (change of use "simply does not fit the established classificatory order of architecture")
authorship — the ch. 41 strand ("name of architect" among the classificatory categories reuse defeats; "a multiplicity of voices and ideas")
obsolescence — the ch. 41 strand (the cycle: "decay, obsoletion, and reoccupation, and then the same again")
inside-outside-dialectic — the ch. 41 strand (the in/out duality: "a threshold… creates a significant rupture")
voluntary-constraints — the ch. 42 strand (Carley's "second order" constraints superimposed on the discipline's primary constraints)
oulipo — the ch. 42 strand (the Workshop of Potential Literature as the studio method's source)
clinamen — the ch. 42 strand (the constraint system's required error: "it must, as they say, 'creak' a bit")
potential-space — the ch. 42 strand ("a space of creative inquiry guided by voluntary constraints")
infra-ordinary — the ch. 42 strand (Perec's everyday layer, quoted via Wardrip-Fruin: "the infra-ordinary and the outlandish tale are artfully combined")
still-life — the ch. 42 strand (the Natura Morta studio's genre: domestic objects as "catalysts in the formation of innovative interior spaces")
metropolitan-hybrids — the ch. 43 strand (Luna's metropolitan hybrid: the merger of metropolitan architecture and hybrid architecture inscribed into existing structures)
metropolitan-architecture — the ch. 43 strand (the building as microcosm: "mimics the cityscape" / "contains a city"; Zenghelis's AA lineage)
programming — the ch. 43 strand (the four programming categories mapped to levels of urbanity; the practical/conceptual split)
polycentrality — the ch. 43 strand (urban cores as "resultants of singular buildings that infringe upon a hierarchy in the urban fabric"; the anti-speculation catalyst)
urban-systems — the ch. 43 strand ("a 'city within a city' to a 'system within a city'"; Boston's visitor-center-hotels; Venice's city-as-museum)
interior-urbanism — the ch. 43 strand (the city-within-a-city redirected into the "system within a city")
global-constructs — the ch. 46 strand (interiors as global constructs: "not whether interiors matter but how they matter"; fluid character as social/economic/cultural/political construct responding to fluctuating borders)
culturally-sensitive-design — the ch. 46 strand (CSD: "flexibility and adaptability" recognizing "the multiplicity of ways by which people construct meaning in life")
cultural-constructivism — the ch. 46 strand (the constructivist account of culture against the essentialist "essence"; Rosaldo's shift from defining to producing)
bounded-choices — the ch. 46 strand (choices "bounded by limitations brought forward by the built environment"; the appropriation register's foreclosed counter-case)
transbodied-space — the ch. 46 strand (the absence paradigm: "the body that dwells is partly informed by other bodies and experiences, some… physically present and others… apart")
capabilities-approach — the ch. 46 strand (Nussbaum's social justice theory as CSD's frame: "What is each person able to do and to be?")
non-visible-user — the ch. 46 strand (users expanded to "the non-visible, those living in the shadows")
placeness-of-trafficking — the ch. 46 strand (recruitment, ad-posting, purchaser-meeting, and transition places as trafficking's interior chain)
global-soul — the ch. 46 strand (Iyer's "falling between all categories" against "fixed spatialities")
cosmopolitanism — the ch. 46 strand (Appiah's obligation to and interest in others as the designer's formation)
assimilation-and-resistance — the ch. 46 strand (the two dominant narratives navigated by plurality-theorizing)
kitchen-debate — the ch. 47 strand (the 1959 Nixon–Khrushchev exchange as "the climax of interior architecture's role in the Cold War"; Splitnik's dissected kitchen)
hearts-and-minds — the ch. 47 strand (the interior as "the way to the hearts and minds of Cold War participants"; the discipline's "grunt work" of persuasion)
soft-power — the ch. 47 strand ("how America lived became a weapon in the war of domestic space"; the exhibition campaigns)
propaganda — the ch. 47 strand (design expositions as state counter-propaganda; the "combat of commodities")
civil-defense — the ch. 47 strand (the FCDA's militarized home; Operation Doorstep; The House in the Middle)
taylorism — the ch. 47 strand ("American Taylorism meeting German Wohnkultur" as the domestic-rationalization lineage)
frankfurt-kitchen — the ch. 47 strand (the lineage's canonical product, 1926; the kitchen the competition inherited)
cold-war — the ch. 47 strand (the theme page the chapter anchors: the domestic interior as the Cold War's decisive scale)
public-sphere — the ch. 48 strand (Solomon's public 'spheres: politics practiced in the air, not on the square; "their occupation tends to do so instead")
atmospheric-politics — the ch. 48 strand (atmosphere "wielded on both sides of Hong Kong's economic and political divides"; teargas and perfume as twin administrations)
figure-ground — the ch. 48 strand (the order Hong Kong lacks: "there is no axis, edge, or center"; the solid-figure massing of the pedestrian network)
smellscape — the ch. 48 strand (the "prodigious scents" and "Little Manila" sensory stratification of Central)
alteration — the ch. 49 strand (Erdman's coinage: the centripetal, fine-grained, interiorized reconfiguration of objects' interiors against adaptation's whole-system)
objecthood — the ch. 49 strand (Fried-derived, graded objecthood against OOO: "we are effectively talking about degrees of 'objecthood'")
architectural-whole — the ch. 49 strand (the part-to-whole tradition diagnosed and revised: "making new types of wholes")
interiorized-object — the ch. 49 strand (involutions from "subtle, concave facades to deep, thick, figured interiors"; "spinning context inward")
deconstruction — the ch. 49 strand (the MOMA 1988 disjunctive moment retrieved postdigitally)
adaptive-reuse — the ch. 49 strand (adaptation "used more often as a marketing ploy than a conceptual opportunity"; the A+A work of dense-city practice)
identity-of-the-interior — the ch. 50 strand (the nomenclature critique: "not simply a shift in nomenclature"; the three defensive questions; the otherness lens)
interdisciplinarity — the ch. 50 strand ("intersectional inquiries surrounding spatiality"; the academy loop-back; the six-part research agenda)
disciplinary-frontiers — the ch. 50 geography (the periphery; "the mining of an interstitial zone between architecture and interior design"; "breaking down boundaries… between the historically siloed territories")
boundaries — the ch. 50 register (boundary-blur as practice-restructuring: "restructured how we work and how design services are delivered")

