Taylor, Mark & Preston, Julieanna

Bio Sketch

Mark Taylor and Julieanna Preston are the editors of Intimus: Interior Design Theory Reader (John Wiley & Sons, 2006), the anthology that first mapped interior design's "theoretical domain" by gathering texts from cultural geography, sociology, anthropology, philosophy and gender studies around inhabitation, decoration and bodily presence — including its philosophical anchor-texts, Shirley Ardener's "The Partition of Space" and Gaston Bachelard's "The Dialectics of Outside and Inside" (from The Poetics of Space), both of which the editors frame with their own introductions. At the time of publication, Mark Taylor was Senior Lecturer in architectural theory and design studio at Victoria University of Wellington, New Zealand, and had guest-edited Surface Consciousness (Wiley-Academy, 2003). Julieanna Preston is Professor of Spatial Practice at Massey University's College of Creative Arts, Wellington, with a background spanning interior design, building construction, landscape gardening and performance writing (BArch Virginia Tech 1983; MArch Cranbrook Academy of Art 1990; PhD by practice, RMIT, 2013); her subsequent work (Performing Matter: Interior Surface and Feminist Actions, 2014) develops feminist and new-materialist accounts of interior surface. The pair had previously co-edited Moments of Resistance (Archadia Press, 2002, with Andrew Charleson). Mark Taylor is also a solo contributor to Gregory Marinic's The Interior Architecture Reader (Routledge, 2018) — his chapter "Shape shifting: Interior architecture and dynamic design" extends the interiority cluster into digital, electronic, and interactive technologies (interactive-architecture, non-places) — and to his own anthology: his essay "Architecture and Interior: A Roam of One's Own" (originally IDEA 1.2, 2001) is Intimus's thirty-first selection and its only contribution by one of the editors themselves, the Woolfian room-apart thesis (haecceity, becoming-interior, refuge).

Key Works

*Intimus: Interior Design Theory Reader* (2006) — co-edited anthology establishing interior design's theoretical domain via a rhizomatic matrix; the wiki's source note covers the introduction, "Proximities" (pp. 6–13). The wiki also holds thirty-seven further anthology selections framed by the editors' introductions: Baldwin's "The Sterility of Perfection + The Rule Breaker's Success" (source note), Bachelard's "The Dialectics of Outside and Inside" (linked below), Beecher & Stowe's "A Christian House" (source note), Batchelor's "Chromophobia" (source note), Baudrillard's "Structures of Atmosphere" (source note), Borden's "Thick Edge: Architectural Boundaries and Spatial Flows" (source note), Braham's "A Wall of Books" (source note), Burns's "A House for Josephine Baker" (source note), Colley's "Bodies and Mirrors" (source note), Croft's "Movement and Myth: The Schröder House and Transformable Living" (source note), de Wolfe's "Suitability, Simplicity and Proportion" (source note), Drobnick's "Volatile Architectures" (source note), Dubbeldam's "Thing-Shapes" (source note), Edelman's "Men's Room" (source note), Eastlake's "The Dining Room" (source note), Ferry's "'Decorators May be Compared to Doctors'" (source note), Fuss and Sanders's "Berggasse 19: Inside Freud's Office" (source note), Gilbert and Gubar's "Towards a Feminist Poetics: Infection in the Sentence" (source note), and Beverly Gordon's "Woman's Domestic Body" (source note), and Hillier and Hanson's "Buildings and their Genotypes" (source note), and Rebecca Houze's "From Wiener Kunst im Hause to the Wiener Werkstätte" (source note), and Roderick J. Lawrence's "Social, Spatial and Temporal Factors" (source note), and Ellen Lupton and J Abbott Miller's "Streamlining: The Aesthetics of Waste" (source note), and Kevin Melchionne's "Living in Glass Houses" (source note), and Ruth Madigan and Moira Munro's "'House Beautiful': Style and Consumption in the Home" (source note), and Georges Perec's "The Apartment" (source note), and Norman Potter's "The Kitchen as a Place to Be" (source note), and Charles Rice's "Rethinking Histories of the Interior" (source note), and Jacques Soulillou's "Ornament and Order" (source note), and Xiaobing Tang's "Decorating Culture" (source note), and Georges Teyssot's "Boredom and Bedroom: The Suppression of the Habitual" (source note), and Anne Troutman's "Inside Fear: Secret Places and Hidden Spaces in Dwellings" (source note), and John C Turpin's "Domestic Doyennes: Purveyors of Atmospheres Spoken and Visual" (source note), and George Wagner's "Ultrasuede" (source note), and Edith Wharton & Ogden Codman Jr's "The Historical Tradition" (source note), and J Macgregor Wise's "Home: Territory and Identity" (source note).
*Shape shifting: Interior architecture and dynamic design* (2018) — Taylor's solo chapter in Marinic's Interior Architecture Reader: interior architecture's relation to interiority under digital, electronic, and interactive technologies — non-places, responsive surfaces, and the "dynamic and mobile" relation between interior architecture and interiority.
*Architecture and Interior: A Roam of One's Own* (2001/2006) — Taylor's solo essay, originally in IDEA: Journal of the Interior Design/Interior Architecture Educators Association (vol. 1, no. 2, 2001, pp. 14–22), reprinted in the editors' own Intimus (pp. 339–344): the Woolfian independence claim for interior design ("the interior requires liberating from architecture and offered independent means: a room (Raum), or should I say a roam of its own"), the haecceity-thesis ("Could interior be thought of as haecceity?"), becoming-interior, the refuge-prison dialectic, and Laugier's sister.
