• This Is Interior Design

    Author(s):
    Taneshia Albert (see profile) , Anna Ruth Gatlin (see profile)
    Date:
    2022
    Subject(s):
    Research, Learning and scholarship, History, Critical discourse analysis
    Item Type:
    Other
    Permanent URL:
    https://doi.org/10.17613/sw7x-6b53
    Abstract:
    The contemporary conversations around the interior design profession are focused on its: future development around identity and equity; effectiveness in design and construction process; and efforts around sustainable design (International Interior Design Association, 2019a, 2019b). In this forward motion, a review of past contributions from decorative artist can often be marginalized. Often, these works are performative examples of male architects, and their ventures into creating highly structured, form-forward (masculine) objects that exist within interiors. These highly celebrated objects often overshadow the contributions of softer (feminine) decorative arts thus limiting and disregarding past contributions of historically female makers. In these mediums of expression, mostly including knitting, quilting, sewing, and embroidering (Chansky, 2010; Amos & Binkley, 2020), women found themselves confined to over several centuries (Parker, 1984; Amos & Binkley, 2020; Newmeyer, 2008) through the hegemonic stratification of arts and art culture (Parker, 1984; Amos & Binkley, 2020). This creative scholarship positions itself through the lens of critical discourse analysis (CDA) to question the academy to consider what the contributions of feminine decorative arts are to the contemporary field of interior design. The makers ask the viewer to question textile and traditionally feminine contributions to the inclusive future of interior design. Images of a carefully crafted tableau consisting of form-forward masculine objects opposed to soft textile-driven feminine decorative objects are contrasted to the same setting without the masculine items, leaving the feminine pieces to probe the viewer into questioning whether or not the soft goods and decorative objet d’art so formative to the practice and history of interior design can exist as “enough” in its own right. Three tableaus are presented in photographed form, each twice (with and without the masculine objects).
    Metadata:
    Published as:
    Conference proceeding    
    Status:
    Published
    Last Updated:
    12 months ago
    License:
    All Rights Reserved

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