Relevance to the Core Research

As Marinic's Reader is the source volume for the wiki's interior-architecture chapter cluster (its contents include chapters on histories of the interior, partition, appropriation, interiority, and the everyday interior), his editorial role frames this second interior-theory corpus — complementing Taylor & Preston's Intimus, which covers interior design's theoretical domain. As the author of the Reader's thirty-first chapter, he is also the anthology's one contributor-editor: his renovation-criticism register (material-memory, atrium-hotel, interior-urbanism) supplies the wiki's direct bridge between the interior cluster and the iconic-architecture/consumerism cluster — the icon's interior as the site where consumerism, renovation, and criticism meet. Through the Reader's thirty-second chapter (Vanucci's envelope register, performative-envelope), the anthology supplies the wiki's technological cluster with its missing instrument: the envelope as the element that produces the heterogeneous, performance-driven interiority the other computational chapters (heterogeneous-space, productions, autogenic-design) only define. And through the Reader's thirty-fourth chapter (Downey's house-museum register), the anthology connects the interior cluster to its museological branch: the architect's house museum as the discipline's site of traces, self-fashioning, and scholarship-driven meaning-shifts — the interior's afterlife as biography, memory, and contested exhibit. Through the thirty-sixth chapter (Macken's documentary register), that museological branch acquires its theory of documentation — the preserved interior as spatial document, full-scale post factum model, and thickened present — extending the house-museum cluster to the artist's studio-museum and linking it to the authenticity/simulation debates (truth-and-illusion, simulation-hyperreality). And through the thirty-seventh chapter (Voordouw's geometric-diagnostic register), the anthology turns its own computational cluster against itself: the topological surface (topology) as the case where computation's continuity erases the interior the Reader's other chapters claim to serve — the volume's internal counter-thesis, re-establishing interiority through the fold that "deforms surface to form space." And with his own fiftieth chapter (the Reader's closing statement), Marinic becomes the anthology's second author-theorist as well as its adjudicator: the marginalization-as-strength thesis (identity-of-the-interior, disciplinary-frontiers) converts the discipline's double rejection into its engine, names both parents' pathologies (interior-design-vs-architecture), and forecasts the discipline as "an expansive field rather than a reductive discipline" — the frame under which the wiki's thirty-plus registers become a "heterogeneous ecology of distinct attitudes and expertise" rather than a definitional problem to be solved.