Moments of Resistance (2002) — co-edited with Andrew Charleson (Archadia Press, Sydney)
Taylor: Surface Consciousness (2003) — guest-edited Wiley-Academy volume
Preston: Performing Matter: Interior Surface and Feminist Actions (2014) — feminist actions and interior surface (AADR)
Preston (ed.): Interior Atmospheres (2008) — Architectural Design profile, May/June 2008

Key Concepts

Concepts associated with these authors that have pages in this wiki:

interiority — the cluster the editors name for the "innerness of interior design"; Taylor's solo chapter re-poses it under technological conditions ("dynamic and mobile"), and his 2001 essay adds its indeterminate–haecceity register ("Could interior be thought of as haecceity?")
haecceity — Taylor's ontological proposal for the interior: "an element of existence on which individuality depends"; the indeterminacy thesis ("like haecceities they are indeterminate")
becoming-interior — the process-form Taylor coins from Deleuze and Guattari: "room becomes interior in a molecular or atomic sense… becoming-interior is ever-changing"
refuge — the interior named "a physical and psychological refuge – a space within and yet with physical atmosphere," with its prison-inversion
interior-architecture — the discipline Taylor's 2018 chapter redefines as the shape-shifting interior of responsive surfaces
interactive-architecture — Taylor's dynamic paradigm: responsive surfaces, distributed intelligence, real-time data
non-places — Augé's supermodern spaces, which Taylor reads as the supermodern interior's condition
domestic-interior — the interior as a wider field of cultural production; the room of one's own as its Woolfian warrant
the-decorative — the suppressed, gender-coded activity of decoration; the wild excesses "brought under control"
gender-and-the-interior — feminism, queer theory and the conflation of women, dress and interior; Laugier's sister
taste — taste's alliance to consumption and status
interdisciplinarity — the plural, multiplicitous composition of the field
rhizomatic-matrix — the reader's organising method

Relevance to the Core Research

Taylor & Preston supply the wiki's first interior-design-theory source, extending the everyday-life cluster into the domestic interior and interiority. Their reading of the hidden dressing-table niche as an inhabited pocket of poché directly extends the wiki's poché and appropriation threads (Spuybroek), and their claim that the suppression of ornament is entangled with the identification of the female body with the domestic and the decorative reframes the wiki's ornament-vs-purity debate from the interior's side. Their expansive, Borden-and-Rendell-based definition of what counts as theory — and their matrix methodology — also parallels the wiki's own practice of relational, cross-disciplinary organisation.

Source Support

Source notes in this wiki drawn from these authors' work:

Proximities (2006)
Architecture and Interior: A Roam of One's Own (Taylor 2001/2006) — Taylor's solo essay, the anthology's thirty-first selection and its only one by an editor himself: originally in IDEA: Journal of the Interior Design/Interior Architecture Educators Association, vol. 1, no. 2, 2001, pp. 14–22 (© Mark Taylor, reprinted by permission of IDEA; Intimus pp. 339–344, excerpt of original pp. 15–21, elision marker "(…p 21)"), framed by the editors' headnote ("Speaking directly to the question of interior design needing a room apart from architecture, Mark Taylor reflects upon the dualisms that might hamper interior design's liberation, naming it as a physical and psychological refuge – a space within and yet with physical atmosphere," p. 339) — here the editor is his own headnote's subject: the selection that performs the reader's programme (interior design as creative act, intimate detail and temporality) rather than illustrating it, and that gives the wiki the Woolfian independence claim, the haecceity-thesis, becoming-interior, the refuge-prison dialectic, Laugier's sister, and the interrogation of Benjamin's collector ("Or does he confuse enclosure with interior?"). The essay closes the reader's run of anthology selections in the wiki and is the discipline's most direct single statement of the room-apart thesis (see interior-design-vs-architecture Position AJ, haecceity, becoming-interior, refuge).
Shape shifting: Interior architecture and dynamic design (Taylor 2018) — Taylor's solo chapter in Marinic's Interior Architecture Reader (Ch. 7): interior architecture's relation to interiority under digital, electronic, and interactive technologies; non-places, responsive surfaces, and the "dynamic and mobile" thesis.
The Sterility of Perfection + The Rule Breaker's Success (Baldwin 1972/2006) — the Intimus anthology's Billy Baldwin selection, which the editors frame with an introduction positioning him against the nineteenth-century advice-literature tradition ("he rallies against the tyranny of perfection and questions those who advocate rules for interior decoration"); the note is drawn from Baldwin's text with the editors' framing.
The Dialectics of Outside and Inside (Bachelard 1958/2006) — the Intimus anthology's reprint of Bachelard, whose framing introduction (naming the selection "a phenomenological reading of the poetic image… intimate geometry grounded in imagination," p. 22) is the editors' own writing; the source note is drawn from Bachelard's text with the editors' framing.
Chromophobia (Batchelor 2000/2006) — a further Intimus anthology selection: Batchelor's extract from Chromophobia (Reaktion, 2000, pp. 21–23, 44–49; Intimus pp. 31–36), whose framing introduction ("contemporary culture exhibits a Western tradition of resistance to colour… The chosen extract discusses how Le Corbusier's rationalism – the rhetoric of order, purity and truth – is inscribed in a pure blinding white surface") is the editors' own writing; the source note is drawn from Batchelor's text with the editors' framing.
Structures of Atmosphere (Baudrillard 1968/2006) — a further Intimus anthology selection: the editors' extract from Baudrillard's The System of Objects (trans. James Benedict, Verso 1996, pp. 30–3, 36–41; Intimus pp. 37–42), framed by their introduction ("In his examination of the role colour plays in creating atmosphere… Baudrillard points to interior furnishing, inclusive of colour, as a cultural system of signs that is reliant upon the contrast of 'hot and cold'… the interior is understood outside of its historical frame as an applied, disjunctive and randomly accumulative space of inhabitation," p. 37) — the anthology's sociological-semiotic pole against its phenomenological (Bachelard) and art-historical (Batchelor) selections; the source note is drawn from Baudrillard's text with the editors' framing.
