00:01 Chair Introducing Presentation and Examiners: Stephen Loo, Ross Gibson and Terri Bird
00:50 Presentation Begins
00:55 Situating audience and self within the exhibition Explanation of the exhibition and the presentation as a floor talk. Discussion of unplanned occurrences.
02:00 The origins of the PhD: attending to questions of interior The focus / the situation and location / the formats being practiced (contributing)
02:54 The distinction between 'practice' and 'projects' Emphasising the PhD as a "thinking through doing, and a doing through thinking" / Practices of: exhibition design, curating, writing, and academia experimenting with 'interior' and 'interiorization.' (methodology)
03:30 The role of the 'exhibition' and curatorial practice within the PhD Locating the examination exhibition within the projects and PhD / The role of the floor talk in the examination / The role of the exhibition and curation as a way of thinking / Projects as vehicles for thinking / The challenge of representation, knowledge, knowing through exhibitions.
05:00 The challenge of presenting a practice not based on artefacts Discussed through the exhibition' Curated' (1997, West Space Gallery) / How do you exhibit a practice without exhibiting any original work?
06:30 Re-Inventing My Practice Expiation and arrangement as an interior design practice
07:36 Material, Spatial and Temporal Arrangements Interests in research with exhibitions / Museums as a space for practice
07:50 Exploring the Subject/Object Dichotomy Shifting from Cartesian to phenomenological conceptions of space / Objects and Subjects and Interior / Based through the centrality of the 'I' / The subject in interior design
09:40 Challenging traditional conceptions of 'interior' within 'interior design.' The 'creative problematic' of interior
10:40 Exploring the Middle as a current, continual state In the middle of the gallery (physically) / In the middle of the exhibition between past and future / In the middle of knowledge-creating systems / The power of coincidences / Consciously positioning the body in the middle (in relation to exhibition 'Box' and the examination presentation) (situating)
14:32 Deleuze, Interior and Interiority Understanding how the exhibition has been developed / relationships between past and present / thinking and thought (situating)
16:00 Explaining the exhibition layout and individual, spatialised objects Situating through the Deleuzian 'fold' / The exhibition as an invitation for people to come close, to move towards (after the presentation) / The subtleties of interior practices / Processes of bringing projects to light / The relationship of the body to the exhibition (physical demonstration)
19:37 Exploring Encounters (encountering objects) How does one craft space, produce spatial encounters with objects? 'Space Craft' exhibition (Monash University) / Exploring the object as an encounter as opposed to the object to be recognized / Projects are situated as explorations of encounters / The care of curiosity: finding the strange in familiar (Foucault)(physical demonstration)
23:11 A shift towards Temporality A Matter of Time' Textile Exhibition - Tamworth Regional Gallery / Shifting from the spatial to the temporal relationships in interior / The transformation of works over time / The mobile nature of the exhibition, and the effect of this in relation to curation, place and atmosphere (physical demonstration)
27:00 Exploring relationships between interior/exterior, internal/external Negotiations of the Interior as an Outsider / Exploring inversions of standard models of interior practice (physical demonstration)
29:30 Impacting external forces on positioning and practice Interior design in crisis (contributing)
30:20 Exploring the Subject/Object Dichotomy (continued)
31:10 Positioning the Practice: as an 'interiorist' / as '?interior' engaging with the question of interior / Interiorist: an offering to the interior discipline / The impact of inflection and the replacement of the question mark (structuring / methodology / contribution))
35:20 Focusing on the PhD as a practice of thinking instead of purely a production of knowledge.
36:20 Exploring the question of 'what' in relation to interior/interior design the past and presentness / attending to the new, the newness / complexities, temporalities, spatialities
37.00 Arranging and Structuring the PhD as process of thinking and knowing structure as privileging the projects / discussing the decision for PhD by Project rather than thesis (structuring)
40.57 On Reflection: Inflection as a way of concluding Inflection/reflection / If one shifts from Cartesian to Phenomenological, what kind of interiors become actualised? / The role of the subject and object within broader research (methodology)
42:10 Curiosity and the Unknown informing a position and practice
43:10 Positioning the occupation of interior as within a spatial, temporal middle
47:07 (Conclusion) The question of interior and its associated value (contributing)
47:55 (Conclusion) The active engagement of Arrangement
48:12 (Conclusion) The value of experimentation, expression and experience (contributing)
49:11 (Conclusion) Supposing ?interior as a contribution to interior design opening interior to the out-side / situates the question of 'interior' in the world (contributing)
50:05 End Presentation
50:23 Panel Discussion Begins
50:28 (RG) The relationship between the exhibition and the writing practices in relation to the submitted document What decisions were made in arranging and spatialising the written document?
