INTERIORITY: - a critical theory of domestic architecture

Dealing with the general theme of domestic architectural quality, the PhD thesis ‘INTERIORITY’ takes its point of departure in the continuous and increasing need to improve our capability as architects to theoretically articulate the intangible concept of quality, and to reveal it through an active involvement with the complex multidisciplinary processes governing architectural practice: Processes where the need for effective and economical constructions often causes our dwellings to become eventually experienced as raw and uninviting frameworks rather than intimate and engaging homes.

The thesis has been motivated by the particular hypothesis that an introduction of the notion of interiority, as an ability of the spatial envelope itself to address the sensuous scale of furniture, unfolds a particular dual critical potential signifying our experience of domestic architectural quality: On the one hand that the ability of furniture to speak directly to our individual sensitivity simultaneously unfolds principles for theoretically articulating a collective spatial experience of domestic architectural quality. On the other hand that such spatial relations, unfolded in for example a bath or a sleeping niche, of which Le Corbusier’s ‘Villa Savoye’ bath is one example and the bay window of Adolf Loos ‘Villa Moller’ another, likewise define specific constructive key points and hereby also unfold an economical and practical architectural potential for improving the quality of domestic architecture, tectonically. Hence, it has been a particular idea of the study to explore the relation between furniture, the spatial envelope itself, and its construct by using furniture as an architectural concept. Consequently, the thesis has specifically investigated whether this notion of interiority, describing an interrelation of the functional and emotional dimensions of furniture and envelope as form, with the necessary economy and logic of construction, can be developed as a critical architctural theory for transforming the technical and economical elements of construction into experiences of interiority within architectural practice. Methodologically this proposed theory development has been divided into a describitive, an explanatory and a predictive level of theory development, of which;

- The descriptive level has resulted in the development of a ‘conceptual framework’ describing interiority by means of a series of furnishing ‘gestures’ requiring of the envelope itself to guide, reveal, cover, caress and embrace us. These ‘gestures’ unite function and emotion by describing at once a physical movement and a feeling which is intrinsic of the spatial envelope itself.

- The explanatory level has resulted in the development of an ‘analysis method’ enabling an exemplification and explanation of these ‘gestures’ as well as an extract of a series of constructive ‘principles’ of interiority explaining how these ‘gestures’ emantate from an active transformation of the space unfolded in the act of folding, stretching, marking, cutting and elevating the envelope itself, which it is consequently our responsibility as architects to facilitate.

- The predictive level has resulted in a positioning of this theoretical understanding of interiority as a critical means for actually physically transforming the technical and economical elements of construction into spatial experiences of interiority within practice, via the formulation of a ‘practice position’ suggesting a tectonic fusion of ‘gesture’ and construct.

Combined, the resulting ‘conceptual framework’, the ‘analysis method’ and the ‘practice position’ form a critical architectural theory enabling an understanding and clarification of the mere intuitive notion of interiority as an expression of domestic architectural quality presented in the first volume of the thesis; ‘INTERIORITY: a critical theory of domestic architecture’. As a research result this theory of interiority represents a critical means for improving our ability as architects to articulate and develop the matter of quality within domestic architectural practice, by suggesting a tectonic exploitation of the constructive joint itself beyond a mere visual appreciation
of structure and materials and into and actual spatial and furnishing articulation hereof.

In the second volume of the thesis; ‘INTERIORITY: a prefab case study’ this theory of interiority has been endeavored applied in a specific prefab project concerning the development of a novel prefab building system and housing series in collaboration with the Danish prefab housing manufacturer Boel Living A/S. Hence, this cooperation has been the starting point for pursuing a methodological linking of theory and practice, through a number of research loops, moving from theory development to practical application and vice versa. Together the 2 volumes constituting the thesis form a contribution to the development of a critical architectural theory of domestic architecture, in which the technical and economical elements of construction are assumed furnishing ‘gestures’ in themselves, enabling an understanding and articulation of the spatial principles signifying our experience of domestic architectural quality applicaple as a critical means within the practical realm of domestic architectural practice. In addition the result of the thesis can be seen as a contribution to a future discussion of the role of the architect in the general domestic architectural practice, by assuming an active even leading responsibility of the architect in the processes governing this practice: Processes in which we are dependent first and foremost on our interior ability as architect to articulate the spatial potential of architecture and the effect which it can have upon the quality of our lives, secondly on an honest interest and stubborn will to understand and engage with the technical and economical conditions governing the revelation of this potential.