A Christian House (Beecher & Stowe 1869/2006) — a further Intimus anthology selection: the editors' extract from Catharine E. Beecher and Harriet Beecher Stowe's The American Woman's Home (JB Ford, 1869, pp. 23–42; Intimus pp. 43–48), framed by their introduction ("Under this conception of home, the interior is not for display but provides for health, industry and economy… managing a home in the industrial age was associated with female-led domestic government, rather than domestic slavery," p. 43) — the anthology's domestic-science prehistory, pairing its opening (Beecher & Stowe advise) with its practitioner-pole (Baldwin breaks the advice tradition); the source note is drawn from the Beecher & Stowe text with the editors' framing.
Thick Edge: Architectural Boundaries and Spatial Flows (Borden 1996/2006) — a further Intimus anthology selection: the editors' extract from Iain Borden's Architectural Design essay (vol. 66, no. 11–12, 1996, pp. 84–7, excerpt pp. 84–6; Intimus pp. 49–56), framed by their introduction ("Having long been relegated to the domain of the 'inside,' interior design often confronts the issue of boundary crossing in the form of both literal and theoretical thresholds… boundaries are defined as permeable, temporal and political markers of bodily negotiation," p. 49) — the anthology's urban, public-realm pole, extending interior design theory to the city's edges; the source note is drawn from Borden's text with the editors' framing.
A Wall of Books (Braham 1999/2006) — a further Intimus anthology selection: the editors' excerpt from William W. Braham's essay (Journal of Architectural Education, vol. 53, no. 1, September 1999, pp. 4–13; excerpt pp. 4–13; Intimus pp. 56–64), framed by their introduction ("William Braham's essay weaves a path through a complex series of occasions and circumstances that link interior design's historical alliance with decoration, including more recent negations of ornament fostered by modernism. Central to this discussion is Braham's interest in the genealogy of colour, including its effacement through architecture's promotion of 'natural finishes'… the authority of the natural generates an opposition between natural and applied, a situation that also contributes to the bifurcation between interior design and architecture as professional domains," p. 56) — the anthology's colour-and-gender pole, grounding "an examination of books as displayed collections and their reading as decorative wall elements"; the source note is drawn from Braham's text with the editors' framing.
A House for Josephine Baker (Burns 1997/2006) — a further Intimus anthology selection: the editors' reprint of Karen Burns's essay from Postcolonial Space(s) (eds. Gülsüm Baydar Nalbantoglu & Wong Chong Thai, Princeton Architectural Press, 1997; Intimus pp. 64–67), framed by their headnote ("Art historian and cultural theorist Karen Burns raises questions about the presence of race and gender in architectural design and how they are disclosed through criticism that attempts to 'read' architecture… Careful to avoid repeating colonialist operations, Burns reviews existing criticism and comment on the house and its inhabitant, noting that costume, skin and interior space are all described as surfaces supporting a point of difference and otherness") — the anthology's race-and-criticism pole, extending the gender cluster (gender-and-the-interior) into postcolonial territory; the source note is drawn from Burns's text with the editors' framing.
Bodies and Mirrors (Colley 1999/2006) — a further Intimus anthology selection: the editors' reprint of Ann C. Colley's essay from Domestic Space: Reading the Nineteenth-Century Interior (eds. Inga Bryden & Janet Floyd, Manchester University Press, 1999; Intimus pp. 68–75), framed by their headnote ("In this essay, Ann Colley discusses the correlation between physical bodies and their surroundings, particularly the space of nostalgia and recollection contained in Victorian literature… This critical examination from an English literature academic proposes that the interior is not simply defined by the objects within it, but by our movement and inhabitation around and among them," p. 68) — the anthology's literary-phenomenological pole, supplying the body-defined interior (invisible-body, aesthetic-body, ubiquitous-body) that grounds the editors' "inhabitation and bodily presence" programme; the source note is drawn from Colley's text with the editors' framing.
Movement and Myth: The Schröder House and Transformable Living (Croft 2000/2006) — a further Intimus anthology selection: the editors' reprint of Catherine Croft's essay from Architectural Design (vol. 70, no. 4, 2000, pp. 10–15, excerpts pp. 11–14; Intimus pp. 75–78), framed by their introduction ("One of the promises of the Modern Movement in architecture was its ability to realise that once the plan was free and open, space could be demarked, reformed and reconfigured with the aid of kinetic architectural elements or mobile furniture units. Catherine Croft's text looks inside the social pragmatics of spatial transformability… this issue is discussed through the realities of family life and how, over time, they change and force spatial issues of segregation and enclosure," p. 75) — the anthology's modernist-audit pole, testing the transformable interior against privacy and family life (privacy, schroder-house, flexible-interior); the source note is drawn from Croft's text with the editors' framing.
Suitability, Simplicity and Proportion (de Wolfe 1913/2006) — a further Intimus anthology selection: the editors' extract from Elsie de Wolfe's The House in Good Taste (1913; Ayer Company Publishers reprint, 1998, excerpts pp. 17–23, 25–6; Intimus pp. 82–85), framed by their introduction ("What appears in this text by Elsie de Wolfe as a call for use of common sense and practical design becomes the basis for good taste in early twentieth-century American domesticity… comfort and decoration are not only the measure of a woman's skill and cleverness at establishing tranquillity but a political form of resistance towards patriarchy within the social and design spheres… her design principles of light-hued surfaces and mirrors to produce visually unified interiors helped to establish her as America's first female professional interior decorator") — the anthology's founding-professional pole, the advice-tradition's twentieth-century voice between the Beechers' domestic science and Baldwin's practitioner manifesto; the source note is drawn from de Wolfe's text with the editors' framing.
