Interiorscape

In the hospitality business, providing a soothing atmosphere is critical for ensuring high rates of occupancy. Whether they are staying for business or for pleasure, guests want to be able to unwind with a minimum of distractions. Landscaping and interiorscaping have a lot of benefits and what they can do to boost the economy and occupancy rate of the hotel industry is tremendous. The study was conducted on five star hotels of Delhi and National Capital Region (NCR). It focused on the
features and practices of landscaping; the reasons for investing in and benefits gained through landscaping & interiorscaping and the awareness & perception of the occupants of the hotels regarding the landscaping. It was found that the main reasons for investing in landscaping and interiorscaping were to improve the image of the hotels, to reduce noise, for air purification, to attract more customers and to act as stress busters to occupants. The major landscape features installed in the hotels were plants, flowers, water elements, stones and rocks, sculptures, pavements, arches and pergolas, lights and turf grass. Most of the occupants were aware about the features and practices and perceived that the landscaping and interiorscaping acted as a stress
buster for them, increased the aesthetic beauty of the hotel, helped in wayfinding and signposting, concealed less attractive features, purified air and reduced noise in the surrounding areas. Landscaping and interiorscaping benefited the hotels by adding monetary gains through attracting more customers, extra premium for guests rooms with better interiorscape features and better views, banqueting on terrace gardens and use of recycled water for irrigating the plants.

(From the cover) Se oggi la maggiore occasione professionale per gli architetti, specie se giovani, è quella di «ristrutturare» case ed uffici, ossia progettare arredamenti, il libro della Forino ne propone una chiave di lettura del tutto originale nell'ambito della letteratura architettonica. Non si tratta beninteso di un manuale, perché l'autrice traccia un sottile excursus storico-critico di un fenomeno particolare dell'arredamento, che supera l'ormai tradizionale modo di fare degli architetti-arredatori. Questi si limitano per lo più a modellare pareti, scegliere materiali e colori, aggiungere alcuni mobili e altro, mentre gli interventi più ambiziosi mirano ad articolare lo spazio interno su più livelli, con un esito chiaramente scenografico nel migliore dei casi. Viceversa, quanto si espone in questo libro consiste nel privilegiare la spazialità propria dell'architettura, quella che si lega al binomio invaso-involucro, proponendola anche nella elaborazione di un ambiente interno. Ecco allora come uno spazio arredato perde ogni aspetto rappresentativo, ogni forma di scenografia, ogni sorta di decorazione e di trompe l'oeil, per tradursi in una composizione conformativa, in qualcosa cioè che «conforma» l'invaso spaziale, obiettivo che si raggiunge attraverso la categoria – che è anche un modo di formare – di un «interno nell'interno».
Il saggio, oltre ad interessare operativamente gli addetti ai lavori, risulta di notevole utilità anche per gli storici della disciplina. Lo schema suddetto non è infatti rapportato esclusivamente alle tipologie del domestico, ma anche ad altre relative agli ambienti del passato; il tutto seguendo una rigorosa cronologia, della quale notoriamente si sostanzia la storia.

The indoor’s inside – a big object where to live – is a phenomenology characterizing the Interior Design History through the centuries. Since the 14th century until now, we can recognize, within some domestic environments, the presence of a further delimitation, physically distinct.
Throuht the spaces tinning we can have a space inside another huger one, which is smaller, articulate in a different way, and sometimes movable from its original position. It is a kind of space which has analogies with the architecture, considered as an enclosure, "a box inside box" configuration.

Index: Preface (R. De Fusco) - Introduction: A Phenomenology of Furnishing - (Domestic Spaces:) Studiolo as Single Space - The house of bed - Toilet "island" - Houses inside House - (Sacred Spaces:) Confessional - Ciborio - Between Architecture and Furnishing - A Phenomenology of Living - References - Authors Index.

(here ENG pdf chapter) __ My chapter analyzes the project of the Library (1924) of the Palace of Legislature in Montevideo (Uruguay). The Italian Gaetano Moretti (1860-1938) was the qualified architect of the interiors of the whole Palace, but the Library’s interior is the most valuable work of decorative art he made in Montevideo. Chapter traces the sequence by which design and execution of Moretti’s Library progressed, drawing on documentary sources tracked down in the Archivo General de la Nación [National General Archive] of Montevideo. It analyses the space of the central Hall, its functions and its decorative devices whose various forms all bear the marks of an unmistakable historically-minded Eclecticism.

