Interiorities
Recently the experience, purpose and contexts of architectural space have been subject to various kinds of scrutinies. The contemporary obsession with how buildings appear from the outside – through aerial photography and online images – dominates how they are perceived, commissioned and valued. This preoccupation with surface has divorced human presence from architecture. In the context of the recent Grenville Tower tragedy in London where considerations of external appearance took precedence over the safety of human life, these issues have more pressing significance.
Architectural theorists in the meantime have examined the relationships between interior spatial experience, subjectivity and architectural space. Robert McCarter’s The Space Within (Reaktion, 2016) for example, considers how certain architects have addressed how a building is encountered from the inside rather than what it looks like from the outside and how this has been the starting point for design. He discusses the importance of interior space over time, against how an external façade creates and defines the space around it.
The subjectivity of architectural space and the ways that interior and exterior meet are addressed differently in Jane Rendell’s recent book, The Architecture of Psychoanalysis (I. B Tauris, 2017). Through a form of experimental structural writing which draws on autobiographical experience and various photographic archives, Rendell considers how material environments influence the inner world of memory and imagination. Described by critical geographer Steve Pile as a ‘braiding’ of architectural criticism and psychoanalytic insight, Rendell’s book addresses architectural space through the structures of memory, desire, trauma and loss and the possibilities for their representations.
In the painter Vicken Parsons’ exhibition earlier this year, Iris (a reference to the technology of looking), her paintings ‘become both a window on to the world, and a doorway for light and colour’, moving between illusory space and the picture surface whilst implying an emotional ‘exposure of inner experience’.
Their interplay between three-dimensional perspective and flatness suggests an ambiguity between representation and abstraction. Modelled to some extent on the Danish painter Vilhelm Hammershoi’s (1864 – 1916) paintings of rooms – the dark interiors, the fall of light on interior surfaces, a reduced colour palette, nuances of tone and glimpses of domestic materials such as tablecloths and wooden tables – Parsons’ works invoke a similar kind of atmospheric psychological interior space. They seem flooded with light of different kinds, reflected in apparently highly polished surfaces or falling from an unseen source, whilst their materiality appears to be invested with emotion.
In the exhibition, Room with a View (Kunstalle-Mainz, 2009) the German painter Matthias Weischer constructs simulations of interior spaces which he describes as ‘receptacles to be filled with objects’. Through creating an interior space and then ‘furnishing’ it, he arrives at a form of ‘object theatre’ where things evoke memories and emotions through the interplay of their
There has been much written about the relationships between Rachel Whiteread’s work with architecture in their connotations of solid / hollow, inside / outside, full / empty space (Tate Britain, 2017) and Whiteread invariably draws on domestic space and its objects: house, cabin, wardrobe, room, mattresses, chairs, spoons, hot water bottles, books, etc. In the casts of interior spaces, space becomes an apparently solid mass – memorial-like and impenetrable. Her objects reveal how things look like from the other side of reason – the incidental and unintentional marks made by life and the poignancy of what remains – yet the process of casting itself is dependent on logic.