Volatile Architectures (Drobnick 2002/2006) — a further Intimus anthology selection: the editors' excerpt from Jim Drobnick's essay, originally in Crime and Ornament: The Arts and Popular Culture in the Shadow of Adolf Loos (eds. Bernie Miller & Melony Ward, YYZ Books, Toronto, 2002; Intimus pp. 89–95, excerpts of pp. 263–272), framed by their headnote ("Artist, critic and curator, Jim Drobnick explores the potential for architectural thinking to engage with aesthetics via sensorial experience and olfaction. He suggests that the transcendent formality of the white cube gallery, in its pollution-free pristine state, relegates architecture to a purely visual state… This process of opening the interior to the full range of the senses counters visual primacy and recognises that colour and smell have significant effect on our perception of space and objects," p. 89) — the anthology's olfactory/sensory pole, carrying the theory of the interior's atmosphere into the public museum; the source note is drawn from Drobnick's text with the editors' framing.
Thing-Shapes (Dubbeldam 2002/2006) — a further Intimus anthology selection: the editors' excerpt from Winka Dubbeldam's essay, originally in Architectural Design (vol. 72, no. 2, 2002, pp. 26–31, excerpt pp. 28–30; Intimus pp. 96–101), framed by their headnote ("Architect and academic Winka Dubbeldam postulates that while materials currently have the ability to trace memories through their surface, in the future they will have the potential to act as mnemonic interactive surfaces in literal and philosophic ways… boundaries are no longer barriers but are interactive; they are creases – a hard-soft space allowing for local conditions. The smoothness of the interior registers a relationship to the human body so that they are part of a system of 'thing-shapes,'" p. 96) — the anthology's generative-technological pole, keyworded "philosophical / 21st century material," carrying the interior cluster into smart surfaces and interactive architecture (interactive-architecture, thing-shapes, crease); the source note is drawn from Dubbeldam's text with the editors' framing.
Men's Room (Edelman 1996/2006) — a further Intimus anthology selection: the editors' reprint of Lee Edelman's essay from Stud: Architectures of Masculinity (ed. Joel Sanders, Princeton Architectural Press, 1996, pp. 152–7; Intimus pp. 103–109), framed by their headnote ("Lee Edelman's text examines the public men's room as an environment that is constructed (made/given rise to) by men's behaviour in the space, and at the same time cultural/social actions are conditioned by the space itself… This post-structural reading conditioned by queer theory, suggests that for the men's room, architecture, masculinity and sexuality are interlinked") — the anthology's queer-theory pole, keyworded "political / 1996," giving the "containment of an identity" program of "Proximities" (p. 11) its full-length interior case; the source note is drawn from Edelman's text with the editors' framing.
The Dining Room (Eastlake 1868/2006) — a further Intimus anthology selection: the editors' excerpt from Charles L. Eastlake's Hints on Household Taste in Furniture, Upholstery and Other Details (Longmans, Green, and Co, 1868, excerpt pp. 63–6; Intimus pp. 101–103), framed by their headnote ("Inspiring a style to be named after him, Charles Eastlake's influential self-illustrated text sought a simpler cleaner style of furniture… his barbed attack upon upholsterers and the degradation of decorative art paves the way for the professional decorator as the arbiter of taste. In an effort to homogenise the interior, Eastlake sets a clear agenda by questioning conventional arrangements that seek room-to-room difference in both form and style") — the anthology's design-reform prehistory: the earliest text in the decorating lineage the reader assembles, and the polemic that institutes the decorator's arbiter-jurisdiction; the source note is drawn from Eastlake's text with the editors' framing.
'Decorators May be Compared to Doctors' (Ferry 2003/2006) — a further Intimus anthology selection: the editors' excerpt from Emma Ferry's essay (Journal of Design History, vol. 16, no. 1, 2003, pp. 15–33, excerpt pp. 26–29; Intimus pp. 110–117), framed by their introduction ("Academic scholar Emma Ferry champions advice literature as both narrative discourse and historical documentation on design and taste. In this essay she provides a feminist recovery of the Garrett cousins' life and work recognising them as England's first female interior decorators. Critical to this position is their link to women's suffrage and late nineteenth-century feminist activity, paralleling their struggle to train and practise as decorators. Ferry notes that in their writing the Garretts appropriate the discourse of Charles Eastlake and relegate it to the past, while promoting the 'Queen Anne' style as the way forward," p. 110) — the anthology's feminist-recovery pole: the historiographic chapter that reads the advice-literature lineage's own documents critically and supplies the profession's female founding genealogy; the source note is drawn from Ferry's text with the editors' framing.- Berggasse 19: Inside Freud's Office (Fuss & Sanders 1996/2006) — a further Intimus anthology selection: the editors' reprint of Diana Fuss and Joel Sanders's essay from Stud: Architectures of Masculinity (ed. Joel Sanders, Princeton Architectural Press, 1996; Intimus pp. 117–124), framed by their headnote ("Within this architectural study on the spatial configuration of Sigmund Freud's office, Diana Fuss and Joel Sanders offer a critical theoretical examination of surviving archival photographs to determine how vision, power and gender structure this scene of psychoanalysis. Recognising that the original photographs utilise techniques and strategies of street photography, Fuss and Sanders suggest that this private chamber of close and personal exchange, of intimate interiorities, is turned inside out for public display via the photographic images. Furthermore, objects collected within the space signal Freud's own obsession with power, and the positioning of furniture and mirrors is read in terms of the role body language plays as a spatial transaction") — the anthology's psychoanalytic pole, carrying the interior cluster into the room where psychoanalysis was invented; the source note is drawn from the Fuss & Sanders text with the editors' framing.
Towards a Feminist Poetics: Infection in the Sentence (Gilbert & Gubar 1979/2006) — a further Intimus anthology selection: the editors' excerpt from Sandra M. Gilbert and Susan Gubar's The Madwoman in the Attic (Yale University Press, 1979, excerpt pp. 87–92 of the 1984 edition; Intimus pp. 121–126), framed by their headnote ("English Literature academics Sandra Gilbert and Susan Gubar bring research on the interface of women and literature into the discourse on the interior and link it to gender politics. They use literary techniques to discuss the interior through the topography of one's innermost self, questioning the conflation between women, house and inner being… Their essay demonstrates that women's writing is necessarily different from men's, and the gender (of the author's body) is inscribed in the text, and by implication, into the architectural surroundings under discussion") — the anthology's feminist-literary pole, keyworded "psychological / 1979," giving the gender cluster (gender-and-the-interior) its founding critical statement of the house-body equation and the counter-reading of Bachelard's "felicitous space"; the source note is drawn from the Gilbert & Gubar text with the editors' framing.