|| Dal 1913 e per quasi dodici anni, Gaetano Moretti (1860-1938) si occupa del completamento del Palacio Legislativo di Montevideo (Uruguay). Intervenendo in una struttura già in costruzione, il suo apporto si esplica soprattutto nel ridisegno di tutti gli spazi interni e negli apparati decorativi dell’edificio. La Biblioteca del Poder Legislativo, situata al secondo piano del palazzo, è configurata da due piccole stanze per l’amministrazione e, al centro, l'ampio Salone Centrale, utilizzato per l’archiviazione dei volumi e come sala di lettura. Interamente realizzato a Milano nel 1924, l’apparato decorativo della Biblioteca è trasportato per mare fino a Montevideo e montato sul posto nello stesso anno. Tra mimetismi e personali licenze, l’eclettismo di Moretti delinea nel Salone centrale della Biblioteca un interno linguisticamente coerente, dove arredi e dettagli sono accuratamente progettati per un complesso esercizio di arte decorativa. Qui l’architetto milanese applica l’arte dell’arredamento all’architettura come una "fodera", che riveste interamente lo spazio preesistente per dare vita a un nuovo scrigno del sapere. L’iter progettuale ed esecutivo della Biblioteca di Moretti è tracciato attraverso le fonti documentarie rintracciate presso l’Archivo General de la Nación di Montevideo. Sono analizzati lo spazio, le funzioni e gli apparati decorativi del Salone centrale, questi ultimi declinati secondo l'eclettismo storicista di Moretti.

Examines the concepts of landscape and environment on one side and domestic and interior on the other, with reference to the exhibition 'Italy: The New Domestic Landscape' (1972). The author studies the understanding of living explored by figurative art, highlights the Chilean artist Roberto Sebastian Antonio Matta Echaurren's investigation of the living space in his paintings, including the series 'Morfologies Psycologiques' and 'Inscapes', and describes the artist's understanding of space in his design work. She considers the link between landscape and domestic living explored in George Nelson's work in the 1950s, examines the design of public places, including offices, in the 1960s, making reference to the use of the term Office Landscape to describe this impulse, and observes how developments since the 1950s have anticipated the focus of the 1972 exhibition. She outlines Gordon Matta-Clark's study of the links between domestic living and the landscape in his work in the early 1970s, considers some of the work included in the 1972 exhibition, with reference to work by Ettore Sottsass, Joe Colombo, Alberto Rosselli, Marco Zanuso, Richard Sapper, Mario Bellini, Gae Aulenti, Gaetano Pesce, Ugo La Pietra, Archizoom, Superstudio, and Sturm, and concludes by commenting on the impact of the Internet on the understanding of space. (ARTbibliographies Modern)

The nineteenth century’s private sequel to the earlier, more public Age of Enlightenment was lustrous, well-upholstered rooms packed with artworks and mnemonic traces. The de Goncourt brothers, both of them witty reporters on the "Journal", celebrated the solipsistic impulses of the age at 53, Boulevard Montmorency in Auteil, the dwelling for which Edmond de Goncourt provided a detailed inventory in "La Maison d’un artiste" (1881) – a catalogue raisonné of bibelots, fabrics, patterns and furnishings that claimed to be something of an interior decoration handbook.
Edmond de Goncourt rated an “almost human affection for things” higher than a woman’s love. Similar sentiments are found in Mario Praz’s "La Casa della Vita" (1958) and his house in Rome. Though both were middle-class intellectuals, art lovers rather than true collectors and hoarders of stylistic souvenirs d’égotisme, they furnished and displayed their homes differently. Edmond’s home was designed and furnished to convey a cultured man’s artistic idea of himself, even though the collection was destined to be broken up and reformed as a new ideal, the Académie Goncourt. By contrast, Praz’s home was a flowingly embroidered account of past events in which the objects’ formal and emotional referencing was paramount. As he wished, the apartment became a museum: a house for living in, thus reverting to the original Egyptian meaning of a “Home of Eternal Life.”
Though both liked lens-eye views of interiors, de Goncourt preferred a fixed descriptive focus, whereas Praz favoured narrative multivision. De Goncourt’s vantage point was external to the objects themselves, but Praz’s stance was that of the passionate self, lost in the objects and, ultimately, himself.

"The internal qualities of the architectonic space emerge from a phenomenological reading of the interiors that relates words and images, stories and reflections. Different approaches in the projects, here defined as plenum, cavum, inscape and subscape, are combined to the same number of interpretative modalities: on one side, the increase in value of the founding core of Architecture, the empty space, on the other side it is a process as completion, and even more, a passage to walk throught. In the end, it is the change of the point of view with wich we can look at the interiors according to a subscape that can give unexepected indications on spatial development.  //. Le qualità interiori dello spazio architettonico emergono da una lettura fenomenologica degli interni che rapporti parole a immagini, racconti a riflessioni. Approcci diversi del progetto, qui definiti come plenum, cavum, inscape e subscape, si coniugano ad altrettante modalità interpretative: da un lato, la valorizzazione del nucleo fondativo dell'architettura, l'invaso o vuoto, dall'altro la sua elaborazione come completamento, dall'altro ancora l'interno come paesaggio da percorrere. Infine, il cambiamento del punto di vista con cui guardare agli interni, secondo una prospettiva percettivamente diversa (subscape) che può dare sorprendenti indicazioni di sviluppo spaziale. "