Source Support

Source notes in this wiki drawn from the volume this editor compiled:

(Re)constructing Histories (Hollis 2018)
A history of style and the modern interior (Deyong 2018)
Quadrature (La Coe 2018)
Spatial therapies (Qureshi 2018)
Inside out (Webb 2018)
Symbiotic spaces (Stokes-Rees 2018)
Shape shifting: Interior architecture and dynamic design (Taylor 2018)
Politicizing the interior (Teston 2018)
Fabricating interiority (Manack 2018)
Territory and inhabitation (Campos 2018)
Swimming upstream (Satterfield & Swackhamer 2018)
Inside Looking In: The Prospect of the Aspect (McClure & McClure 2018)
The waiting room: Transitional space and transitional drawing (Hedges 2018)
Spatial seductions: The everyday interiorities of Marcel Duchamp, Edward Kienholz, and Pepón Osorio (Meninato 2018)
Inside the prefab house (Schneiderman 2018)
Oceanic interiorities (Treadwell 2018)
Technologies: The spatial agency of digital praxis (Carraher 2018)
Transforming Interior Volumes (Anderson & Lovell-Anderson 2018)
Sensorial interior landscapes (Garófalo-Khan 2018)
Design studio through the subtle revelations of phenomenology (Smith 2018)
Lines of Enquiry: Drawing out Sigmund Freud's study and consulting room (Spankie 2018)
On technological limits (Olsen 2018)
Touch, Taste, Smell: Fostering Museum Visitor Engagement with Multisensory Spaces (Brown 2018)
A pirouette on the orthographic hinge (Weinthal 2018)
Toward the immaterial interior (Jacobus 2018)
Time travel: Interior architecture and the exhibition space (Massey 2018)
Productions: spatial practices, processes, and effects (Odom 2018)
"Living" rooms: The hypernaturalization of the interior (Brownell 2018)
Internal disconnect: Material memory in the John Portman originals (Marinic 2018) — the editor's own authored chapter (Ch. 31)
Inside-out and outside-in: The envelope and the search for a heterogeneous interiority (Vanucci 2018)
To dwell means to leave traces: Modernism, mastery, and meaning in the house museums of Gaudí and Le Corbusier (Downey 2018)
Event-space: A performance model for spatial design (Hannah 2018)
Documenting interiority/inhabiting duration (Macken 2018)
Topology and interiority: Folding space inside (Voordouw 2018)
Architectural purgatory: The car, the garage, and the house (Morey & Alkanoglu 2018)
Death of the architect: Appropriation and interior architecture (Berger 2018)
The dialectics of appropriation (Brooker 2018) — Ch. 41, the appropriation pair's ontological half (the composite construct; the dialectics; the uncodifiability thesis)
Puzzle (Carley 2018) — Ch. 42, the constraint-method register (the second-order constraint armature; the Perec/Oulipo studio method; the object-mediated interior)
Metropolitan hybrids: Programming for a thriving urbanity (Luna 2018) — Ch. 43, the metropolitan-programmatic register (the metropolitan hybrid; the four programming categories; polycentrality and urban systems; Torre David and the infrastructure-reuse programme)
Interiors as global constructs: Framing culture and design discourses in a world of movement (Hadjiyanni 2018) — Ch. 46, the social-justice (cultural-global) register (global constructs; Culturally Sensitive Design; the Capabilities Approach; transbodied space; the non-visible user; bounded choices)
Hearts and minds and dishwashers (Larson 2018) — Ch. 47, the geopolitical (soft-power) register (the exhibition campaigns; the FCDA's militarized home; the kitchen debate as the discipline's Cold War climax; the "not an emerging discipline" thesis)
Public spheres: Hong Kong's interior urbanism (Solomon 2018) — Ch. 48, the urban-political (atmospheric) register (interior urbanism redefined as the indoors/outdoors distinction's obsolescence; occupation allocated by atmosphere; the Hong Kong occupations; the volatility verdict)
Altered (e)states: Architecture and its interiority (Erdman 2018) — Ch. 49, the interiority (perception-state) register (interiority as the instrument that keeps interiors "explicitly architectural"; alteration against adaptation; interiorized objects; the postdigital disjunctive revival; the Repulse Bay Complex; Hong Kong as the twenty-first-century interiorized city)
Why this, why now? The case for interior architecture (Marinic 2018) — Ch. 50, the closing statement (the marginalization-as-strength thesis; the double-facing definition; the six-part research agenda; the academy loop-back; the four-verb capacity; the expansive-field forecast; the nomenclature critique; "thrives at the periphery")