Woman's Domestic Body (Gordon 1996/2006) — a further Intimus anthology selection: the editors' excerpt from Beverly Gordon's essay from Winterthur Portfolio (vol. 31, no. 4, 1996, pp. 281–301, excerpt pp. 281–5; Intimus pp. 126–133), framed by their headnote ("Looking at women's history through a material culture lens, Beverly Gordon investigates both physical and psychological associations between a woman's body and domestic interiors in the industrial age. This gendered reading of women's roles, home, fashion and decorative arts, discusses structural metaphoric relations between house and body and the impact of female character on a room. Home and body are shown to be inscribed upon each other so that space becomes an extension of the female inhabitant and an embodiment of home," p. 126) — the anthology's material-culture pole, the social-history counterpart to the Gilbert & Gubar selection that precedes it: the women/interiors conflation dated, caused (industrial capitalism's adornment economy) and evidenced in advice literature, fiction and painting (house-body-equation, woman-as-decoration, fashion); the source note is drawn from the Gordon text with the editors' framing.
Buildings and their Genotypes (Hillier & Hanson 1984/2006) — a further Intimus anthology selection: the editors' excerpt from Bill Hillier and Julienne Hanson's The Social Logic of Space (Cambridge University Press, 1984, excerpt pp. 143–7; Intimus pp. 148–153), framed by their headnote ("Bill Hillier, best known for his research on 'spatial syntax', and academic Julienne Hanson scrutinise the internal structure of cells using a method of gamma-analysis. They surmise that interior spaces are potentially separate events providing segregated spatial experience, a 'transpatial system' characterised by analogy and difference… To overcome the duality of inside and outside, they suggest a shift from segregated interiors emblematic of social solidarity to encountering interiors suggestive of spatial solidarity, and contingent upon movement and interaction of inhabitants across the boundary") — the anthology's spatial-analytic pole: the social-logical science of interior structure (transpatial-solidarity, inhabitant-and-visitor, gamma-analysis, building-genotype); the source note is drawn from the Hillier & Hanson text with the editors' framing.
From Wiener Kunst im Hause to the Wiener Werkstätte (Houze 2002/2006) — a further Intimus anthology selection: the editors' excerpt from Rebecca Houze's essay from Design Issues (vol. 18, no. 1, Winter 2002, pp. 3–23, excerpts pp. 4–23; © 2002 MIT Press; Intimus pp. 156–162), framed by their headnote ("Rebecca Houze provides a historical account of the link between design fashion and marketing most profoundly asserted by the Wiener Werkstätte. While the success of the Secessionist campaign is attributed to the fact that it was directed towards the feminine, it inadvertently moulded the woman of the house as a spatial artist and conflated that role with the endorsement of visual imagery from botany, youth and organic forms. Ornament and decorative motifs evolving from such imagery became the trademark for interior design which was regarded as a form of dressing. In this text, Houze points to the tension between resisting and exploiting issues of fashion with regard to the emergence of modern style and places interior design at the centre of the tussle between art, craft and design") — the anthology's Viennese design-history pole: the marketing/gender history of the modern interior's emergence (wiener-werkstatte, secessionist-style, interior-as-garment, gesamtkunstwerk, gemutlichkeit, biedermeier); the source note is drawn from the Houze text with the editors' framing.
Social, Spatial and Temporal Factors (Lawrence 1987/2006) — a further Intimus anthology selection: the editors' excerpt from Roderick J. Lawrence's Housing, Dwellings and Homes: Design Theory, Research and Practice (John Wiley & Sons, 1987, excerpt pp. 116–18; © David Fulton Publishers, reprinted by permission of John Wiley; Intimus pp. 184–186), framed by their headnote ("Housing and health expert Roderick Lawrence uses a historiographic and ethnographic method of inquiry to examine social variables relative to ordering domestic space, with particular emphasis on rooms for eating and preparing food in Australian and English households. Lawrence points out that although modernism brought aesthetic resolution to the kitchen and dining room, it failed to address a need for these rooms adapting to demographic shifts in family constitution and population. His text reminds us that while houses and their internal activities are ordered by long-standing habits in building and living patterns, they remain responsive to social influences in ways that have the potential to remake and reform them outside of a static framework of living standards. When such issues are considered within ecological reflection, house and housing designs that are attuned to the dynamic processes that occur within them may be produced") — the anthology's sociological-consumption pole: the Veblen-lineage analysis of the manifest and latent functions of domestic possessions, the house as haven and credential, and the dwelling's habit-plus-responsiveness temporality (manifest-and-latent-functions, kitchen, dining-room, habit); the source note is drawn from the Lawrence text with the editors' framing.
Streamlining: The Aesthetics of Waste (Lupton & Miller 1992/2006) — a further Intimus anthology selection: the editors' excerpt from Ellen Lupton and J Abbott Miller's The Bathroom, the Kitchen, and the Aesthetics of Waste: A Process of Elimination (MIT List Visual Arts Center, 1992; excerpts pp. 1–9, 65–9; © 1992 MIT List Visual Arts Center; Intimus pp. 204–213), framed by their headnote ("Designers and writers Ellen Lupton and J Abbott Miller argue that the streamlined style of modernism emanated from the domestic landscape of the bathroom and kitchen, particularly the hygienic use of non-porous materials. They discuss the ramifications of streamline design as a reflection of mass production and consumption overlaid with the intention of suppressing or denying evidence of bodily waste. In this text Lupton and Miller highlight pivotal moments in the recent history of kitchen and bathroom furnishings as a function of form, economy and hygiene standards to reveal the body's implication with commodity. As such, the interior is constituted to be a site heavily linked to industrialised practices, economies and form-consciousness") — the anthology's industrial-psychoanalytic pole: the process of elimination (process-of-elimination), the bathroom and kitchen as the twin temples of bodily and economic consumption (bathroom, kitchen), streamlining's excretory aesthetic (streamlining), Frederick's "creative waste" (creative-waste), and the reader's strongest bridge between its domestic-consumption cluster (Gordon, Lawrence) and modernism's hygiene history (whiteness, modernism); the source note is drawn from the Lupton & Miller text with the editors' framing.