52:00 (SA) The differing voices of the works Using words to place the reader within the projects / the relationship between the visual and textural, the work and the writing / creating a structure for the reader to arrange the document themselves (structuring)
56:52 (TB) The PhD is fundamentally a project of practice (discussed through the voice)
1:00:29 (RG) The work produces a know-how, rather than know-ledge
1:00:42 (SL) How do you find the subject in limitless possibility? The thesis as economical, clear and generous (ethics)
1:04:37 (SA) Free Subjectivity and the ethics of a process of encounters How to move beyond assumption to a critical questioning of interior / Positioning the subject in the middle / Opening interior / The point of the phd and future trajectories / Subjectivity: the question of the 21st century / Vivifying rather than verifying (ethics)
1:10:00 (SL) How does one vivify when a discipline is always trying to verify?
1:11:30 (SA) On experiencing the temporary state of interior
1:13:46 (RG) The practice as experiential catalyst rather than a completed whole the delicacy of affective interiors
1:15:18 (TB) The Encounter The varying encounters in professional and less professional roles / The role of the encounter in the work (ethics)
1:16:49 (SA) Thinking as distinct from Knowing/Knowledge Experimentation / The role of knowing in curation of interiors / The role of the interior designer within the PhD / Working with others (and students) within research / The openness of experimentation (ethics)
1:21:20 (SL) The nuances and relations of objects in spaces
1:23:30 (SA) The multiple dimensions of the curatorial practice The invitation / The objects of the exhibition / The linking between projects and concepts / An interest of things already in the world (ethics)
1:27:14 (TB) Care of objects and speaking to your own creative works
1:32:30 The End
This PhD was undertaken as an opportunity to address and reinvent a practice involving exhibition design, curation and writing situated within the discipline of interior design.
The motivation for the research was the prevalence of assumptions in relation to ‘interior’ and how – even though it is designed – the term ‘interior’ is rarely posed as a creative problematic. One of the main objectives of the PhD was, and continues to be, to open up ‘interior’, to encourage different ways of thinking and designing interiors, and through this to contribute to the emerging discourse and practice of interior design.
Two questions have moved with the research. The formal PhD research question posed at the beginning: ‘if one shifts from Cartesian and phenomenological concepts of object/subject relations, then what kind of interior(s) become actualised?’ And a question connected with ‘interior’ – more of a tacit question engaged with by the practice and one which surfaced through the research with the question shifting from what? to when? where?, how? and which? – from interior? to ?interior.
These questions were posed through projects and practices of exhibition, curating, writing, craft, design and teaching. Here, exhibitions and other projects were experiments. Experiments not in a deductive way where a set of parameters were established beforehand and then tested. Instead they were experiments as a process of production engaged with the experiential world – materials, forces, chance, constraints – to see what can happen, what I can do and what can be said and seen. Ideas from Gilles Deleuze, Elizabeth Grosz and Michel Foucault were picked up and used as tools for thinking and doing.
The desire to shift from phenomenological and Cartesian modes of subject-object relations necessitated an engagement with philosophical thinking. The PhD has been an apprenticeship in a thinking which has grappled with a need to address issues of certainty, knowledge, truth and subjectivity in relation to practice, research and the concept of interior. This apprenticeship has enabled a way of positioning research through practice that values experimentation, experience and expression. It has also led to a philosophy defined through an interior design practice. This is different to current approaches that attempt to theorize the discipline. This training enables an understanding of how to engage interior design practice as creative research and, through this, foster research in relation to the discipline.
?interior, practices of interiorization, interior designs offers up ways of thinking and practising interior that contributes to the discipline of interior design by opening up and inviting new ways of thinking and practising.
?interior is more of a proposition than an answer to a question, a posing of interior where the invitation is to attend to it as a design, as a question in relation to practise which as a creative problematic needs to be addressed each time anew; to place the question of ?interior in the world; to open it up to the exterior/outside.