Here chapter pdf: https://www.bloomsburyarchitecturelibrary.com/encyclopedia-chapter?docid=b-9781474294072&tocid=b-9781474294072-chapter6&pdfid=9781474294072.ch-006.pdf

"""In the history of interior design, the kitchen is the most traditional room in the house, for it has evolved more slowly over the centuries than other spaces that are more on show. In peasant homes, it was the heart of everyday family life: this was where meals were cooked, domestic chores were done, children were tended and even where sleeping pallets were spread on the floor. In nobles’ dwellings, the kitchen was occupied by servants and later by other staff: until the nineteenth century, it is far removed from the living and entertaining areas since its smells and noises were not welcome in polite society. As the middle classes became established, it became the scene of the housewife’s activities.
This chapter relates the idea of intimacy to the space, furnishing and equipment of the kitchen from 1880 to 1940. The subject is handled chronologically, but with a narrative emphasis based on the visual sequence of the kitchen interiorscape—in other words, by interpolating historical notes and critical commentary among the images: selected highlights orchestrate the kitchen’s various interpretations accordingly.""""

In 1927, Rene Magritte painted L’importance des merveilles, in which he appears to depict the surrealist poetics of summation, accumulation and addition, interpolating it with those of non-sense and the absurd. The painting instantly brings to mind the popular Russian Matryoshka Doll: the artist reduces the female figure to a Venus de Milo split in pieces, a sort of abstract doll, which multiples the meanings of “hollow and inhabitable object”. Placing a woman’s body inside another and so on, Magritte gives us a visual representation of the archetypal theme of inclusion, an element that has featured in architecture since its very origins. Almost sixty years later, the psychologist Elvio Fachinelli developed the idea of the claustrum as an enclosed, but privileged place, in relation to the psychoanalytical space that is established between the patient and the doctor. Once this concept is transferred to the domestic environment, Fachinelli’s reflections contain clear echoes of the famous rêveries by Gaston Bachelard on topophilia, that is, the house as a beloved place, even the pokiest and most remote corners.
While separation and gathering can be considered primary elements of living according to the lessons of Bachelard and Gilbert Durand, over the history of the home, some furnishing devices are recognisable as clear declinations of the theme of inclusion or doubling of space. The Magrittian doll within a doll is thus transformed into the room within a room, the topophilic space par excellence. This essay develops this theme using certain paradigms of domestic furnishing, which become increasingly complex. These are not merely furnishing artifices intended to multiply rooms or provide greater intimacy, but the true poetics of how to live ‘interiority’.
///
Nel 1927 René Magritte dipinge L’importance des merveilles, in cui sembra sintetizzare la poetica surrealista della sommatoria, dell’accumulo, dell’aggiunta interpolandola a quella del non-sense e dell’assurdo. Il quadro richiama allo sguardo dello spettatore il popolare gioco russo della Matrioska: l’artista riduce la figura femminile a una frantumata Venere di Milo, una sorta di bambola astratta, di cui moltiplica i significati di «oggetto cavo e abitabile». Ponendo un corpo di donna dentro l’altro e via di seguito, Magritte rende visibile il tema archetipico dell’inclusione, presente in architettura sin dalle origini. Quasi sessant’anni dopo lo psicologo Elvio Fachinelli elabora l’idea del claustrum come luogo chiuso ma prediletto, in relazione allo spazio psicoanalitico che si instaura fra paziente e terapista. Trasferendole all’ambiente domestico, nelle riflessioni di Fachinelli si ravvisano chiaramente le note rêveries di Gaston Bachelard sulla topofilia ovvero sulla casa quale spazio amato, persino negli angoli più angusti o remoti.
Se separazione e raccoglimento possono essere considerati elementi fondativi dell’abitare secondo la lezione di Bachelard e di Gilbert Durand, nella storia della casa sono riconoscibili alcuni dispositivi arredativi affinché ciò si realizzi mediante chiare declinazioni del tema dell’inclusione o del raddoppiamento degli spazi. La bambola nella bambola di memoria magrittiana si trasforma cioè nella stanza nella stanza, recesso topofilico per eccellenza. Il saggio sviluppa questo tema attraverso alcuni paradigmi dell’arredamento domestico, via via più articolati. Non si tratta solo di artifizi dell’arredamento per moltiplicare gli ambienti o per ricercare una maggiore intimità, quanto di vere poetiche dell’abitare l’interiorità.