'House Beautiful': Style and Consumption in the Home (Madigan & Munro 1996/2006) — a further Intimus anthology selection: the editors' reprint of Ruth Madigan and Moira Munro's article from Sociology (vol. 30, no. 1, 1996, pp. 41–57; © BSA Publications Ltd 1996, © Ruth Madigan and Moira Munro, reprinted by permission of the authors and Sage Publications; excerpts pp. 43–56; Intimus pp. 221–228), framed by their headnote ("Ruth Madigan and Moira Munro's discussion of self-expression, personal style, and the constraints of social class and familial relations takes a social science approach to domestic consumption. Their qualitative interviews of working- and lower middle-class households suggest that 'good design' is not a condition of 'good taste'. Occupiers tended to reflect notions of homeliness, warmth and welcoming, in which consumer decisions are driven by use-value over style. For these consumers, judgements on their home are more concerned with respectability above style and visual presentation. Central to this work is a realisation that the domestic interior is constantly renegotiated in order to resolve the tension between identity and social role") — the anthology's sociology-of-consumption pole, extending the domestic-consumption register (Gordon, Lawrence) into interview evidence and giving the reader's taste programme its class limit: use-value over style (use-value), respectability above visual presentation (respectability), and the constantly renegotiated domestic interior; the source note is drawn from the Madigan & Munro text with the editors' framing.
Living in Glass Houses (Melchionne 1998/2006) — a further Intimus anthology selection: the editors' excerpt from Kevin Melchionne's essay from The Journal of Aesthetics and Art Criticism (vol. 56, no. 2, 1998, pp. 191–200; excerpt pp. 191–3; reprinted by permission of Blackwell Publishing Ltd; Intimus pp. 228–233), framed by their headnote ("In this exposition on aesthetics and the interior, Kevin Melchionne proposes that Philip Johnson's Glass House is a particularly hyper-organised interior environment that has a conception of order embodied in the arrangement of objects. Understood this way, domesticity becomes both an act of making and an art of living, implying that domestic practice is aesthetically and artistically significant. This notion is further expanded upon through the proposition that it implicates 'tidying' and labour in the art of domesticity") — the anthology's philosophy-of-aesthetics pole: the Glass House as hyper-organized limit case (glass-house, hyperorganized-environment), the radical aesthete as the special occupant, the art of domesticity (making and living as two connected arts), and tidying as the art's labour (tidying); the reader's bridge between its philosophical selections (Bachelard, Ardener) and its domestic-consumption cluster (Gordon, Lawrence, Madigan & Munro); the source note is drawn from the Melchionne text with the editors' framing.
The Apartment (Perec 1974/2006) — a further Intimus anthology selection: the editors' excerpt from Georges Perec's "The Apartment," from Species of Spaces and Other Pieces, trans. John Sturrock (Penguin Books, London, 1999, excerpt pp. 27–33; © 1997 John Sturrock, reprinted by permission of Penguin Press; Intimus pp. 259–264), framed by their headnote ("Georges Perec, renowned for his literary work, takes time to question the banal and mundane activities occurring in the spaces of our inhabitation. In this excerpt he discloses the ordinariness of space when considered alongside functionality of room requirements, particularly when mapped through a slice of time. Against this method of narration, Perec proposes several other spatial layouts generated by either functional relationships between rooms, or the functioning of senses, or days of the week, or thematic arrangements," p. 259) — the anthology's literary/infra-ordinary pole, keyworded "philosophical / mid 20th century • furnish," the reader's primary textual witness to Perec's method (infra-ordinary, nycthemeral, heptadian, thematic-arrangement) and the everyday cluster's only text by Perec himself; the source note is drawn from the Perec text with the editors' framing.
The Kitchen as a Place to Be (Potter 1990/2006) — a further Intimus anthology selection: the editors' excerpt from Norman Potter's Models & Constructs: Margin Notes to a Design Culture (Hyphen Press, London, 1990, excerpts pp. 135–51; text and illustration © Estate of Norman Potter, 1990, reprinted by permission of Hyphen Press; Intimus pp. 264–269), framed by their headnote ("As a designer, Norman Potter writes about the basic and simple issues of kitchen design as a form of resistance to the proliferation of industrialised time- and labour-saving devices and appliances in contemporary kitchens. This critique also questions standardised commercial storage units with worktops, arguing that they have an economic basis antithetical to kitchen design. While he speaks of this space as an instrument and a workshop, Potter uses his writing and built projects to advocate placing greater value upon preparing and eating meals as ritualistic social gatherings," p. 264) — the anthology's designer-practitioner pole, keyworded "technological / late 20th century • furnish," the reader's kitchen counter-programme against the time-and-labour-saving kitchen (kitchen, mechanization, taylorism, everyday-life); the source note is drawn from the Potter text with the editors' framing.
Rethinking Histories of the Interior (Rice 2004/2006) — a further Intimus anthology selection: the editors' excerpt from Charles Rice's essay (The Journal of Architecture, vol. 9, no. 3, 2004, pp. 275–87, excerpts pp. 276–82; © 2004 The Journal of Architecture, reprinted by permission of Taylor & Francis Ltd; Intimus pp. 283–292), framed by their headnote ("Architectural historian Charles Rice examines the relationship between an image of the domestic interior (media) and the domestic environment (setting) through the historical emergence of the bourgeois domestic interior. To expose a problematic between the spatial and imagistic sense of the interior, Rice notes that for both Walter Benjamin and Charles Baudelaire this doubled experience is held within material and immaterial registers, producing de-realised experiences. The specificity of the interior view and specific spatial practices of inhabitation are used to criticise interior histories that pronounce an essentialised view of the domestic interior. This criticism is generated in light of the established texts by Mario Praz, Peter Thornton and Charlotte Gere," p. 283) — the anthology's historiographic-method pole: the selection that turns the reader's own style-manual targets (Praz, Gere, Thornton, named in "Proximities") into a diagnosed essentialism, and supplies the interior cluster's effective-history programme (historiography-of-the-interior, effective-history, bourgeois-interior, doubleness); the source note is drawn from the Rice text with the editors' framing.
Ornament and Order (Soulillou 2002/2006) — a further Intimus anthology selection: the editors' excerpt from Jacques Soulillou's essay, originally in Crime and Ornament: The Arts and Popular Culture in the Shadow of Adolf Loos (trans. Mark Heffernan; eds. Bernie Miller & Melony Ward, YYZ Books, Toronto, 2002, pp. 87–99; © Jacques Soulillou, reprinted by permission of YYZ Books of Canada; Intimus pp. 313–322), framed by their headnote ("Essayist and art theoretician Jacques Soulillou offers a philosophical reflection on the crisis of ornament and fear of excess, suggesting that ornament has an ordering function. To this extent he proposes that ornament is necessary for order's appearance but does not itself have an ordering function, whereas the decorative is that which escapes or opposes the ordering system, indicating loss of an order's authority. For architecture ornament also reveals sexual differentiation through the ground plan, a distinction made from left to right and from upper to lower that coincides with social and hierarchical divisions found in traditional societies. Central to Soulillou's thinking is the shift from ornament as visual elaboration to understanding it as a catalyst of cultural upheaval and perpetual reordering," p. 313) — the anthology's ornament-philosophy pole: the selection that theorizes the ornament/decorative distinction the reader's introduction frames ("the identification of the female body with the domestic and with the decorative," p. 10) from the side of political anthropology, and the anthology's second selection from the Crime and Ornament anthology (with Drobnick's "Volatile Architectures"); the source note is drawn from the Soulillou text with the editors' framing.
Decorating Culture (Tang 1998/2006) — a further Intimus anthology selection: the editors' excerpt from Xiaobing Tang's essay, originally "Decorating Culture: Notes on Interior Design, Interiority, and Interiorization," Public Culture, vol. 10, no. 3, 1998, pp. 530–548 (© 1998 Duke University Press, reprinted by permission; excerpts pp. 532–547; Intimus pp. 328–335), framed by their headnote ("This essay makes the connection between consumption and display as a sign of personal success rather than invidious distinction. Literature scholar Xiaobing Tang undertakes a close reading of He Dun's novella Didi nihao (Hello, My Younger Brother) through Jean Baudrillard's 'system of objects,' the sign language of commodities. The text reiterates contemporary China's rapid absorption of the spectacle of desire, a cosmetic revolution in which external and ostentatious signs of modernity indicate consumptive mobilisation. Within this world, the transformed domicile is seen as an emergent form of interiority, which is connected to a new sense of private interior space and the mechanism of interiorisation," p. 328) — the anthology's literary-critical/Baudrillard pole and the reader's only selection by a literature scholar: the selection that closes the sociology-of-consumption cluster (Gordon, Lawrence, Madigan & Munro) by reading a novella through the political economy of the sign, and the anthology's fullest statement of the interiority cluster's mechanism (interiorisation, sign-value); the source note is drawn from the Tang text with the editors' framing.
Boredom and Bedroom: The Suppression of the Habitual (Teyssot 1996/2006) — a further Intimus anthology selection: the editors' excerpt from Georges Teyssot's essay, originally in Assemblage, no. 30, 1996, pp. 44–61 (© 1996 by the Massachusetts Institute of Technology, reprinted by permission of MIT Press Journals; excerpt pp. 50–53; Intimus pp. 345–348), keyworded "psychological / 1996" in the anthology's keyword apparatus and framed by their headnote ("Psychological disturbance, whether from disease, deprivation, or suppression of the comforting habitual and repetitious nature of everyday life, forms the subject of Georges Teyssot's essay. In this critical theorised historical account he discusses privateness and inwardness through painterly representation, in which the world outside the window is clearly distinct from the interior, the inner world of inner consciousness. Windows, mirrors and reflections acquire similar status when the mirroring of interior life, as an exaggeration of introspection, turns into boredom," p. 345) — the anthology's critical-theory/psychology pole: the selection that carries the Benjamin (arcades boredom) and Adorno (Kierkegaard) inheritance into the reader's interior cluster, supplies the inwardness (inwardness) and aesthetic-boredom registers, and gives the reader its first room-type in the title's bedroom (bedroom); the source note is drawn from the Teyssot text with the editors' framing.
Inside Fear: Secret Places and Hidden Spaces in Dwellings (Troutman 1997/2006) — a further Intimus anthology selection: the editors' excerpt from Anne Troutman's essay, originally in Nan Ellin (ed), Architecture of Fear (Princeton Architectural Press, New York, 1997; © 1997 Nan Ellin, reprinted by permission of Anne Troutman; excerpts pp. 143–56; Intimus pp. 356–359), framed by their headnote ("In this semi-autobiographical account of childhood spaces, Anne Troutman suggests that dwelling holds an intimate, mirror-like relationship so that we dwell in the home and the home dwells in us. This Freudian connection, dividing and connecting inner and outer selves, gathers hidden spaces with visible house, and cloaks the visual with other senses such as fear, terror, fright and anxiety. Discussed this way the storyteller's relived world is contingent on conscious and unconscious associations that redefine the interior through psychological space," p. 356) — the anthology's psychological/fear pole and its only selection from the architecture-of-fear literature: the selection that gives the reader its night side (hidden-spaces), the Freudian anxiety/fear distinction (fear, angst), the house-as-transitional-space thesis (transitional-space), and the childhood fear-work account (childhood-spaces), carrying the reader's psychological cluster from Teyssot's mirrored boredom to the locked cabinet's unknown; the source note is drawn from the Troutman text with the editors' framing (three elision markers "(… p 147)", "(… p 151)", "(… p 156)" record the excerpt's cuts).
Domestic Doyennes: Purveyors of Atmospheres Spoken and Visual (Turpin 2003/2006) — a further Intimus anthology selection: the editors' excerpt from John C Turpin's essay, originally in In.Form: The Journal of Architecture, Design, and Material Culture, vol. 3, 2003, pp. 42–54 (published by the Kruger Collection in conjunction with the Interior Design Program of the University of Nebraska; © The University of Nebraska, reprinted by permission of the publisher; excerpts pp. 42–49; Intimus pp. 368–375), framed by their headnote ("The art of conversing and the art of living are, according to John Turpin, linked through the need for expression. The social challenge, the demand for mental acuity and the game-like aspects of conversation are explored in this text via a discussion of late nineteenth-century French salons and English drawing rooms. Turpin's historical examination of this interior environment points to the aural spatial affect of conversations that are driven and influenced by the presence and interaction of company in such interior settings. The tangible design of such spaces is revealed to be equally manufactured and contrived as the temporality of conversation that occurs within it," p. 368) — the anthology's sociability/history pole: the selection that gives the reader its conversation–etiquette–salon apparatus (the salon's "atmospheres both spoken and visual," the salonnière's precarity, the Victorian drawing room's staccato talk and stage-choreography, de Wolfe's "room made for conversation" as the lineage's synthesis) and grounds the introduction's self-expression thesis ("decoration as an inherent impulse of self-expression," p. 11) in an expression-theory with two channels — "direct human interaction (conversation) or the stage for its performance (decoration)"; the source note is drawn from the Turpin text with the editors' framing (five elision markers "(… p 44)" through "(… p 49)" record the excerpt's cuts).
Ultrasuede (Wagner 2002/2006) — a further Intimus anthology selection (the reader's final-wiki-cluster excerpt, pp. 380–386, excerpting Perspecta 33, 2002, pp. 91–95): the editors' headnote frames Wagner as "Architect and academic" writing "on postwar North American design's fascination with material furnishings," tracing "the development of spatial design through the evolution of surface design via Gottfried Semper, Eliel Saarinen, Billy Baldwin, and Jeffrey Schnapp" and demonstrating "the way in which material invention and industrial production influence the theoretical notions at play in interiors as well as how they reflect values of innovation and convention in a material oriented culture" — the anthology's postwar-material-culture pole, carrying the Semper-cladding lineage (see law-of-cladding, interior-as-garment) into the Saarinen floor-furniture fusions and Baldwin's continuous surfaces; the source note is drawn from the Wagner text with the editors' framing.
The Historical Tradition (Wharton & Codman 1898/2006) — a further Intimus anthology selection (pp. 387–390, excerpting the opening chapter of Edith Wharton and Ogden Codman Jr's The Decoration of Houses, B.T. Batsford (London), 1898, pp. 10–15; elision marker "(… p 15)"): the editors' headnote frames the selection as "one of the pivotal texts for interior designers," whose book "equates architecture and decoration as professional activities, with the latter wrestled from the domain of upholsterers and considered as a harmonious addition to the architecture… Wharton and Codman also attend to issues of taste in the context of cultural specificity, social status and functional purpose. Considered advice literature, this text is a champion of modern thinking and design values which privilege simplicity, appropriate proportion and sensible utilisation of ornamental style to define a new version of harmony for interior architecture" (p. 387) — the anthology's founding-formula pole: the earliest selection in the reader's chronological run and the discipline's founding statement ("good decoration… is only interior architecture"), supplying the double test, the proportion doctrine, the survivals and archaeologizing-spirit diagnoses, and the defense of conformity to style; the source note is drawn from the Wharton & Codman text with the editors' framing (see interior-architecture, the-double-test, proportion, ornament-vs-purity Position 20, interior-design-vs-architecture Position AL, tradition-vs-innovation Position G).
Home: Territory and Identity (Wise 2000/2006) — a further Intimus anthology selection, and the reader's final anthology selection in the wiki (pp. 391–396, excerpting Cultural Studies, vol. 14, no. 2, 2000, pp. 295–310, excerpt pp. 297–301; © 2000 Taylor and Francis Ltd; elision marker "(… p 301)"): the editors' headnote frames the selection — "In this text, J Macgregor Wise asserts that home and identity are grounded in the location of one's body and self. The territories of such regions are discussed as milieus impacted by stable bodies and objects in our midst. The effect of these milieus organises the territory known and experienced as 'home', Our possessions signal identity but their presence in the context of history and memory constitute home as an articulation of effect. Unlike other essays which situate making house and home as a form of self-expression, Wise contends that home is established by the act of territorialisation, the accumulation of habitual acts that are shown to be permeable, changeable and socially reinforced" (p. 391) — the anthology's Deleuzian-territorial pole: the selection that gives the reader its home-territory theory (the child's refrain, the milieu, the expressive territory, the home/house/domus separation) and the counter-theory to the self-expression essays the editors' own introductions sustain (Taylor's roam, Turpin's expression-theory); the source note is drawn from the Wise text with the editors' framing (see home, milieu, territory, habit, deterritorialisation). With this selection the wiki's run of Intimus anthology selections is complete — the reader's theory-section apparatus now fully represented in the wiki.